Heritage Alerts April 2011
Italian photographer Antonio Martinelli showcases mirror image of 73 aqua-tints of historical structures and landscapes in India that were clicked by the Daniells’ in the 18th century. He tells Divya Kaushik how he wanted to capture the damages and changes that have occurred over time here
When the uncle-nephew
artist duo Thomas
Daniell and William
Daniell started off
their journey from
Calcutta (now Kolkata)
in a small boat on
September 3, 1788,
little did they know
that they were about to
document a few Indian
monuments and landscapes
that would be on the
verge of destruction and
neglect years later.
After 200 years, famous
photographer Antonio
Martinelli took up the
project to shoot mirror
images of these
aqua-tints (an etching
made by a process that
makes it resemble a
water colour) and
highlight changes these
monuments, cities and
landscapes have
witnessed.
The Samrat Yantra is one
of the series of
observatories at Jantar
Mantar built by Sawai
Jai Singh II of Jaipur
to make astronomical
calculations and confirm
readings on the scale
that sweeps up at either
side. While the
200-year-old aqua-tint
done by the Daniells’ in
18th century showcases
the brilliantly
constructed curve at
Jantar Mantar in Delhi,
the photo that hangs
next to it, clicked a
few years ago displays
how renovation work done
by the Archaeological
Survey of India (ASI)
interrupts the curving
plane of the scale.
Likewise, an aqua-tint
of Elephanta Caves shows
streams of water running
through the interiors of
the cave but recent
photos show how nothing
of the same sort exists
now.
These aqua-tints and
photos are a part of a
unique exhibition,
Oriental Scenery
Yesterday and Today, at
Indira Gandhi National
Centre for Arts (IGNCA).
These 73 aqua-tints by
the Daniells are
accompanied with mirror
image photos clicked by
Antonio Martinelli, both
in possession of the
Victoria Memorial Hall
of Kolkata.
The Daniells’ followed
the Ganges route and
reached Srinagar (in
Garhwal district of
Uttarakhand) in May
1789. They arrived in
Calcutta (now Kolkata)
two years later. During
this period, they
captured the temples,
mosques, streets and
monuments in various
cities and locations.
“The aqua-tints I
possessed were taken
over four years and it
took me two years
(1995-96) to click the
same locations with the
same angles. I wanted to
present the change,
manmade or natural, at
these places,” informs
the Italian photographer
who now lives in France
and first came to India
in 1972.
Intrigued by the beauty
of India, its old
buildings and
structures, the lensman
has compiled six books
so far on India with
Oriental scenery being
one of his most
ambitious and
challenging projects
till date. “It wasn’t
easy to spot these
places at first and then
one had to research, get
the same angles, same
light and most
importantly, the same
charm in these photos,”
he says. The Daniells’
used Obscura, an optical
camera while I used a
high precision Nikon to
click these photographs.
I had to visit some
locations in different
seasons to get the same
light effect. Though the
Daniells’ took little
liberty with their
aqua-tints, as in, they
changed the textures a
bit to make pictures
look better as they
intended to prepare
these for commercial
purpose. But my purpose
of clicking them was
different so I couldn’t
have made a lot of
changes. A few of these
changes that can be
spotted as one looks at
the aqua-tints and
photos simultaneously
are manmade and these
images act as the
warning bell for the
conservators,” says
Martinelli.
Talking about the
problems he faced while
clicking these photos,
he says, “As I have been
travelling to India for
long, I know my way out.
But this project would
have taken 70 per cent
lesser time if there
would not have been so
many formalities and I
wouldn’t have been a
foreigner. I’d to take
special permission to
get into Allahabad Fort
as it isn’t open for
public and believe me,
it took me around a
month for the same.”
Ask him on what
motivated him to take up
the project and he says,
“Princess Naheed
Mazharuddin Khan of
Surat showed me Mildred
Archer’s book Early
Views of India dedicated
to aqua-tints produced
by these two artists
around 200 years ago.
Sometime later, I’d the
chance to look at the
original 144 aqua-tints
in London. The impact
these hand-coloured
prints had on me was
profound and I decided
to dedicate a
significant part of my
life in producing these
aqua-tints as
photographs.”
The photographer further
adds he often wonders
how courageous these two
artists would have been
in those days. “If you
look at each photograph
and aqua-tint, you will
realise they were able
to reach monuments that
still aren’t on a
tourist’s map,” he says.
Besides Taj Mahal, Qutub
Minar, Jantar Mantar and
other popular monuments,
there are a few unknown
monuments and
picturesque landscapes
from places like Rotas
Ghur in Bahar, Garhwal
and Varanasi. “Rotas
Ghur is a wonderful
place and there are many
neglected monuments
there. However, at some
places I noticed the
works have been done
fantastically. For
example, interiors of
Madurai Palace was used
as stables when the
Daniells made their
sketches. The hall was
renovated on the orders
of RF Chisholm in the
last decade of the 19th
century and exuberant
plaster decoration was
added at that time. I
was surprised to note
that at some places the
conservation work was
overdone. The damage to
the shafts as recorded
by the Danielles’ at
Elephanta Cave Temple
has been repaired with
cement. The clearing of
the collapsed rock that
appears on the left side
of the aqua-tint
revealed a naturally-lit
side entrance. The
renovation has somewhere
cleared the age-old
signs in the cave,” says
Martinelli.
More than people,
Martinelli says, it was
the beauty of India the
Danielles wanted to
showcase. Being
foreigners they were
mersmerised by the
religious beliefs here
and therefore, most of
the aqua-tints focus on
temples and mosques. “I
think we should get
inspired and take the
note of damage that has
already been done. If
proper steps are not
taken now, I think there
would be nothing left
for photographers to
shoot in India after
another 200 years. And
the authorities who are
taking up the charge of
conservation of these
monuments should also
take care of the
surroundings. No point
in making the monument
shine when the 100 m
area around it is all a
story of ruin and
neglect,” concludes
Martinelli.
The Pioneer, 1st April 2011
Meet Pratik Prabhakar
and Shanti Bai Maravi,
now participating in the
Devi Art Foundation's
show, “Vernacular, in
the Contemporary Part
II”, in New Delhi.
Pratik Prabhakar breaks
every stereotypical
notion of a ‘traditional
folk artist' as
harboured by some of
those who are on the
other side. Dressed in a
pair of low-waist jeans
and shirt, a trendy
scarf and sporting a
stylish hairdo, the
young guy represents
today's generation of
visual artists working
in the folk idiom.
Pratik portrays an
image, both through his
work and personally, far
different from the one
believed to be of an
artist attired in a
traditional outfit
working in a remote
corner of the world
oblivious to the
developments taking
place around him.
He or she, like Pratik, is attuned to the happenings and assimilates it into the visual grammar that has either been inherited from the forefathers or like in Pratik's case, has come through formal training. Pratik lives in Madhubani and works in the realm of the century-old art form of the region. Somebody with no prior familial links with the style of painting, Pratik makes it a curious case anyway. His highly individualistic approach goes a step ahead. The four part assemblage ‘My pictures, others' dreams' displayed at “Vernacular, in the Contemporary Part II”, depicting various phases in a woman's life, indeed has a strong narrative presented in a figurative manner. It conforms allegiance to Madhubani but the idea itself, and its presentation, in particular the element of fantasy, illustrates the artist's intent and style of using the vernacular form to express a concern, a issue of today's times.
But even then, Pratik doesn't mind the tag of ‘folk artist'. “I would like to be viewed as an artist but how can we expect all this to change so soon. It has spent only around 46 years on paper and it is still viewed as folk art and craft,” says Pratik, who had initially planned fine arts studies from M.S. University of Baroda but enamoured with the form, he gave up the thought. “Because I found it to be so complete in itself. Even in the assignment where we are given a traditional theme to interpret, I just took the basic idea of kohbar - (paintings symbolising fertility and life painted on the wedding chamber of the newly weds) but gave it a complete new twist. I paint with pen nibs, the physical attributes are similar but the subject is different.” He then trained in the style from Mithila Art Institute of Ethnic Arts Foundation in Madhubani, which has been behind some very bright sparks like him.
Shanti Bai Maravi – Godhana artist, Madhya Pradesh
While Madhubani in its journey spent some time travelling from the mud walls of huts to grace the modern means of paper and canvas, Godhna or the tattoo art's arrival onto new material is relatively a new development and lesser known. In Devi Art Foundation's ongoing show, among many others steeped in the contemporary, one belongs to an amazing woman Shanti Bai Maravi. The godhana or the permanent tattoos she creates on women's bodies in her tiny hamlet, Lalpur, in Madhya Pradesh, have been recreated on a newer platform, that of a canvas. Shanti Devi and others engaged in the art practice must be hailed for being part of a movement wherein a new tradition of painting has been born.
Shanti Devi, a master
tattoo maker, belongs to
Badi community. The
traditional skill,
handed down over
decades, was taught to
her by her aunt in order
to take forward the
family profession and
earn livelihood. “Women
from Baiga tribal
community attach great
importance to godhana
because they see it like
‘amar gehna' (ornaments
for posterity). We
recite mantras before we
start the process and
every design created on
a particular part of the
body has a specific name
— ‘dhandani' on legs,
‘pichadi' on the back,
‘pukda', ‘pori' etc…”
She was a pure godhana
artist creating
geometric patterns on
the bodies of Baiga
women, until she was
approached and
encouraged by a local
cultural agency to pick
up paper some 18 years
ago. Shanti Devi
recreates beautiful
patterns on the canvas
as and when demand
arises which she says is
not much. “I haven't
showcased much…Manav
Sanghralaya has
commissioned me to do
works. I have showcased
works at Bharat Bhawan
(Bhopal). But such a
large canvas in Delhi is
exhibited for the first
time,” says Shanti
pointing at her two
works, a young girl
sporting godhana on her
body.
The Hindu, 1st
April 2011
The Samaja Parivarthana Samudaya (SPS), which along with other NGOs has been fighting against illegal mining in Karnataka and Andhra Pradesh borders, will submit one more set of documents to the Central Empowered Committee (CEC) in support of their contention that the Reddy brothers owned mines in the State and are directly involved in illegal mining.
Samudaya president S R
Hiremath told reporters
that he had recently
come into possession of
some crucial documents
that would clearly
disprove the Reddy
brothers’ claim that
they neither owned mines
nor were involved in
illegal mining.
The new documents
included a report on
illegal mining submitted
by Gulbarga Circle
Conservator of Forests,
a police complaint filed
by the Department of
Mines and Geology on
illegal mining in Ramgad
in Bellary district, and
the registration
certificate of
Associated Mining, an
iron ore firm owned by G
Janardhana Reddy and his
wife G Lakshmi Aruna.
Hiremath, who has filed
a writ petition in the
Supreme Court and on
whose petition the
SC has set up the CEC to
look into the illegal
mining in Karnataka, has
said that the SPS and
others had already
submitted two sets of
documents to the CEC
explaining how the
forest and mineral
resources were being
looted by greedy
politicians and
industrialists. But the
third set to be
submitted to the CEC in
a day or two would
conclusively prove Reddy
brothers’ involvement in
illegal mining.
New documents
The first of the three
documents is a report on
illegal mining submitted
to the government by
Gulbarga Circle
Conservator of Forests
in 2005. In his report,
he had said that the
Black Gold (iron ore)
Mines and Minerals had
looted lakhs of metric
tonnes of ore by
extracting and
transporting from
Vannahalli village area
in Bellary district
illegally.
Some corrupt officials
had also colluded with
the illegal miners in
creating forged
documents and
transporting of precious
minerals.
Another document
pertains to a police
complaint by the
Department of Mines and
Geology. On the
instruction of
Conservator of Forests U
V Singh, the Department
of Mines and Geology has
filed a police complaint
on illegal mining at
Ramgadh village on
October 12, 2009.
Dr Singh, during his
visit to the Ramgadh
village had noticed
rampant illegal mining
being carried out with
the support of some
powerful politicians. Dr
Singh instructed the
Department of Mines and
Geology to look into the
issue.
Acting on his
instruction, Deputy
Director of the
Department of Mines and
Geology (Hospet circle)
Ramalingayya visited the
Ramgad and filed a
police complaint. In his
complaint, the Deputy
Director has said that
the illegal mining was
being carried by MLA
Somashekhar Reddy’s
personal assistant and
Corporator Diwakar.
Crucial document
Another crucial document
the SPS possesses is
retirement and admission
deed of Associated
Mining Company, an iron
ore mining company. The
firm was earlier owned
by one K M Parvathamma
and her son K M
Vishwanath.
But through a deed
signed before the
Registrar of Firms in
Bangalore on August 1,
2009, K M Parvathamma
and her son retired from
the firm and G Janardhan
Reddy and his wife G
Lakshmi Aruna admitted
into the firm as the
partners the very next
day.
Deccan Herald, 1st April 2011
The late 18th and early 19th centuries saw the emergence of Pahari paintings, especially the Kangra School of Art.
So robust
is this art form that
artists in Chamba,
Nurpur, Kulu, Mandi and
Kangra in Himachal
Pradesh are working to
keep it alive by
creating replicas of the
originals. Art observers
have taken note of this
novel and interesting
trend in terms of its
artistic and commercial
value.
Contemporary Kangra
miniatures, executed by
artists in the hilly
towns, are available at
the network of state
emporia and leading art
stores. They reflect the
inspiration, themes and
subject matter that had
flourished during the
era gone by. Critics
call the freshly done
miniatures as “the
revived version of
heritage art”. Like the
originals, they do not
have the artists’
signature. However,
their close resemblance
to the Mughal and later
period miniatures is not
difficult to discern.
Radha and Krishna, and
the motifs of man and
woman, are popular
portrayals in the
present day Kangra
paintings. Women in them
are perfection
personified — lotus
eyes, flowing tresses,
slender waists, delicate
hands and fingers and
arresting grace. Slight
variations in themes in
some executions
notwithstanding, they
hold the same powerful
appeal.
Early miniatures were
produced with great
enthusiasm, each school
having its own distinct
stamp of individuality.
Like the lyrical Kangra
pieces, the colourful
Basohli could add
clipped butterfly wings
to impart brilliance to
its texture; and the
Kishengarh paintings had
the distinction of
curved and longish eyes.
The themes centred on
seasons, landscapes,
festivals, sports of
Krishna, and episodes
from the Ramayana and
the Bhagavad Gita.
Animals, birds, trees,
plants and flowers have
also been stunningly
rendered and lovingly
represented.
Heritage preservation
measures, acting as a
catalyst, have resulted
in the extensive
renovation of havelis
and mini-palaces built
by noblemen. Some of
these have been
transformed into
heritage hotels and
museums, standing out as
grand examples of hill
architecture. Local
artists and painters
have contributed their
talent through Kangra
and Mughal style
paintings to decorate
these palaces. Large
halls, baithaks and wide
corridors display these
brilliant masterpieces.
Intricate carvings and
paintings don the doors,
windows, galleries,
verandas and walls. With
the passage of time, the
paintings on doors and
windows have faded.
However, restoration
work on some of these
paintings have brought
them alive, reviving
their original appeal.
Perforated jalis,
jharokas and motifs
impart exclusivity to
each palace, fort and
haveli, the credit for
which should go to
artists from the
aforementioned hilly
towns.
Deccan Herald, 3rd April 2011
Beautifully landscaped gardens, lush green lawns and a majestic tower in the centre, the Qutub Minar welcomed us as we walked into its premises. Made of red and buff sandstone, it is one of the highest stone towers in the world and certainly a sight to see. The architecture, splendour and craftsmanship — everything looked alive. The iron pillar in the premises —which had stood the test of time without rusting — was certainly a wonder.
The big feature of the trip was the 75-metre stone column, but there is much more to see too. The mosque, tomb and the iron pillar — everything there was visually captivating.
Considering its strategic status in Indian history, UNESCO has declared the Qutub Minar as a world heritage monument. Arguably one of the most pivotal monuments, it symbolises the continuity of invading powers in India, and the Minar is inevitably associated with Mughal rule in India. It was constructed to overwhelm and subdue the native populace. As a visible and potent symbol of power, it continues to play an axis role in the Indian political psyche. We spent over three hours adoring the well-maintained historical site.
*Mithu Ghosh Paul, Teacher
The Qutub Minar is the world's tallest brick minaret with a height of 72.5 metres. It is one of the earliest and most prominent examples of Indo-Islamic architecture. Surrounded by several ancient and medieval structures, it is collectively known as Qutub Complex. It is recognised by UNESCO as a world heritage site. Qutub Minar is made of red and buff sandstone. The minaret is made of red sandstone covered with intricate carvings and verses from the Quran. The iron pillar in the courtyard bears inscriptions in Sanskrit and Brahmi script. Standing in the Qutub complex, it is one of the world's foremost metallurgical curiosities. Quwwat-ul-Islam Mosque, to the northeast of the Minar, was built by Qutub-ud-din Aibak in AD 1198. It is the earliest mosque built by Delhi sultans. This trip to Qutub Minar was a good learning experience, and I hope to go for such walks again.
*Meghlayana Banerjee, VIII-A
We. the students of The Indian School, got an opportunity to explore the Qutub Minar — India’s tallest historical monument. On the morning of February 22, we all set off on a journey to the famous UNESCO world heritage site. Work on the structure was initiated by Qutub-ud-din Aibak, who won Delhi from Prithviraj under Muhammad of Ghor as his commander in chief, and finished by Iltutmish. The whole area around the Qutub Minar is called the Qutub Complex. It is one of the notable and most prominent examples of Indo-Islamic architecture. It is a “Nayab Namuna” as quoted by many. The beautiful monument is built with Delhi quartzit stones (red and buff sandstone) found in the Aravali ranges. The stones are bound together with dal, gur, lime, etc. The monument portrays the history of Delhi as it displays intricate carving and verses from the Quran, honeycomb patterns reminiscent of Rajputana architecture, and the marble top, which stands as evidence of the more modern turn that Delhi took. Overall, it was a unique experience.
*Devanshi Saini, X-A
“Overwhelming” is the only word by which I can describe my trip to the incredible Qutub Minar on February 22, 2011. The Qutub complex is an array of monuments and buildings at Mehrauli, Delhi. We were taken there to observe our rich heritage, and think about how it should be preserved. In a way , it was also a great learning experience for my friends and me, as we got to know more about the history behind the monument. A great visit, which made me realise how important our heritage is.
*Priyam Wadhwa, IX-BB
I had been informed along with a few schoolmates that we had been selected to go somewhere. However, the catch was that we were not informed where. On February 22, the day we were to leave, we were told that we had been selected as the lucky few to explore the epitome of Mughal architecture in our city — The Qutub Minar. The minaret, constructed with sandstone, stands as the world’s tallest brick minaret, at a height of 72.5 metres. Though construction work on the UNESCO heritage site was first initiated by Qutub-ud-din Aibak, it is believed that after his tragic death, it was completed by his descendant, Iltutmish. This is the very earliest example of Indo-Islamic architecture, which means that it is influenced of both Islamic and the Hindu styles of building. It has been said that it houses India’s first mosque, which is a factor that enhances the legend’s charm. All considered, the sight of the Qutub Minar will make your jaw drop in awe and search for words in vain. It will leave you speechless, literally.
*Anirudh Kapoor, IX-A
It was on February 22 that we, the students of The Indian School, got to visit Qutub Minar in Mehrauli, Delhi. Though I had passed by this monument on many occasions, I did not find the prospect of visiting it particularly exciting. Of course, I was wrong. The complex around the Qutub Minar reminds you of conglomeration of various art forms. No wonder, then, that the Qutub Minar has been included in the coveted list of World Heritage Sites. It is the tallest brick minaret in India made of red and buff sandstone and an important example of early Afghan architecture, which later evolved into Indo-Islamic Architecture known as 'Nayab Namuna’. It is very unfortunate that after 1981, access to the interiors of this beautiful monument was closed to visitors. The iron pillar in the complex remains one of the most talked about and curious structures. It took us around two hours to see the whole of the structure. I was happy to have visited the monument, and whole-heartedly recommend it whoever reads this piece.
*Akshi Nitin, XA
On the morning of February 22, we — the students of The Indian School — were taken on an excursion to the famous world heritage site of the Qutub Minar. Our guide, Vipin Pundeer, helped enlighten us before the visit. The Qutub complex, conceived by Qutbud-din-Aibak in the early 13th Century, was declared a world heritage site by UNESCO. It is attached to the Quwwat-ul-Islam mosque. The magnificent tower depicts many different architectural styles including Indo-Islamic architecture, Temple architecture, Mughal architecture, Rajput and Hindu architecture. It is the tallest stone tower of India, rising to a height of 238 feet and having a total of 279 steps. As many as 1,600 years old, it is made of pure wrought iron, weighs six tonnes, is about 7 metres high and has been standing bare for all these years in the scorching climate of Delhi. However, there is no sign of rust or corrosion on its body, or even on the inscriptions made on it during the Gupta period. The pillar literally stands tall as a wonder for the modern man to witness, and understand the greatness of his ancestors. The pillar also holds an inverted lotus on top, representing the goddess Laxmi. Besides having a great time during the excursion, the students learnt a lot about Indian heritage and clicked many photographs. It was indeed an enriching experience.
*Radhika Sehra, X-A
On February 22, we were taken for a heritage walk to one of Delhi’s most famous monuments, the Qutub Minar. It is the tallest brick minaret in the world, with a height of 72.5 metres. We were told by our guide that it was a product of Indo-Islamic architecture. It was declared a world heritage site by UNESCO in 1993. We witnessed the Qutub Minar, and were told about its rich cultural history. After that, we went to see the great iron pillar. We had lots of fun, and would like to go on such walks more often.
*Nakul Chodha, IX
We, the students of class VIII, IX and X, went for a heritage walk on February 22. We left from school at 9.00 am and returned by 12.30 p.m. Our medium of transport was bus. The heritage site we went to see was the Qutub Minar. It was huge, with a height of 72.5 metres, thus being the highest minaret in the world. Qutub Minar is located in the Qutub Complex. The complex has a few old temples and the famous iron pillar. We were accompanied by a tour guide who helped us learn more about the monument. We were astonished to see Qutub Minar so closely, and will cherish the memory for the rest of our lives. It was fun being with our friends, and at the same time, it was an educational experience. Our knowledge was enhanced .We got to learn many things about the monument that we were not aware of and, for this, I would like to thank our school. We had a memorable time.
*Sahil Bhasin, X-A
Feeling privileged to be among the few chosen for the heritage walk organised by The Indian Express and of course my school management, I eagerly boarded the bus at around 9.30 am to reach our destination, Qutab Minar, a monument of architectural splendor that needs no introduction. After a curious and long journey (or at least it seemed long to me, perhaps because of sheer eagerness) of about an hour, we reached the famous world heritage site. The first to greet us were a huge number of pigeons that flew overhead as we alighted from the bus. As we entered the complex, we stood there breathlessly staring at the beautifully landscaped gardens and the majestic tower in the middle. Qutab Minar’s grandeur certainly justifies the prominence it holds in Indian history. At 72.5 meters, this structure is a must-see for everyone. The nearby iron pillar, the world’s foremost metallurgical curiosities, is also a strong statement of our ancient culture and achievements. It is notable for being one of the earliest examples of Indo-Islamic architecture. With many unknown facts being introduced to us by the resource guide, we took a tour around the monument, noting the different styles of dynastic architectural influences evident in the monument. After touring the area for an hour, we boarded the bus again with a heavy heart. For me, this was a day well-spent. A big thank you to The Indian Express and to my school.
*Anubha Saggar, IX-B
On 22nd of February ‘11, the students of class VIII to X along with Mithu and Charu Ma’am went for a heritagewalk to the Qutub Complex. We left the school at 10.20 a.m and our bus journey was a lot of fun.After we reached , there was a guide who told us many things about the monument which were unknown to us. Qutub Minar is one of the three world heritage sites of Delhi as declared by UNESCO. It is made of Delhi quartzite stone, lime and buffstone.The brilliant fusion of architecture makes it unique. We saw the very famous iron pillar, the Quwat-ul Mosque and many other magnificent pillars and structures. It was a memorable experience, and we gained a lot of knowledge from this trip. We thank our school for giving us such a great opportunity to witness history.
*Smriti Mehra, VIII - C
Qutub Minar is undoubtedly the most remarkable heritage site of India with an enormous tourist attraction. Built by Qutb-ud-din Aibak, this is the world’s tallest brick minaret with a height of 72.5 metres (237.8 ft). Qutub Minar is notable for being the earliest and most prominent example of Indo-Islamic architecture. The minaret is made of fluted red sandstone covered with intricate carvings and verses from the Qur’an. Quwwat-ul-Islam Mosque, to the northeast of Minar, was built by Qutbu’d-Din Aibak in AD 1198. It is the earliest mosque built by the Delhi sultans. It consists of a rectangular courtyard enclosed by cloisters, erected with carved columns and architectural members of 27 Hindu and Jain temples, which were demolished by Qutbu’d-din Aibak as recorded in his inscription on the main eastern entrance. The nearby Iron Pillar is one of the world’s foremost metallurgical curiosities, also known as the ‘Garun Dwaj’, and is remarkable for its non-rusting quality.
*Deepshikha Sinha,VIII-A
A heritage walk was organized by The Indian Express to Qutub Minar on February 22, 2011, to make us aware about one of the most popular heritage sites of Delhi. The Qutub Minar, a part of the Qutub Complex, is the world’s tallest brick minaret with 379 steps and a height of 72.5 metres. Its construction was started by Qutbuddin Aibak in 1193 and was finished by Iltutmish, as we see it today, in 1368.
*Arsh Aggarwal, IX-A
Indian Express, 4th April 2011
GULBARGA Besides the massive fort, it has the grand Jama Masjid, dargahs and tombs to hold a visitor's interest, write Sandhya Rao and N. Shiva Kumar
I n Persian language ‘Gul' means flower and ‘burg' means leaf thus making Gulbarga once a land of lavish living. Driving into the town we reached our accommodation located close to the massive Gulbarga fort and gazed at the 14 {+t} {+h} Century fort which remained almost unscathed for over many decades. It is all set to regain its lost glory as the Archaeological Survey of India and the State Government are working for its renovation and restoration.
Gulbarga fort was just round the corner, so we were symbolically walking the lanes of history to explore the city of tombs and domes. The story of Gulbarga goes back to 13 {+t} {+h} and 14t {+h} Century and the Bahamani Sultans were the first Muslim rulers to dominate the Deccan region although it was earlier under Hindu Kings. Bahamani's decked this arid place with beautiful palaces, fortifications and stately structures. Today Gulbarga is left with its old forts, mosques, horse stables, dilapidated tombs, large courtyards and ancient temples.
Sprawling over an area of 75 acres the fortification has 15 tall watch towers with 26 massive metallic cannon guns strategically mounted. We managed to see only three majestic cannons located atop the three storied structure called ‘Ranamandal' in middle of the fort. A 40-feet moat in a rundown condition separates the double boundary wall of the fort, which was once filled with water to the brim having man-eating crocodiles to keep enemies at bay.
The compact Jama Masjid inside the fort wall is a unique mosque with a huge dome and smaller ones as embellishments. It was built in 1367 by an architect from Spain with arched doorways on the same lines as that of the Great Mosque of Cardova in Spain. The serenity and solitude when we visited was overpowering.
Haft Gumbaz
In the morning we
started the search for
more monuments of
Gulbarga with our first
stop at a quaint complex
housing seven royal
tombs popularly known as
Haft Gumbaz. It is
interesting to wander in
the spacious interiors
with latticed windows,
cusped arches and
ornamental remnants. The
seven tombs are of
admired rulers and the
most elaborate one being
that of Feroz Shah
Bahamani's. It was
conspicuously cool
inside the tombs while
it was scorching
outside.
Our next stop was Khwaja Banda Nawaz Dargah, the tomb of the Sufi Syed Mohammed Gesu Daraz, standing in a large complex comprising lesser tombs and mosques. The interiors are richly decorated with frescos on glazed tiles with blue green geometric designs, free flowing tendrils and flowers portraying the influence of Indo-Islamic art. The mirror work set inside the dome of this dargah makes it a spiritual tour de force of the Islamic world and is surely a delicacy to the eyes.
No women please
Unfortunately women are
not allowed inside the
shrine where this
exquisite mirror work is
inlaid. They can only
have a glimpse through a
small window from the
outer wall. Hundreds of
devotees, both Muslims
and Hindus, pay homage
to the Sufi on the
occasion of the annual
Urs. After a random view
of the tombs and domes
we ventured to the
wish-fulfilling chamber
where we dropped few
coins, for the lady luck
to smile upon us.
Later we set out 22 kms south of Gulbarga in search of the lost ruins of Firozabad, a city founded by Firoz Shah Bahamani. On reaching a tiny hamlet we took the trail that runs along the village fields next to the fort. Huge arches, crumbling palaces, once stately and strong but now in a dilapidated condition were the only remains of Firozabad. We climbed over the dainty unused steps and walked the alleyway atop one such fortress to enjoy the rustic surroundings. These forlorn ruins, overgrown with weeds and reeds, urgently need restoration and conservation by the authorities.
Close to the town, located on a lonely hillock is the Chor Gumbaz. A huge hemispherical dome, akin to the famous Gol Gumbaz in Bijapur, it has multiple arches on each side.
It also has decorative domes on all four corners. Watching the sunset with its slanting rays spread on this tomb was a sheer delight. On the way back to our hotel we passed by Aiwan-e-Shahi, the rest house of Nizam built in two shades of stone. Also we espied a large lake next to the 19th Century Basaveshwara temple now undergoing repair work.
We travelled from
Hyderabad by a car on a
comfortable road
covering 220 kms.
Gulbarga has its own
railhead and many trains
to Hyderabad, Bangalore,
Mumbai and Delhi pass
through. But be warned
as accommodation in
Gulbarga does not have
any luxury hotels but
the ones available are
good enough for a
comfortable stay.
The Hindu, 4th April 2011
You don’t hear the chirps of a sparrow as much as you did once upon a time, do you? The reasons for their decline are yet to be understood, but we do have some pointers. Mosquito coils, cellphone radiation and automobile exhaust of vehicles running on lead-free petrol could be major factors. The use of chemical fertilisers and pesticides is certainly another cause related to their decline as for the first 15 days of their lives, their nestlings live exclusively on a diet of worms.
It is true that we can neither wish away unleaded petrol, the cellphone or the mosquito coil. So is the fate of the house sparrow (Passer domesticus) sealed? Not really.
No other bird has taken to living with the humans as the house sparrow. It originated in West Asia, reached Eurasia and North Africa with agriculture and eventually spread across the world. Today, it’s the most widely distributed species on our planet. In fact, the only places where it is not found are dense forests and in the tundra region.
The sparrow remained an integral part of human life for millennia, but today they are disappearing from the cities all over the world. In Britain, they’re now in the red list as a species of ‘high conservation concern’. In Sri Lanka, they are a protected species and in the Netherlands, they are an ‘endangered species’. If a bird that so easily adapted to human habitation and is a prolific multiplier whose range runs from the costal areas to the Himalayas can start disappearing from our cities and towns, there is something seriously wrong with our urban landscape as they can still be seen in smaller towns and villages.
Think of a little change in our urban gardens. Manicured lawns that need precious ground water, chemical fertilisers and pesticides need to be replaced with forest-like green areas with indigenous grass, fruit-bearing trees like jamun, ber and shehtoot along with some thorny ones like babool as they are the ideal nesting grounds for the small birds.
To water these garden forests we need to create waste water wetlands, where water purifying plants like bulrushes and wild canna will remove toxins and pass on the water for irrigating these green areas. In these mini eco-systems there would always be small fish, frogs, dragonflies and spiders to ensure that the mosquitoes don’t breed there. They will also be the green zones where our children could learn how eco-systems work.
Our match-box like
apartment architecture
has driven the house
sparrow away. I do hope
our new forest-gardens
will lure them back.
Hindustan Times, 4th April 2011
The Union environment and forest ministry will now take a call if a part of the Bhatti mines is fit to be developed as a garbage dump.
The ministry has been asked to step in by the Delhi high court after the Delhi government objected to MCD's decision to identify pits in the mines as proposed landfill sites. Saying the capital was under threat of turning into one large "garbage dump" the civic agency had sought land on the city's outskirts to manage garbage.
Justice Rajiv Sahai Endlaw asked the centre to find out if there is any possibility of the Bhatti mines area being used as a landfill site without it posing an environment threat to the wildlife sanctuary — as claimed by the state government. For this purpose, the ministry has been directed to come up with its stand even as the HC wondered how mining was permitted earlier in the same area when it was a wildlife sanctuary, if now this ground is being invoked to stop a garbage dump from coming up.
Opposing any plans by MCD to use the pits in the abandoned mines as dumping sites, the state government in an affidavit claimed such a move would seriously imperil the adjoining forest and its remaining wildlife. It advised the corporation to survey and identify an area outside the sanctuary for the purpose of a landfill site. The affidavit informed HC that the proposal to use abandoned mining pits in Bhatti as landfill was discussed in 2002.
Though an in-principal approval was granted by the Ridge Management Board in 2005 to the civic agency to use four pits for dumping waste, a recent survey of the area and a site inspection led by the state government found that the site is part of the Bhatti wildlife sanctuary, reserved forest and southern Ridge
On its part, the MCD
cried foul. It pointed
out before HC that the
state government had
suddenly shifted its
stand. While earlier
before the Supreme
Court, the government
had given its nod to the
MCD proposal, it was
opposing the same before
HC. The MCD claims it
identified the sites
after carrying out all
the required tests and
has obtained all
clearances.
The Hindu, 4th April 2011
HERITAGE Temples at Thirumalai mirror the legacy of Jainism in Tamil Nadu
We don't normally associate the Cholas with the Jains. But an inscription at a Jain temple in Thirumalai indicates that Kundavi, sister of Raja Raja Chola, had given grant to this 1,000-year-old shrine. Even today, locals refer to it as Kundavi Jainalaya.
It was a rather hot
afternoon, and we were a
small group walking
around the rocky
terrains of Thirumalai
in Thiruvannamalai. Our
guide was R. Venkatraman
(retired professor of
Art History, Madurai
Kamaraja University),
who, at the age of 77,
seemed to be the
youngest in the group,
as he beamed with energy
and enthusiasm and
explained to us the
legacy of Jainism in
Tamil Nadu.
The sun was rather
merciless as we climbed
up a hillock to see an
18-ft monolith of
Neminatha, the 22nd
Tirthankara.
“Born a prince, he is believed to be the cousin of Krishna. You'll always see a conch or a chakra with him,” explained the professor. “Krishna had arranged for his wedding, but Neminatha could not accept the fact that his wedding feast would lead to the slaughter of goats, and he renounced the world.”
HISTORY AND MYTH
A circular rock stood
precariously on the
hillock as we went
around it and climbed
further. We saw another
temple; one dedicated to
Parshvanatha, the 23rd
Tirthankara. “Mahaveera
and Parshvanatha were
considered historic,
while the rest of the 22
Tirthankaras, mythical.”
A lone flowering tree
emerged from the rocks,
as if blooming for the
deities.
Looking at the boulders and rocks strewn around with patches of fields, we realised there was more to Thirumalai than just Kundavi's Jainalaya.
The ancient Jain heritage site was filled with cave temples, paintings, monoliths, temples on hillocks and carvings — all probably dating between 10th and 15th Centuries, patronised by various dynasties and rulers. The caves had been the haven for several monks, and it is believed that Kunda Kunda Acharya, a revered Jain seer had visited the place as well.
As we stood atop the hill, we could see what are said to be the impressions of the feet of several monks, engraved on the rocks.
Walking down the hill, we went to a shrine dedicated to Mahaveera, the 24th Tirthankara. There were several shrines close by with more carvings. We entered a narrow dusty cell that opened into a flight of steps leading to a cave. This was probably where the Jain monks had lived. The walls were painted in rich colours, depicting deities, symbols, their ideologies through flowers, animals and human forms.
EPICS BY JAINS
Jainism in Tamil Nadu
dates back many
centuries, so much so
some of the epics in
Tamil are believed to
have been penned by
Jains. Jains settled in
and around Madurai,
Kanchipuram and
Thiruvannamalai, and are
an indigenous community.
“The literature, art,
paintings, temples,
carvings — they have
left behind a rich
legacy for us here,
waiting to be
discovered,” summed up
the professor, as we
reached the Jain mutt
for a simple meal.
The Hindu, 4th April 2011
UNESCO estimates nearly 50,000 objects have been smuggled out of India between 1979 and 1989 alone, with figures multiplying significantly in the last two decades. Yet, India has so far not been able to put a national database of standardised systematic inventory in place to track the stolen art
In 1997, one third of the priceless historic collections of the museum used by former Viceroys and Presidents of India (already termite ridden, damp and in a state of neglect) at the Rashtrapati Bhavan estate were looted. The museum was last opened in 1992, and was closed a week after for security concerns. By the time the law enforcement finally traced the culprit - a poor rag-picker who had scaled the walls of the Presidential estate, he had already sold off 116 of the 131 stolen items. While a UK- based curator Timothy Wilcox was engaged to prepare a detailed list of recommendations for security and maintenance, the recovered 15 artefacts made their way back to the dank, ill-kept storage of the Rashtrapati Bhavan.
There is no dearth of references to an all pervasive pandemic plunder of our heritage that is plagued with lack of awareness, initiative and apathy for our national treasure. The dramatic journey of the priceless 500 kg world's tallest bronze Buddha that began in 1861, from Sultanpur, Bihar to Birmingham, UK, still continues. While laying down railway tracks at Sultangunj, an English engineer, E B Harris, chanced upon giant legs of Buddha protruding out of the excavated land. He took only £200 to sell the priceless Buddha to a Midlands industrialist. The statue later landed in Birmingham City Museum, from where it never returned to its place of origin. Then, it was the Koh-i-noor and the Amaravati sculptures to the daring robbery of twenty seven 17th century bronzes from a government museum in Tamil Nadu in 2009. There is a staggering phenomenon of gross national pillage that defies comprehension for a nation that prides itself on its sanskriti.
While the 'Birmingham Buddha' gave birth to the famous Birmingham Museum & Art Gallery in 1864, countless statues of the Buddha continue to be vandalized and smuggled across our borders to eager antique dealers and collectors. The November 1978 General Conference of United Nations Educational, Scientific and Cultural Organization (UNESCO), meeting in Paris, at its twentieth session adopted a revised Act for the Protection of Moveable Cultural Property in conjunction with the existing International Exchange of Cultural Property in 1976. UNESCO estimates nearly 50,000 objects have been smuggled out of India between 1979 and 1989 alone, with figures multiplying significantly in the last two decades. Out of the reported 11,000 thefts in the same period, a dismal 10-15 objects were eventually traced and recovered. Unfortunately, UNESCO Conventions have no enforcement capability, though endorsed by 120 countries.
Interpol database lists 40,000 stolen hi-value burglaries and an added 1.5 million artefacts in stolen objects. Most reputable auction houses check the Art Loss Register (the world's largest private database of lost art) for authenticity and questionable titles before bringing art and antiquities under the gavel. The prowess of Art Loss Register is demonstrated by the recovery of $320 million worth of stolen works of art. Pegged upwards of a whopping $6 billion annually, the illegal trafficking in Art and Cultural Properties is third only to the narcotics and arms trade. Statues of gods and goddesses, antiquities, works of art and heritage fixtures are regularly smuggled abroad as replicas from villages in Rajasthan, Gujarat, Orissa, Madhya Pradesh, Uttaranchal, Maharashtra, Kerala, Tamil Nadu and other states.
If the percentage of theft and plunder were but a fraction of the treasures we hold in our museums and private collections, one cannot even begin to fathom an insurance premium on the billions in cultural assets that India, as a civilisation holds within its repositories and heritage sites. This is still an enviable position to be in, compared to most African countries that have lost over 95% of their antiquities or Columbia which loses over 10,000 objects each year with a recovery rate of under 1% in the last five decades, according to UNESCO.
Increasing number of museums, foundations, private and corporate collectors are enhancing a growing appreciation for cultural heritage, leading to an increased concern in dangers of easy access, inadequate protection, the risks inherent in transport, clandestine excavation, daring and casual thefts, illicit traffic, inadvertent acts of vandalism and illegal colonial acquisition often referred to as "elginism" coined after the famous Elgin marbles removed from the Parthenon in Athens some 200 years ago. As early as 1832 when Greece gained independence from Turkey, it requested the return of its cultural property from the British Museum as a matter of national priority.
The increase in market value of cultural items has escalated risks and in-turn the cost of comprehensive insurance in countries like India. Inversely, where the Ministry of Culture's total budget for museums is currently under Rs.135 crore for this fiscal year, inclusive of payroll and overheads; both the financial and human resources remain inadequate. There is no dedicated system of governmental guarantees and rapid mobilization of recovery of lost, stolen or damaged artefacts in place to deal with specialised crimes and sometimes delicate handling of available clues and content in question. The FBI has a dedicated Art Crime Team with trained cultural property investigation special agents supported by Special Trial Attorneys for art crimes with a track record of recovering $135 million in stolen art objects. A pre- requisite for tracking stolen art objects is to create a national database of standardised systematic inventory, condition report and cataloguing of cultural property. India could also benefit from publishing a comprehensive catalogue of lost and stolen items dating back to documented colonial times and post-independence, akin to the 1988 publication from Nepal on Stolen Images by late L.S. Bangdel.
The Indian Antiquities and Art Treasures Act- 1972, when tabled was flawed at many levels requiring enforcement agencies to take permission from the 28 or so authorised designated officers of the Archaeological Survey of India (ASI) before inspection and seizure of antiquities. Arguably, the Act severely dampened legitimate domestic trade of art and antiquities and created cumbersome procedures for registration of objects over 75 years that kept genuine collectors and sellers away fearing prosecution. It prevented new scholarship, deterred collections from developing and spurred underground trade. The two international auction houses Sotheby's (1992) and Bowring's (2004) who sought to revive domestic antiquities market, were literally choked by the twin forces of the CBI and ASI forcing them to shut their operations and resort to even more sluggish court systems for reprieve. With nearly 50% of our museums (including the National Museum) remaining headless without qualified leadership, one wonders who will lead the charge to re-draft some of these much needed provisions, amendments and measures of efficacy, that could position India with its vast antiquities treasure trove, as a vanguard nation with foresight and vision.
Movable Cultural Property is sometimes confronted with an ethical dilemma that seldom features in discussions or legal draft frameworks for amendments. It is associated with taking a ceremonial, religious or otherwise significant objects of reverence from its existing context and bringing it within the confines of a museum to display, void of its spiritual or ambient premise. In a land steeped with rich living traditions and omniscient divinity, this becomes particularly significant. There exists no protocol while dealing with such objects that prevents a government institution from such acquisition, storage, transportation and display, let alone a framework for meting out compensatory damages to those impacted by an inadvertent or deliberate act.
It is time a comprehensive Art Policy is put in place within an over-arching 2020 Master Plan for our museums and cultural heritage. A strategic thrust that addresses the current and growing needs of curbing cultural theft, both in the tangible and intangible realms of a 5000 year civilization in continuum that defines India, is a necessity. The talent and expertise of professionals passionate about this initiative needs to be harnessed with astute political will that rises above debatable differences towards generating a stellar edifice for our collective future.
Author of several books
on the future of
museums, George Jacob's
works span across 11
countries
The Tribune, 5th April 2011
For almost a decade now, the Railways have been waiting for a green signal from the Archaeological Survey of India (ASI) to build a bridge parallel to the 140-year-old rail-cum-road bridge over the Yamuna.
The old bridge, the Railways have cautioned, needs immediate replacement. Since the bridge runs through the 16th Century Salimgarh Fort and the new bridge has to be constructed within the prohibited area — 100-m of the monument — the ASI has refused permission.
The bridge, a vital
link connecting the
Delhi Main Station to
eastern parts of the
country, is used daily
by over 100 passenger
trains and an almost
equal number of goods
trains. The railway line
crosses the wall of
Salimgarh Fort. Since
the new bridge is
required to be rebuilt
30 m away from the
existing bridge, the
location where the rail
line crosses the fort
wall will have to be
shifted.
The new crossing will
require a 15m wide and
1.6 m deep opening from
the top of the wall.
Another 1,000 sq m of
ASI land will be
required by the Railways
near the edge of
Salimgarh Fort to lay
tracks for the new
alignment. In lieu of
this, the Railways
promise to give ASI land
occupied by a railway
colony inside the fort.
The issue was first taken up with ASI in 2002. In 2004, the Minister of Tourism and Culture agreed to the proposal. Work was initiated and the foundation of the new bridge laid. But when the matter was forwarded to ASI, it turned down the proposal.
In 2006, Director General, ASI, pointed out that the project involved dismantling of a portion of the historic fort wall which would cause irreversible damage to the Centrally protected monument — permission for laying tracks in the protected area was denied. The DG called for a Cultural Impact Assessment including archaeological excavations and ground penetrating radar studies in the fort. The INTACH was asked to conduct the study in May 2010.
But ASI officials later told the Railways that permission for construction of the New Yamuna Bridge would not be possible after the enactment of the amended Ancient Monuments and Archaeological Sites and Remains Act 2010 even if the cultural impact assessment was carried out.
In July 2010, the
matter was then
forwarded to the Railway
Board to be taken up
with the Ministry of
Culture but it is still
pending. Officials said
the assessment report by
INTACH is expected to be
submitted to the
Railways this month.
Indian Express, 5th April 2011
A scathing Unesco report
on the state of India’s
top museums has been
trashed by the
government but seems to
have had a salutary
effect, at least in
Delhi and Mumbai if not
in Calcutta.
Sources said the
National Museum in Delhi
and the Chhatrapati
Shivaji Maharaj Vastu
Sangrahalaya in Mumbai
had revamped themselves
since the report was
handed to the culture
ministry last July.
Calcutta’s Indian Museum, though, has shown no sense of urgency despite the Unesco report and the recommendations of a panel of historians, they added.
The Unesco report, based on a survey of eight museums, said these were badly maintained, poorly lit and had incorrect signs. Its authors saw garbage in front of the Calcutta museum.
The findings wouldn’t startle regular visitors, but culture minister Kumari Selja found them inaccurate.
In a written reply to Parliament on March 8, Selja said the number of surveyors was inadequate. “The report contained 47 graphs analysing the data collected by 23 surveyors, leading to skewed analysis,” she alleged.
All the surveyors were drawn from Delhi institutions ---- the School of Planning and Architecture, Jawaharlal Nehru University, Jamia Millia Islamia and the Association of Delhi Tour Guides.
Selja also claimed the report made errors in totting up the museum’s scores — a charge that could not be checked because the report has not been made public —and objected to the surveyors clicking pictures of the museums.
Selja insisted that the government was committed to its 14-point reforms agenda for museums, which it has been implementing since April 2009. Despite queries, the culture ministry wouldn’t explain its criticism of the Unesco report.
However, three months after the report was submitted, the National Museum in Delhi took a forward step by appointing C.V. Ananda Bose, a Malayali IAS officer named after Netaji Bose, as its first administrator. Bose is known for his battle against corruption at the National Agricultural Cooperative Marketing Federation last year.
On October 15, the museum launched a 100-day programme under which it spruced up the foyer and corridors, improved lighting, replaced artefacts and put up new signs, including Braille signs. It reopened the Sharan Rani Backliwal Gallery of musical instruments.
Other galleries, closed for years, are being renovated. Antiquity consultant Abha Narain Lambah, who restored the Chhatrapati Sangrahalaya in Mumbai, has been hired to design the bronze gallery.
The Unesco report had noted the absence of humidity control, especially in Calcutta. The National Museum in Delhi has begun civil construction for centralised air-conditioning, hiring agencies other than the central public works department to avoid delay, Bose said. This includes “big players for merchandising through open tenders”.
Unesco had cited the lack of public opinion surveys to develop marketing strategy. Although such surveys haven’t started yet, museum buffs, architects and connoisseurs have volunteered to help with improving the bronze gallery at the National Museum.
The museum, under its People’s Museum Movement and other initiatives, is taking its activities beyond its walls with special programmes for women, children and panchayats.
One problem it faces is a staff shortage. A third of the posts — that is, 109 in all — are vacant. Recruitment can be done only through the UPSC and Staff Selection Commission.
The culture ministry has spent almost Rs 50 crore on upgrading museums in the last three years.
Heritage conservationist Rajeev Sethi acknowledged the “soul-searching” in the ministry but added: “Our museums are understaffed and some of their buildings are collapsing. There are extremely serious issues, but there is no sense of urgency.”
This is truest of the Indian Museum, Calcutta. “A committee was set up early last year to revamp the display as the Indian Museum celebrates its bicentenary in 2014. Nothing has happened since,” said Gour M. Kapur, Bengal convener of the Indian National Trust for Art and Cultural Heritage.
“The committee, comprising historians Barun De, Tapati Guha-Thakurta, Jyotindra Jain, myself and some others, are extremely upset that our work has been in vain. There’s a need for a thorough revamp, but right now there is only an acting director.”
The recruitment notice for a director was published in February 2008.
“The Planning Commission had sanctioned huge amounts for the Indian Museum, but they didn’t come up with any proposal to avail of it,” Kapur said.
Parul Dave Mukherji,
dean of JNU’s School of
Arts and Aesthetics,
said: “Museums in India
remain the last sites
(in need) of
decolonisation. They
remind us that we have
not come into our own
and still seek western
tutelage.”
The Telegraph, 5th April 2011
Over the past 540 million years, life on Earth has passed through five great mass extinctions. In each of those catastrophes, an estimated 75 percent or more of all species disappeared in a few million years or less.
For decades, scientists have warned that humans may be ushering in a sixth mass extinction, and recently a group of scientists at UC Berkeley, tested the hypothesis. They applied new statistical methods to a new generation of fossil databases. As they reported last month in the journal Nature, the current rate of extinctions is far above normal. If endangered species continue to disappear, we will indeed experience a sixth extinction, over just the next few centuries or millennia.
The Berkeley scientists warn that their new study actually may grossly underestimate how many species could disappear. So far, humans have pushed species toward extinctions through means like hunting, overfishing and deforestation. Global warming, on the other hand, is only starting to make itself felt in the natural world. Many scientists expect that as the planet’s temperature rises, global warming could add even more devastation.
“The current rate and magnitude of climate change are faster and more severe than many species have experienced in their evolutionary history,” said Anthony Barnosky, the lead author of the Nature study.
But equally as strong as the conclusion that global warming can push extinctions is the difficulty in linking the fate of any single species to climate. Policy makers would like to get a better idea of exactly what to expect — how many species will risk extinction, and which ones are most likely to wink out of existence.
But scientists who study the impact of global warming on biodiversity are pushing back against the pressure for detailed forecasts. While it’s clear that global warming’s impact could potentially be huge, scientists are warning that it’s still impossible to provide fine-grained predictions.
“We need to stand firm about the real complexity of biological systems and not let policy makers push us into simplistic answers,” said Camille Parmesan, a biologist at the University of Texas. She and others studying climate’s effects on biodiversity are calling for conservation measures that don’t rely on impossible precision.
Parmesan herself has gathered some of the most compelling evidence that global warming is already leaving its mark on nature. In 2003, she and Gary Yohe, an economist at Wesleyan University, analyzed records of the geographical ranges of more than 1,700 species of plants and animals. They found that their ranges were moving, on average, 3.8 miles per decade toward the poles. Animals and plants were also moving up mountain slopes.
These were the sorts of changes you’d expect from global warming. The warmer edges of a range might become too hot for a species to survive, while the cooler edge becomes more suitable. What’s more, only worldwide climate change could explain the entire pattern.
“Because it’s happening consistently on a global scale, we can link it to greenhouse gases changes,” Parmesan said.
Parmesan and her colleagues have continued to expand their database since then. But other researchers have been moving in the opposite direction, seeking to attribute changes in individual species to climate change. Last year, for example, Michael Kearney of the University of Melbourne and his colleagues published a study on the common brown butterfly of Australia. From 1941 to 2005, adult butterflies had been emerging from their pupae 1.5 days earlier per decade around Melbourne.
To see if the brown butterfly is actually responding to climate change, Kearney and his colleagues first analyzed historical temperature records in Melbourne. Temperatures have gradually risen over the past 60 years. Computer models indicate that natural climate cycles can explain only a small part of the change.
The scientists then observed how temperature affects how brown butterflies develop. The warmer the temperature, the faster the butterflies emerged from their pupae. Kearney and his colleagues used those results to build a mathematical model to predict how long the butterflies would develop at any given temperature. They determined that Melbourne’s local warming should have led to the butterflies emerging 1.5 days earlier per decade — exactly what the butterflies are, in fact, doing.
In the journal Nature Climate Change, Parmesan and her colleagues argue that trying to attribute specific biological changes to global warming is the wrong way to go. While the global fingerprint of climate change may be clear, the picture can get blurry in individual species.
“When you go to the local level, the outcome of climate change on one particular species is not dependent just on what climate change is doing,” Parmesan said.
In Europe, for example, the map butterfly has expanded its range at both its northern and its southern edge. Global warming probably has something to do with its northern expansion. But the butterflies are also benefiting from the mowing of roadsides, which allows more nettle plants to grow. Because map butterflies feed on nettles, they’re able to survive across a broader range of Europe.
A number of experts applaud the commentary from Parmesan and her colleagues.
“I think they really hit the nail on the head,” said Richard Pearson, the director of biodiversity informatics research at the American Museum of Natural History. “Biologists shouldn’t get drawn heavily into the attribution debate.”
But some researchers counter that such studies can be worthwhile cases where global warming’s impact on an individual species is clear. “The fact that the task may simply be too challenging in most cases does not mean that it will be impossible or a waste of effort in some particular cases,” said Dáithí Stone, a climate scientist at the University of Cape Town in South Africa.
Tracking the effects of climate change on species today can help show how nature may respond to it in decades to come. And many scientists think that the future looks grim. As temperatures rise, many species may not be able to shift their ranges to stay in a comfortable environment. Instead, their ranges may shrink, pushing them toward extinction.
Over the past decade, Pearson and other researchers have developed models to predict these future range shifts. They typically calculate the “climate envelope” in which species live today, and then use global warming projections to find where their climate envelopes will be in the future.
These models first came to prominence in 2004, when an international team of scientists published a study of more than a thousand species. They estimated that 15 percent to 37 percent of all species could become “committed to extinction” by 2050, thanks to climate change.
“It was a big splash for the field,” Pearson recalled. But in his new book, “Driven to Extinction,” Pearson recounts how he cringed to see the research boiled down to simple, stark headlines that said a million species were doomed.
“Biodiversity is under severe threat from climate change, but we need to be careful that we don’t give a false impression of what our confidence is,” said Pearson. “We have to give a nuanced sense of what we do know and what we can say with confidence.”
Seven years after the million-species headlines, Pearson says that extinction models still have a long way to go. “We’ve made some incremental improvements, but I don’t think they’re hugely better,” he said.
“It’s been a very powerful tool, but my concern is that it’s very weak on biology,” said Georgina Mace of Imperial College London. In the latest issue of Science, she and her colleagues use the fossil record to demonstrate how seemingly similar species can respond in different ways to climate change.
When the planet warmed at the end of the ice age 11,000 years ago, for example, the change was too much for Irish elk, which became extinct. Moose, on the other hand, have survived. Some moose populations stayed put; other populations shifted to more suitable places.
Mace and her colleagues call for new models that can assess the sensitivity of species to climate, as well as their ability to adapt. In some cases, that adaptation may be evolution. Species may become better able to tolerate warmer temperatures or a change in rainfall. In other cases, animals may adapt by changing their behavior.
Polar bears, for example, are having a harder time hunting seals because of melting sea ice. “They don’t say, we can’t eat seals anymore, so we’re just going to starve,” Pearson said. Instead, some bears are getting more food on land, raiding goose nests for their eggs.
While this switch may slow the decline of polar bears, it’s not great news for the geese. Pearson notes that all the influences that species have on one another will also determine how climate change affects them. “Predicting how communities will respond is really tricky,” he said.
Mace argues that a fuller accounting of how species cope with climate could let scientists revise their estimate for how many species could become extinct. “I think it could be a lot worse for some groups of species, and not as bad for others,” she said.
Humans add even more complexity to the forecast. Cities and farms now block the path for many species that might otherwise be able to spread to more suitable habitats, for example. Parmesan thinks much more research should go into the interactions of global warming and other human impacts. Scientists in Australia have found that coral reefs are more resilient against global warming, for example, if they’re protected from overfishing. The warming oceans stimulate the growth of deadly algae on the reefs. But grazing fish can keep the algae in check.
Such research will become the basis for decisions about which species to help, and how. Mace believes that some especially vulnerable species may need to be moved to new habitats in order to survive.
Parmesan thinks that reducing other pressures, like overfishing, will make species more resilient to climate change. “We know that climate change wouldn’t be such a big problem if systems weren’t already stressed,” she said. “We really need to focus on reducing these other stressors.”
Pearson, on the other hand, argues for setting aside more land in parks and reserves. More space will help keep species ranges large even if those ranges shift.
“We need to give
nature the opportunity
to respond,” he said.
Asian Age, 6th April 2011
The largest known Mughal painting, a portrait of Emperor Jahangir, is estimated to sell for between £1 million and £1.5 million at an auction on Tuesday afternoon at Bonhams in London. The painting is in the style of a European portrait of the early 17th Century. The portrait is attributed to Mughal artist Abul Hasan, Nadir al-Zaman or “Wonder of the Age.”
The portrait shows Jahangir seated on a gold-decorated throne holding a globe, wearing elaborate robes and jewellery. The Persian inscription states that the portrait was painted at Mandu in 1617.
“This is one of the rarest and most desirable 17th Century paintings ever to come to auction. There is no other work of its kind known and its importance cannot be underestimated. The extraordinary detail and complexity of the painting both fascinate and bewitch the viewer,” Alice Bailey, head of Indian and Islamic Art at Bonhams, said.
The other highlight of the auctions is an Ottoman gilt bridle, breast-plate and crupper, which was taken from the residential quarters of Tipu Sultan, Sultan of Mysore, by a British officer. The bridle, which was personal property of Mysore’s Tipu Sultan, is estimated to sell for between £60,000 and £90,000.
Field Marshall Sir Stapleton Cotton, 1st Viscount Combermere, had brought the bridle to England.
The bridle was part of a booty taken from Tipu’s palace after the siege of Seringapatam by Lt. Col. Cotton, and together with a breast-plate, was specifically recorded as being Tipu’s personal property.
The bridle, it is speculated, must have been part of a princely or ambassadorial gift to Tipu Sultan from the Ottoman Sultan Selim III.
The third important
item at the auction is
an inscribed Mughal
emerald personal seal
set in a diamond
encrusted gold bangle
and bearing the name of
Major Alexander Hannay,
an East India Company
officer under William
Hastings.
Asian Age, 6th April 2011
The 14th Century Nizamuddin Baoli has been at the centre of feverish conservation efforts, involving extensive technical expertise and community support aimed at bringing alive the heritage site.
Built by Hazrat Nizamuddin Auliya, the baoli is being conserved as part of the ‘Humayun’s Tomb-Sunder Nursery-Hazrat Nizamuddin Basti Urban Renewal project’ by the Aga Khan Trust for Culture (AKTC), in partnership with the Central Public Works Department, the Municipal Corporation of Delhi and the Aga Khan Foundation.
In July 2008, portions of the baoli collapsed, following which extensive repair work had to be carried out. Conservation work on the collapsed portion on the baoli continued through 2010 especially after the relocation of the 19 families who were inhabiting the roof of the baoli, which required urgent repairs.
The families, meanwhile, have been provided alternative plots and houses built by the AKTC.
With heavy building activity being carried out abutting the baoli, which is protected by the Archaeological Survey of India (ASI), the conservation works on the collapsed portion could commence only following the dismantling of a single structure built directly above the collapsed portion.
The arcade on the south side of the baoli was carefully repaired, including the relaying of the lime concrete roof, replacing unsightly iron grills with sandstone lattice screens and removing cement plaster both from the internal and external faces and replacement with lime plaster.
“Conservation works on the vaulted passages meant that the main access (from the baoli) to the dargah had to be closed to public use for three months, during which significant support from the Dargah Committee and the local community was forthcoming,” said Ratish Nanda, project director, AKTC. “Conservation works will continue through 2011 when façade improvements of houses and conservation of the abutting Chini Ka Burj will take place, as will conservation works of the Baoli gate itself.”
The access has now been opened to the public.
Officials said the water level of the baoli increased significantly following the removal of several tonnes of rubble that had accumulated here over seven centuries. Over 8,000 days of work were required only to clean the accumulated garbage.
Among future plans is the installation of an aeration system to keep the water of the baoli clean; houses around the structure block sunlight, affecting the natural cleansing process. The water of the baoli is said to have healing properties.
“The conservation
works on the baoli
required a high degree
of technical expertise
as well as a humane
approach. The works
could not have been
carried out without the
involvement of a
multi-disciplinary team,
significant interest and
support from the local
community,” Nanda said.
“The Municipal
Corporation of Delhi and
the ASI ensured constant
government support that
was much required in
view of the complexities
of the work.”
Indian Express, 7th April 2011
To give a platform to dedicated young danseuses from India and abroad to come into the national mainstream, Utsav: Ranjana's Academy of Dance is hosting a two-day international dance festival at India Habitat Centre here beginning April 27.
Titled “Unbound Beats of India”, the festival is the fourth in a series. It is the brainchild of Ranjana Gauhar, Odissi exponent and documentary film-maker.
She has enriched the classical dance form for three decades with dedication, hard work and perseverance.
“The festival is one of the innovative manifestations to popularise and preserve our classical dance forms. True to its name, the festival transcends geographical divisions to propagate the ancient cultural traditions of the country. It reinforces the spiritual strength and essence of Indian culture and art which has a philosophy that is unique and relevant to life and people in general,” says Ms. Gauhar.
Noting that the festival has been conceptualised with the intention to provide upcoming young danseuses with an opportunity to present their artistic creativity, Ms. Gauhar says as torchbearers of India's traditional and classical arts the continuity of our ancient heritage rests on their shoulders. They certainly deserve motivation and encouragement from proficient dancers who have great expertise in this specialised field, she adds.
Initially Ms. Gauhar
roped in musicians also
for her annual festival
but could not continue
with them because they
were no longer serving
the purpose that she had
envisaged. “Since I
wanted to concentrate
only on our Hindustani
classical dance forms –
Bharatanatyam,
Kuchipudi, Mohiniattam
and Odissi, I decided
not to continue solo or
group performances by
musicians. Musicians now
perform only as
accompaniment to
dancers. This year we
have classical dance
Sattriya from Assam.”
The action on first day
will include
performances by
America's Amanda Geroy
(Odissi), Chennai's
Jyotsna Jagannathan
(Bharatanatyam),
Guwahati's Jatin Goswami
and group (Sattriya).
The second day will
include dance
performances by
Kazakhstan's Kassiyet
Adilkhankyzy
(Bharatanatyam);
America's Pallavi Das
(Odissi) and
Bhubaneswar's Aruna
Mohanty and group
(Odissi).
The Hindu, 7th April 2011
The Union Cabinet today approved the Comprehensive Mission Document of the National Water Mission aimed at conservation of water, minimising wastage and ensuring its equitable distribution both across and within states through integrated water resources’ development and management.
The Cabinet, at its meeting chaired by PM Manmohan Singh, also approved the opening of Consulate General in Perth, which will benefit the growing Indian community in Western Australia. There are about 40,000 to 45,000 Indians living there.
The Water Mission is one of the eight National Missions, which form the core of the National Action Plan for Climate Change. The Mission Document for National Water Mission was drafted by the Ministry of Water Resources through consultative process with full involvement of state governments, Central ministries concerned, non-governmental organisations, academicians and other stakeholders.
The five goals
identified in the
mission are
comprehensive water data
base in public domain
and assessment of the
impact of climate change
on water resources;
promotion of citizen and
state actions for water
conservation,
augmentation and
preservation; focused
attention to vulnerable
areas; increasing water
use efficiency by 20 per
cent and promotion of
basin level integrated
water resources
management.
The Tribune, 7th April 2011
“One of the rarest 17th century paintings ever to go under hammer”
A six-foot high, life-size portrait of Mughal emperor Jahangir, billed as one of the rarest and most desirable 17th century paintings ever to go under the hammer, sold for a whopping £ 1.42 million (Rs. 10 crore) at an auction here.
The portrait, attributed to Abu'l Hasan, Nadir al-Zaman and dated 1617 AD, was one of the top lots at the Indian and Islamic Art Sale at Bonhams on Tuesday. It went to a Middle Eastern museum. The sale total was £ 2.7 million, which included an inscribed 18th century Mughal emerald seal, owned by an officer of the East India Company, that fetched £ 90,000.
European-style throne
The Jahangir portrait in gouache heightened with gold leaf on a fine woven cotton canvas shows the emperor, who reigned from 1605 to 1627, seated on a European-style throne.
His head is surrounded by a radiating nimbus and he is wearing an embroidered floral tunic h33 over a patka and striped pyjama, with applied plaster jewellery. There is a circular pendant around the emperor's neck set with mica, with jade and glass vessels at his side and a carpet under his feet. The border has 26 cartouches of fine nasta'liq inscription.
Previously displayed in the National Portrait Gallery in an exhibition on the Indian Portrait in 2010, the emperor is shown seated on a gold-decorated throne, holding a globe and wearing elaborate robes and jewellery.
Extraordinary detail
“This is one of the rarest and most desirable 17th century paintings ever to come to auction. There is no other work of its kind known and its importance cannot be underestimated. The extraordinary detail and complexity of the painting both fascinate and bewitch the viewer. We are honoured to have sold it,” said Alice Bailey, head of Indian and Islamic Art at Bonhams.
The inscribed Mughal emerald personal seal was set in a diamond encrusted gold bangle and bore the name of Major Alexander Hannay, who was in the service of the East India Company under William Hastings. It sold for well above its pre-sale estimate of £ 40,000-60,000.
The rectangular, 18th century emerald is table-cut and was mounted in an enamelled gold bangle in the early 19th century.
The inscription on the emerald may possibly be the work of Muhammad Salah Khan, a known seal-engraver, working in Faizabad. He engraved emeralds for other East India Company officers during the later part of the 18th century.
Inscribed Mughal gem
“This is a particularly fine example of an inscribed Mughal gem whose history and known provenance adds to its interest. The glorious Victorian setting is particularly appropriate and sympathetic to the long-standing Mughal tradition of combining gems and enamelling,” Ms. Bailey said.
The rulers of Mughal
India often ordered
their names and titles
inscribed on rubies,
emeralds and diamonds, a
practice which
originated in Iran under
the Timurids
(1370—1507).
The Hindu, 7th April 2011
Alarmed by the recent incidents of vandalism and misuse of protected monuments, particularly those located in remote areas, the Archaeological Survey of India (ASI) has moved a proposal to make 13 monuments ticketed. At present, there are ten ticketed monuments in Delhi, including world heritage sites Qutub Minar, Humayun's Tomb and Red Fort.
Senior officials said the main reason for making more monuments ticketed was to keep anti-social elements and youngsters who defaced or misused monuments at bay. The monuments that have been identified include Hauz Khas group of monuments; tomb of Adham Khan; tomb of Jamali-Kamali; Wazirabad bridge, mosque and tomb; Khirki masjid; tomb of Sheikh Kabiruddin also known as Rakabwala Gumbad (Lal Gumbad in Malviya Nagar); Asokan Rock Edict in Srinivaspuri; Begumpuri Masjid; Bijai Mandal; and tomb of Wadde Khan, Chhote Khan and Bhure Khan in South Extension.
ASI officials said a paltry fee of Rs 5 for Indian nationals and Rs 10 for foreign nationals would not act as a deterrent for those who really wanted to visit the sites. "The move does not aim at increasing the revenue. The basic idea is to secure the monuments and prevent misuse. It has been seen that if you have to pay for entering a site, incidents of misuse or of children playing cricket on the grounds become infrequent," said a senior official. Officials said as lakhs of rupees were being spent on conservation of these sites — through landscaping, structural conservation, etc — it was important to make monuments ticketed to secure them.
Defacement and misuse
of monuments in remote
areas is the most common
problem and has prompted
the move. Prime examples
for this are Zafar
Mahal, tomb of Adham
Khan and Begumpuri
Masjid. Zafar Mahal and
Adham Khan's tomb have
been defaced with locals
dumping garbage inside
the grounds. The tomb of
Jamali Kamali was
recently in the news for
being targeted by a
group of locals who
insisted on performing
namaaz there in
violation of the ASI Act
of 1992. Monuments like
the ones in Lodi Garden
and Bijai Mandal are
also a site of neglect.
Times of India, 7th April 2011
The Environment Ministry’s ambitious plan to re-introduce the now extinct cheetah from South Africa, Namibia and Tanzania is mired in controversies. The fate of Shahgarh Bulge near Jaisalmer — the original site for reintroduction in Rajasthan — is uncertain in the face of ground problems. The other proposed site of Kuno-Palpur in Madhya Pradesh, according to experts, is not the right choice due to its proximity to tigers and panthers in the nearby Ranthambore reserve.
Yet another site at grasslands near Rawatbhata in Hadauti region has been identified for fresh survey for the re-introduction of the mammal. The Ministry had identified four sites —one each in Gujarat and MP and two in Rajasthan — for its cheetah re-introduction programme, which will take another two years to start.
A section of wildlife experts have, however, questioned the feasibility of the project, considering that cheetahs are predators of grasslands and due to the dramatic rise in human population all the grasslands of the country have been transformed into agricultural land. Only rocky and hilly terrains, suitable for tigers and leopards, have actually survived.
Environment Minister Jairam Ramesh had recently met Rajasthan Chief Minister Ashok Gehlot in this regard. Ramesh said that he had been assured by Gehlot that he would talk to the local leaders at Shahgarh Bulge in Jaisalmer so that the cheetah can be brought there.
According to Ramesh, Shahgarh was the best site for re-introduction of the fastest animal but the Rajasthan Government is in a fix due to protest by local people. A company called Focus Energy Ltd — which is engaged in oil and gas exploration — has tried to whip up local sentiments, he alleged.
Ramesh had tried to explain to Gehlot that oil and gas exploration can continue even with the cheetah introduced there and that the area would not be declared a national park or sanctuary.
While the fate of Jaisalmer hangs fire, the potential of grass fields near Rawatbhata in Rajasthan’s Hadauti region is also being discussed. In the face of uncertainty in Rajasthan over re-introduction of the cheetah, yet another site — Kuno-Palpur Wildlife Sanctuary in Madhya Pradesh — was identified.
According to Ramesh, “It looked easy to start with Madhya Pradesh,” though he claimed not to have given up hopes for Rajasthan.
However, RN Mehrotra, PCCF Rajasthan, pointed out, “Kuno-Palpur on the eastern bank of Chambal landscape is just about 60-65 km from Ranthambore Tiger reserve. Both tigers and panthers are known to foray in there very often.”
Quoting international expert George Shaller, who visited the country recently, Mehrotra said it would be very difficult for the cheetah to co-exist with tigers and panthers in Kuno”. He was, however, hopeful of Rawatbhata grasslands, saying that though it is smaller than Shahgarh, it is more suitable.
Wildlife expert MK Ranjitsinh, who pioneered the survey of habitats in the cheetah reintroduction programme, pointed out that “it is essential to bring back the animal for the conservation of dry deciduous forests in the country”.
According to him, Kuno-Palpur in MP is a feasible area where this can be done. “Nearly 24 villages have already been relocated from there,” he said. Nauradehi in the Sagar district in MP is a yet another habitat where reintroduction can be done, he added. “The area is almost readymade and with some ground work as fencing, etc, the habitat can be prepared,” he observed.
A section of wildlife experts contended that Kuno and Nuradehi areas are actually woodlands and are not suitable for cheetahs. In fact, when cheetah experts from Africa had visited Kuno sometime back, they had dismissed the idea. So, why does the Indian Government still want to reintroduce the cheetah in the woodlands, on the plea that it will help save the grassland ecosystem,? they questioned.
Some open patches in
Kuno give an impression
of being grasslands. But
in reality, these were
woodlands and were
emptied due to village
relocations, the experts
felt. Similarly,
Nuradehi is a wooded
area and the height of
the grass is high. So,
the cheetah would not be
able to see its prey,
they added.
The Tribune, 8th
April 2011
The recent two-day Gandharva Mahavidyalaya event featured two acclaimed artistes — Bharatanatyam expert Leela Samson and Odissi exponent Madhavi Mudgal. Beginning on a nostalgic note, Madhavi's mangalacharan paying homage to Vinayaka (based on verses chosen by Mukul Lath with music by father Vinayachandra Maudgalya in Bhupali), was specially composed for her by late Guru Kelucharan Mohapatra. The dancer's laya perfection delighted in the Khamaj pallavi in Ardha Jhampa (five beats), the music by Bhuvaneswar Misra with dance visualisation by Guru Kelucharan created in 1979.
In the interpretative part based on Amaru Shatakam Muktakas, for which the soulful music was Mukul Shivaputra's creation, the first part portraying the unrelenting nayika, (even as the nayaka pleads for forgiveness and she recollects their past closeness when the faintest of signs made sufficient communication) was more convincing than the “Gate preme Bandhe” Muktaka. Here the depths of what the lovers had shared in the past came through, but without enough punch, one felt, in conveying the emptiness of total unconcern now for a dead past — which is the main message of the verses chosen. The ashtapadi finale with the finely orchestrated effort with singers Manikuntala Bhowmik and Poornachandra Maji, saw the sakhi urging Radha not to condemn herself to such loneliness while Krishna awaits her “Mugdhe madhumathanamanugathamanusara” was sung and danced with feeling..
Amazing performance
Leela Samson's fine dancing form is nothing short of amazing. She began strongly with a Shiva homage based on Adi Shankara's Kala Bhairavashtakam set to Hamsadhwani, choreographed in an aesthetically structured movement/rhythm mix, the highly internalised rendition full of a spiritual power along with controlled physicality — Srikant's singing aiding the total impact. Leela's dance has a respect for silences and holding and savouring each moment in reposeful stillness, apart from the honed technical perfection, not to speak of the individualised treatment of poetry — making her recitals unique. The abhinaya part over the years has greater depth — the padam in Mukhari by Muttu Natesan portraying the nayaka in a vipralabdha state, setting off for an ascetic life in Kashi, after being disillusioned in life, thanks to his besotted love for a deceitful woman, being the best of the interpretative numbers. The Shiva Panchakshara in ragamalika followed by Muttuswami Dikshitar's Ardhanarishwar in Kumudakriya was a quiet delight portraying Shiva's integrated persona with contrasts complementing each other. The swadheenapatika nayika in the fast paced javali “Smarasundaranguni” in Paras, Dharmapuri Subbarayar's composition, showing the jaunty pride of a woman boasting of her beloved's complete surrender to her, “never crossing the boundaries she draws for him”, became in Leela's approach the quietly confident nayika reflecting happily on the total faithfulness of her beloved, the slow paced singing more like a padam, different from the conventional practice. Clean lines without smudgy cluttering in the Revati tillana by Lalgudi Jayaraman showed Leela's choreographic clarity amidst space/time concerns, with movement echoing the musical attitudes. Apart from Srikant Gopalakrishnan's clearly enunciated, mood evoking melodious singing, it is mridangam by G. Vijayaraghavan and the veena interventions by Anantanarayanan which stood out.
Odisha Day
Odisha Day (the new official spelling) celebrations on the first of April have been an occasion over the years for bringing together Delhi's Odiya residents. This year's event at Sathya Sai auditorium offered a mixed classical/folk cultural presentation. Kavita Dwibedi's Odissi group beginning with Jagannath ashtakam with Ramahari's voice on tape, had the drawback of focusing more on group formations on stage, with the interpretative aspects of the Odiya words not having sufficient space. The solo Odiya item based on Godabarish Misra's verses singing the glories of Odisha by Kavita did better. We have come to expect much from this dancer's professionalism which such last-minute mela type of events offer little scope for.
The Nupur group folk dances were too arty-crafty despite excellent drummers, with the leader's actions having a put-on ecstasy, and the very tailored look somehow taking away from the spontaneity of folk presentations. But this is a common problem today, with what involves informal participation becoming sophisticated stage fare.
The other folk item
with the Shanka dhwani
with all its acrobatic
formations was more
authentic. Actually with
such lusty drums in
action, the open air
stage would have been
ideal.
The Hindu, 8th April 2011
The Ministry of Environment and Forests (MOEF) pleading for the UNESCO’s world heritage site for the Great Himalayan National Park (GHNP) has come as a shot in the arm for local villagers and NGOs who have launched a mass movement to protect the trout-rich Tirthan river and its tributaries.
The protesters asserted that they would never allow any review of the hydel project on the Tirthan and its tributaries, the Plachan, the Jhibhi, the Ghiagi, the Hidag nullah, the Sheel and the Kalvari khud as being contemplated in the corridor of power under the influence of some vested political interest.
The villagers and NGOs opposing projects on the Tirthan river hail the MOEF’s decision to declare the GHNP as UNESCO’s world heritage site. This will save the GHNP and the Tirthan from the onslaught of builders, project companies and other real estate sharks. The 20-km-long valley forms the ecozone of the Great Himalayan National Park (GHNP) and it is being protected as the Tirthan Wild Life Sanctuary.
A former Banjar MLA, Dile Ram Shabab, hailed the GHNP as world heritage site. The trout in the Tirthan was introduced in the early 20th centuries and the government did not bother to consult the notification of 1925 and 1976 about the fish life in the Tirthan before contemplating projects here, he resented.
Shabab said the state government had banned projects in the Thirthan valley in 2004 as locals opposed it. “The high court upheld it. But we suspect that the present government may review the decision, which we will oppose tooth and nail”, he asserted.
He added that the Trithan valley was an exclusive hub for eco-tourism, camping and angling. Over a dozen small home stay eco-tourism units have come up here. The GHNP world heritage site will boost eco-tourism and the trout that will provide sources of employment to the youth, who so far have been ignored by the successive governments”, he added.
Rajiv Bharti, member, Indian Fish and Wildlife Conservancy (IFWC), an NGO, who runs his eco-resort here said the Plachan, the Kalvari, the Sheel and the Jhibhi nullahs fed the Tirthan river and were vital for the trout habitat in the valley. The GHNP will bring in more tourists who care for nature and scenic beauty, he added.
Director, Fisheries,
Dr BD Sharma, said they
were promoting fisheries
in a big way in the
Tirthan, the only
natural habitat left in
the state.
The Tribune, 8th April 2011
The High Court on Thursday came out strongly in support of lake conservation and set the ball rolling with a direction to implement the recommendations on the development of Bangalore lakes, made by the Justice N K Patil committee report submitted in February.
The division bench comprising Chief Justice J S Khehar and Justice A S Bopanna issued directions to take up the survey, demarcation and fencing of the lakes. Further, it issued directions to identify encroachers and take action against violators and complete this process in three months time.
The committee had prepared an action plan for saving the lakes of Bangalore, comprising steps such as demarcating and fencing the lakes, identifying unauthorised construction and removing them, removing silt and rejuvenating lakes, stopping of sewage entering the lakes and constructing tank bunds wherever necessary.
Background
Leo Saldanha of the NGO, Environment Support Group, had filed a petition raising concerns over the lack of protection and management of lakes in Bangalore and had also voiced concerns over the privatisation of lakes in Bangalore by the Lake Development Authority.
Based on the PIL, a committee was constituted by the High Court to examine the ground realities and prepare an action plan for the preservation of lakes in Bangalore.
The committee was headed by Justice N K Patil, Judge, High Court of Karnataka and involved the Chiefs of Revenue Department, Karnataka State Pollution Control Board, Bangalore Water Supply and Sewerage Board, Karnataka Forest Department, Bangalore Development Authority, BBMP, Minor Irrigation Department, Lake Development Authority and Department of Town Planning.
In the report titled ‘‘Preservation of Lakes in the City of Bangalore,’ Justice N K Patil noted that the lakes, which have been put to misuse, are threatening the water security, ecology and environment of the City. With the population of Bangalore likely to reach 120 lakhs by 2020, the matter demanded a proactive regulation, planning and execution system, so as to face the challenges of water scarcity and to keep the City habitable, he said.Further, while stating that the Bangalore region under intense urbanisation (BDA planning area, including BBMP and BMICAPA areas) had about 386 lakes left. The status of 121 lakes is unknown and the report acknowledges that upto 100 lakes have disappeared as they have been converted for various urban uses including bus stations, roads, layouts, garbage dumps, truck stands, etc.
The key recommendations of the report include immediate action to remove encroachments from lake area and also the Raja Kaluves (feeder canals interconnecting lakes); lake restoration to be taken up based on lake series/sub-series and not in isolation; ensure that entry of raw sewage into lakes becomes a thing of the past, and to strictly penalise offenders.
One of the key action items is to select lakes that are relatively undisturbed and rehabilitate them into drinking water reservoirs by blocking off entry of sewage altogether.
Similarly, lakes
which have very high
biodiversity, especially
of migratory waterfowl,
will be notified for
conservation under the
Wetland (Conservation
and Management Rules),
2010, as per the
Environment Protection
Act, according to the
report.
Deccan Herald, 8th April 2011
Other parks in New Delhi likely to be modelled after Lodi Gardens which is home to lush lawns, heritage monuments.
In the 75 years of its existence, the sprawling Lodi Gardens has become the most favoured destination among morning-walkers, heritage enthusiasts and casual visitors across the Capital. As it celebrates its platinum jubilee on Saturday, heritage experts, environmentalists and government officials will come together to discuss how other parks and gardens in the city can also be developed along the same lines.
The day-long festivities will start at 9.30 am with a heritage walk, flagged off by Chief Secretary P K Tripathy and led by historian Biba Sobti, and a plantation drive by Chief Minister Sheila Dikshit. Over 200 school children from NDMC environment clubs will participate in the event, and as many as 100 workers will be felicitated by The Green Circle of Delhi, a volunteer group of green activists, on the occasion.
The Green Circle of Delhi founder member Suhas Borker told Newsline, “This is an effort at looking forward, and getting out of the colonial mode of looking at monuments in isolation. It is an effort to integrate monuments with people’s lives. We have to come out of our tendency to deface monuments by scribbling on them.”
A panel discussion will be held in the evening with Dr Mahesh Buch, chairman, National Centre for Human Settlements and Environment, Bhopal; P V Jayakrishnan, chairman, Central Empowered Committee and former Secretary, MoEF, and Chief Secretary of Delhi; Subhash Chandra, Director of Horticulture, New Delhi Municipal Council; and A G K Menon, Convener Indian National Trust for Art and Cultural Heritage, Delhi Chapter.
“During the discussion, there will be two power point presentations by INTACH and NDMC towards explaining how public money has been used to develop the site,” Borker said.
A G K Menon, Convenor, Delhi Chapter, INTACH, told Newsline, “This English garden has turned out to be a model garden for the Capital. The flora and fauna as well as the heritage structures on this site have been successfully preserved.”
A lot has happened to the area in the last 75 years, including the changing of its name from Lady Willingdon Gardens to Lodi.
Legend has it that
Lady Willingdon fell in
love with the site and
wished to develop the
area, which was then the
village of Khairpur,
into a garden. However,
the curse of Khairpur
Sufi (whose shrine is
located in the garden)
fell on Willingdon, and
he was recalled to
Britain just nine days
after it was thrown
open.
Indian Express, 9th April 2011
Gobinda Biswas visits Lucknow and is impressed by its many architectural wonders
‘Twenty thousand workers toiled to build by day and another five thousand laboured to demolish by night, for 11 long years …” I listened, mesmerised by the sonorous narrative of our guide. He lent me his dreamy eyes to witness the construction of the Bara Imambara in Awadh, now Lucknow, during 1773 to 1784. I could see thousands of hungry, wizened faces, and saluted Nawab Asaf’d-Dawlah who thought of this unique way to save his people from famine.
The four-storied building boasts of the world’s largest pillar-less arched hall measuring 163 x 54 feet, with 5000 arches. Its ornamented walls, ceilings and the interlocking roofs without any iron or wooden beams, speak volumes of architectural wonder.
At the end of a flight of 84 steps, the top floor well known as Bhool-bhooliah is a veritable labyrinth and its 1024 ways challenge your ability not to err. Entry and exit is possible only through a single way. Once in, you are sure get lost unless a guide comes to your rescue. Through its hollow walls, you can hear someone whisper into the wall at a distance.
We got a panoramic view of Lakshmantila, Pirmohammad Masjid and Jama Masjid from its rooftop.
To the left of Bara Imambara stands the Asaf’d-Dawlah Mosque where entry is prohibited for non-Muslims. Opposite is the five-storied Shahi Bauli, connected to the Gomti River. The bauli (well) was built in such a way that its water would reflect the image of anyone entering the area. This was an amazing device to identify enemies.
Rumi Darwaza, the 60-foot high Turkish gateway to the Bara Imambara, partly damaged by the British in 1857, stills carries its majestic grandeur.
A little distance away, lies the Chhota Imambara, built during 1837 to 1842 by king Mohd Ali Shah. I was not that impressed by its exterior that comprised the main dome capped with gold and the Taj Mahal shaped tomb of the king’s mother. However, the interior is a treasure-trove displaying rare artefacts like costly mirrors, chandeliers, paintings and tazias of wax, silver and ivory. What delighted me most was the golden mirror (18 x 14 feet) containing the entire Koran inscribed by Abdul Kayem. Here, in Yabar Hussain, our guide, I found a specimen of Lucknow-adab, which I had only heard of. His mannerisms and intonation was pleasing to us all. His parting gift to me was the information that an aerial view of the Lucknow railway station resembles a shatranj (chessboard). It was true indeed, and an Internet search confirmed this.
Next, we stopped at the Picture Gallery, which houses marvellous images of the rulers of Awadh and Ayodhya. From here, we viewed the Clock Tower. It is the biggest of its kind in India, which was once covered with gold. Adjacent to it is the Hussainabad Tank. The incomplete Watch Tower (Satkhanda) sighs nearby.
Our last spot was The
Residency. Mohd. Ali
Shah built it during
1780 to 1800 for the
resident British
officials. It is an
oasis amidst the bustle
of the city. As I
entered the complex, I
had a mixed feeling of
pride and sorrow. Proud
of being at the glorious
site of the First War of
Independence of 1857 and
sorry for having to
breathe the eerie air at
the graveyard of
thousands of British
soldiers and civilians
who were under siege for
87 days. The Memorial
Museum has preserved the
walls scarred by the
firing, besides cannon
balls, firearms, coins,
vessels and more.
The Statesman, 10th April 2011
The 75th anniversary celebrations of Lodhi Garden, on Saturday, saw several morning walkers gain a 'new insight' about the area as they joined the heritage walk organized as part of the event.
Lodi Garden contains the tomb of Sikandar Lodiand Muhammad Shah Sayyid besides bara gumbad, sheesh gumbad, athpula, turret (a tower) among other remains of Mughal monuments (15th and 16{+t}{+h} century). "We come to Lodi Garden on every opportunity we get but after we went for the heritage walk, it provided my husband and me a new perspective it and was a very interesting experience which will stay with us every time we walk here,' said Pippa Nair. The heritage walk was flagged-off by chief secretary Praveen Tripathi.
Meanwhile, chief minister Shiela Dikshit, launched the diamond jubilee celebrations and inaugurated a fragrant trees corner created in Lodi Garden by involving 200 students of Eco-Club of NDMC schools. This corner contains 2,000 plants of 21 species. Dikshit also planted a sapling in this corner.
Spread over 100 acres, Lodi Garden has around 7000 trees of 200 species, according to NDMC. Some of the best known trees are Amaltaas, Jhinjheri, Bistendu, Chamror, Pilkhan, Peelu--which are becoming rare --Jhand, Roheda, Arjun.
"In April, 1996 a National Bonsai Park was developed at a corner of Lodi Garden. It also has a butterfly conservatory, a herbal garden, bamboo shetum, lily pond and a rose garden with more than 25 varieties of roses,'' said an official.
It also attracts more than 50 species of birds, several of which have made their homes here. You can spot blackrumped flameback which is a myna-sized woodpecker, with a bottlebrush crest, gold-and-black back and streaked grayish white breast, brownheaded barbet, a grass-green bird with an oversized yellow ochre bill and a brown face, neck and upper back, common hoopoe-zebra, a striped bird with a slim curving needle-like bill, whitethroated kingfisher, which is a turquoise, chocolate brown bird and the white kingfisher.
In order to create awareness about the garden, the civic body is planning to extend the heritage walks among other activities in the park for a week. "We might continue with the plantation drive and heritage walks for an entire week,'' added an official. Pamphlets giving information on the buildings, trees and birds of Lodi Garden have also been published by INTACH, Delhi chapter, with support from NDMC and Delhi Tourism.
The Lodi Garden was
designed in 1936 as a
setting for a group of
five-hundred years old.
In the 1930s, the Lodi
Tombs stood in the
village of Khairpur, on
the outskirts of New
Delhi. In 1936 the
villagers were moved
from Khairpur and the
garden was laid out with
native and exotic trees
and plants around the
monuments. The
foundation of Lady
Willingdon Park was laid
on April 9, 1936. It was
at first called Lady
Willingdon Park, after
the wife of the then
British Viceroy. After
Independence, it was
named Lodi Garden.
The Times of India, 10th April 2011
It was a truly marvellous day when we went on a heritage walk to Safdarjung's Tomb, organised by The Indian Express. Upon entering the tomb, we were welcomed by a placard that related the history of the monument to us. Built in 1753-54 by Shuja-ud-Daulah in the memory of his father, Mirza Mauqim Abul Mansur Khan, the structure stands in the middle of a garden divided by four water channels. The tomb's height is about 18.29 metres, and it rises from a high platform. An epitome of Indo-Islamic architecture , this protected monument is made in such a manner that one can hardly make the front portion from the rear. In other words, the symmetry, dimensions and designs on all the four sides of the tomb are same. Moti Mahal (Pearl Palace), Badshah Pasand and Jangli
Mahal (Sylvan
Palace) are the three
pavilions surrounding
the tomb. The beautiful
weather coupled with an
excellent guide made
this tour a truly
memorable experience.
*Nivita
Our class was
fortunate to be chosen
for the heritage tour to
Safdarjung's Tomb. We
got this opportunity as
our class was of the
humanities section. Once
we reached there, our
group was joined by two
teachers who guided us
through the monument. I
had heard a lot about
this site, but hadn’t
gone there before. We
were told about the
history of the tomb,
which was quite an
interesting account.
Safdarjung’s Tomb was
built in 1753-54 by
Nawab Shujau’d as a
tribute to his father,
Mirza Muqim Abul Mansur
Khan. Also, I cannot
forget the architectural
beauty and landscape of
the tomb. We entered the
monument through an
ornamental painted
gateway on the east. In
the interior of the tomb
were four octagonal
towers. It had
multi-chambered
pavilions — namely Moti
Mahal, Badshah Pasand
and Jangli Mahal. The
tomb was build of red
and buff sandstones. The
garden in the interior
is divided into four
squares by side pathways
and tanks. The visit to
the gardens was quite a
peaceful experience, and
it made us think how
much more glorious they
may have been 254 years
ago, when kings and
queens reigned over the
land. By the end of this
trip, we got to know how
rich our monuments are.
We learnt a lot and were
rejuvenated.
*Romil Surav Baa
“Experience the glorious past of your country.” This was the call 'The Indian Express' issued to the students, and we all paid heed to it. During our heritage walk, we visited Safdarjung's Tomb, built by Nawab Shuja-ud-Daula to commemorate his father, Mirza Muqim Abul Mansur Khan. Situated on Lodi Road, the venue chosen for us to visit during a heritage walk on February 14. Luckily, the visit took place on a beautiful winter morning.The red stone monument is enclosed by tall walls, and upon entering through a gateway, one could see how cleverly the water courses were used to divide the garden into squares, known as Charbagh.
The two hours I spent
in the tomb gave me a
tiny glimpse of the
opulence and
architectural skills of
the Mughals. Ours is an
“Incredible India”,
after all!
*Shrishti Shah
On February 14, I got
an opportunity to visit
Safdarjung's Tomb for a
heritage walk. I was
extremely curious to see
how it would turn out to
be. The visit turned out
to be two hours long.
The last of the Mughal
buildings, Safdarjung's
Tomb is a garden tomb
that was built way back
in 1754. The tomb, built
on a plate form, is
placed in the centre of
Charbagh and adorned by
two rectangular water
bodies. The central
chamber has one cenotaph
of Safdarjung, and the
underground chamber has
two graves — one each
for him and his wife.
The purpose of the walk
was to make the future
generation aware about
their heritage, and
teach them how to
conserve it.
*Deldan Angmo
The students of Mount
Carmel Class XI-A
(Humanities) went to
Safdarjung's Tomb as
part of a study tour.
The monument was built
in 1753-54 as a tribute
to Mirza Muqim Abul
Mansur Khan, the
governor of Awadh
province under the reign
of Muhammad Shah
(1719-48), and later,
his Prime Minister. The
main gate of Safdarjung
tomb is decorated with
floral paintings and
geometrical figures.
Though religion forbade
the architects from
making any human or
animal figures, the
carving of a fish could
be seen on the
structure. The garden is
divided into four
squares. While the
double-storey building
is made of red and buff
sandstone, the dome is
made of marble. It was
the last tomb made
during the Mughal era.
It is situated in the
middle of the garden
with flowers and trees,
which bear fruit and
give shade. The tomb was
symmetrical in shape,
and appeared the same
from all sides. The
grave of Mirza Muqim
Abul Mansur Khan is
located in the middle of
the tomb. The central
chamber is surrounded by
eight apartments, while
the corner of the tomb
is occupied by a
polygonal tower. The
tomb, surrounded by four
walls, was also used as
a rest house at one
time. The four corners
of the walls are
octagonal, with a
'shatari' overhead. The
study tour was supposed
to make students aware
of important historical
places and rulers.
*Rezeena Yaikhom
It was all about
turning back time for a
day when we visited the
famous Safdarjung's
Tomb, organised by The
Indian Express, which
has now earned its name
as "the last flicker in
the dying lamp of Mughal
architecture in Delhi".
Built in 1753-54 by
Shuja-ud-Daulah, the
Nawab of Awadh, the tomb
was a tribute to his
father, Mirza Mauqim
Abul Mansur Khan, who
later came to be known
as Safdarjung. The
Governor of Awadh under
the reign of Muhammad
Shah (1719-48), he had
later became his Prime
Minister. The Mughal
dynasty, famous for its
architecture, has
ordained itself with
this splendid mausoleum.
We were welcomed by the
beautiful ornamental
paintings through a
double-storeyed gateway
on the east housing
several apartments, a
courtyard and a mosque.
There are four water
channels that carry
water to different
pavilions, namely Moti
Mahal (Pearl Palace),
Badshah Pasand and
Jangli Mahal on the
north, south and west
respectively. This tomb,
built of red and buff
sandstones, stands in
the centre of the garden
and rises from a
platform measuring about
18.29 square metres.
Octagonal towers or
‘chattris’ are located
on the four corners of
the tomb. The garden
tomb is built in a
manner that makes it
look alike from all four
sides. The beauty of
Indian historical
architecture can never
be forgotten. Our day,
which was characterised
by pleasant weather and
an excellent guide
(Anuradha Sinha), was a
memorable experience!
*Merryn Chingthiandim
Described as the last flicker in the dying lamp of Mughal architecture is none other than our very own Safdarjung's Tomb.It was built by Shuja-Ud-Daula of Awadh in the memory of his father Muhammad Muqim in 1754 AD. It is very similar to the Humayun’s Tomb. Safdarjung, who was a viceroy, later went on to become the prime minister. Safdarjung’s tomb is built on a platform with two similar thick staircase leading towards the tomb. The huge structure is surrounded by a beautiful well-maintained garden. The garden is further divided into four parts with water canals and pathways, built in typical mughal style. It is enclosed within a wall, which has resting houses and a mosque.
The water canal faces
the gateway. The gateway
is also beautifully
carved in true Islamic
style, with floral
paintings, etc. Along
the gateway are three
pavilions — named Jangli
Mahal, Moti Mahal and
Badshah Pasand. People
usually come here with
their families to pay
their respects and enjoy
the view. The tomb,
built with brownish-red
sandstone, is surrounded
by polygon column-like
structures,
octanal-shaped
structures called
“chatris: on all four
corners, and eight
compartments — all of
them decorated with
beautiful plasterwork.
The best thing about
Safdarjung’s Tomb is
that it looks the same
from every corner.
Overall, the tour was a
great experience. If you
haven't visited it till
now, you are missing
something.
Sheena Moses
Indian Express, 11th April 2011
If you're visiting the historic Hauz Khas Village, a visit to the 14th-century Tughlaq-era monuments is a must. A makeover of the Hauz Khas group of monuments is under way and is expected to add lustre to the historic site. With designer boutiques and restaurants at Hauz Khas Village hogging all the attention, the monuments have not drawn many visitors. But using the makeover, the Archaeological Survey of India (ASI) plans to change all that.
There are at least three important structures located at the site: the tomb of Ferozeshah Tughlaq, madrassa of Ferozeshah and a mosque. Furthermore , one can also see an ancient gateway and enclosure wall. The Hauz Khas monuments were built by Ferozeshah Tughlaq on the eastern and southern sides of the royal tank called Hauz-i-Alai — an important reservoir for water supply to Siri. Siri was a fort constructed by Alauddin Khilji in 1300.
"Apart from the structural conservation and chemical cleaning of all the monuments here, we are building new pathways for visitors and putting up more information boards and signages to acquaint people with the history of the place in addition to establishing the architectural value of the hitherto neglected site," said a senior official. Restoration of the garden and revival of the Hauz Khas lake have been pending. The ASI plans to approach land-owning agency Delhi Development Authority ( DDA) for the latter.
"Though the lake had been revived by Intach a few years ago, complaints had started pouring in recently about the water of the lake producing foul smell," said an official . Garden restoration will also be taken up in due course. According to officials, this could take a few months as there was a vast area around the monuments which has a green cover and the work will only be taken up once the structural conservation of the main monuments is over.
The ASI is also mooting a proposal to make the Hauz Khas monuments ticketed. According to officials , once the illumination of the site begins, it likely to draw more visitors and by charging for entry they will be able keep locals who vandalize the monuments and children who visit the site to play cricket at bay. "We hope to curb all this by deploying guards after ticketing the site. It has been seen that ticketed monuments invite more respect than open monuments because visitors tend to feel that they are being closely watched," said officials.
The Hauz Khas monuments have been graded A by Intach in terms of archaeological value. Entry is through the cosmopolitan village comprising some of the best boutiques and eating outlets in the city. This is the same place where Timur Lane encamped in 1398 after defeating Mahmud Tughlaq. Built on an L-shaped plan, the main monument in the complex is the tomb of Ferozeshah with the entrance on the southern side. It is a domed, rubble-built plastered square tomb with high walls attached to a courtyard. Beautifully decorated with Quranic inscriptions and plasterwork, the tomb reflects the amalgamation of the styles of Indo-Islamic architecture . An inscription over the southern gateway informs visitors that the tomb was repaired during Sikander Lodi's reign.
Adjacent and to the
west of the tomb is the
madrassa for religious
training, built in 1352.
It is a doublestoreyed
structure with long
pillared halls and small
cells and a mosque in
its northern direction.
There are also several
staircases leading from
the madrassa down to the
tank, now encircled by
paved pathways. Apart
from these monuments,
there are many
structures situated in
the complex but their
exact use is not known
and one can only
appreciate their
architectural beauty
while relaxing in the
garden of the complex.
Times of India, 11th April 2011
Platinum jubilee celebration programme launched
To commemorate completion of 75 years of the establishment of Lodi Gardens, a platinum jubilee celebration programme was launched at the garden over the weekend.
Delhi Chief Minister Sheila Dikshit inaugurated the programme in the presence of New Delhi Municipal Council chairman Parimal Rai and council members and civic body officials.
Trees corner
To mark the occasion, a “Fragrant Trees Corner” was created at Lodi Gardens by involving 200 students of the Eco-Club of NDMC schools. This corner contains 2,000 plants of 21 species. Ms. Dikshit also planted a sapling in this corner.
Lodi Gardens contain the Tomb of Sikandar Lodi, Tomb of Muhammad Shad Sayyid, Bara Gumbad, Sheesh Gumbad, Athupula, Turret (a tower) and other monuments of the Mughal era from 15th and 16 {+t} {+h} Century, according to the NDMC.
Lodi Gardens were designed in 1936. In the 1930s the Lodi Tombs stood in the village of Khairpur on the outskirts of New Delhi and in 1936 the villagers were moved from Khairpur and the garden was laid out with native and exotic trees and plants around the monuments.
Thereafter, the foundation of “Lady Willingdon Park” was laid on April 9, 1936, after the name of the wife of the then British Viceroy. But after India's independence, it was named more appropriately as Lodi Gardens and was re-landscaped in 1968.
A 7,000 square metre long and 30 metre wide lake was also commissioned in the park. Subsequently, a glass house was constructed in 1970 and in April 1996 a national bonsai park was also developed in a corner of Lodi Gardens. It now also boasts a butterfly conservatory, herbal garden, bamboo shetum, lily pond and rose garden with over 25 varieties of roses that have enhanced the beauty of this garden.
Lodi Gardens at present have about 7,000 trees of 200 species and new species being added from time to time. The gardens also attract over 50 species of bird, several of which have made their homes here while others visit with the changing seasons.
An NDMC official
said: “Today this is a
place for picnickers,
joggers and those
looking for a quiet
place amid the bustle of
Delhi. Spread over 100
acres, Lodi Gardens with
undulating swathes of
green, grand old trees,
clumps of flowering
bushes, majestic old
monuments and zig-zag
watercourse are the most
visited gardens of
Delhi.”
The Hindu, 11th April 2011
The contribution of classical arts to the human society lies in assisting the expansion of different areas of knowledge. Hence, evolution of art maps the growth of a society. The renaissance was a proof to it. Between the 14th and 17th century, Europe witnessed a resurgence of excellence in humanities, science, educational and social development along with unprecedented progression in fine arts. Societies that inherit classical art forms have stretched the limits of human mind, in pursuit of perfection. Perhaps excellence in one area inspires societies to excel in others. In this context, it is interesting to know how societies that lack inheritance of classical arts make up for the disadvantage. Though, there cannot be definite answers to these intangible issues, if an unprecedented growth of popular culture is an indicator, Punjab has more than filled the vacuum.
The last reference to any recorded dance performance in the history of the 19th century Punjab stops at the nautch girls. Beyond that point of time in the tumultuous history of the land, different cultural streams intermingled to give birth to a curious mix, where Sufis danced in abandonment for the love of god. And the feudal supported a whole lot of ‘tawaifs’ and ‘kanjris’, whose job it was to entertain the rich and powerful with their skills in dance and music, as the narratives of the time tell us. Though, tawaifs were women of sophistication, the first ‘liberated women’ produced by the Indian social structure, who had land and property in their own name. They were desirable for their talents by the powerful, but, when it came to social acceptability, both tawaifs and kanjris were treated as outcasts. Understandably, their profession was not something the society would promote for others to emulate.
The land had such a long chain of invaders that even the temples were not spared of their peaceful pursuit of ‘kathagayan’, which in other regions of the North like Rajputana and Central India evolved into Kathak, a narrative dance presentation of the myths and leelas of the gods. The perpetually on- the- run society did not have time to reflect upon the codes and norms to compile a shastra, essential for keeping an art form for posterity. What it did produce were entertainers, who lacked time and space to provide serious deliberations to take their skill to the height of an art. In the absence of refinement and codification, these skills were continued to be treated as a mode of light entertainment.
If we peep into the social history of Punjab, it will explain why dance, as a classical art form could not grow here. The macho warrior, who danced with the swords, would not suffice as a performer of enticing movements. And the feudal pushed their women behind purdah. Dance, as a means of entertainment was patronized by the feudal, their decay spelt doom for the dancers. Even though Maharaja Ranjit Singh is said to have married a tawaif dancer, Moran Sarkar, to the chagrin of all, Moran’s dancing skills remained confined to entertaining the Maharaja. The Maharaja had about 150 dancers in his court, but none of them could take dance from its erotic overtones to the domain of classical art. In fact, by the turn of the nineteenth century a strong sense of disgust for dancers gripped the society. Pran Nevile, who penned about half a dozen books on The British Raj, and its influence on the societal changes in India, wrote extensively about the social ostracism meted out to nautch girls, the sole professional dancers from the region. Though, dance of the masses, the folk, was not involved in this study.
Even though, music was regaining its lost pedestal by the efforts of the likes of Pt Vishnu Digambar Paluskar who opened the first Gandharwa Mahavidyalaya in Lahore, in 1901, the same could not be said of dance, which continued to be treated as a skill of the lowly. Post- independence when Indian states of the South found their Nataraja Ramakrishna and Rukmini Devi Arundale for revival of Kuchipudi and Bharat Natyam, Punjab began its claim to culture with choreographed Bhangra performances for republic day parades with a fervour that would outdo all other art forms of the region. This was its sole claim to culture, the bureaucratic way. Thanks to the over zealousness of a newly carved-out state, many precious jewels of its cultural heritage remained overshadowed by an all- pervasive folk appeal of Bhangra. Today, Bhangra is a celebratory dance popularised globally.
In later years, classical art forms have come from other states to make Punjab their home. If Pracheen Kala Kendra opened over hundred branches in the state to make Kathak a household name, Bharat Natyam dancers like Navtej Johar and Suchitra Mitra have popularised the dance from the South in the land of classic Bhangra.
“ A group of
western educated Indian
social reformers,
influenced by western
ideas and Victorian
moral values, joined the
missionaries and they
started an anti-nautch
movement at Madras,
which spread to other
parts of the country
including Punjab. In
their anti-nautch
campaign, they were now
joined by the Social
Purity Associations,
sponsored by the Purity
movement in England for
reform of the public and
private morals. The
Punjab Purity
Association of Lahore
launched a forceful
drive against the nautch
girls and published a
booklet in 1884
containing the opinions
of the educated Punjabis
on the ‘nautch
question.’ The booklet
highlighted the
denunciation of nautch
by the eminent social
reformer Keshub Chandra
Sen who described the
nautch girl as a
“hideous woman with hell
in her eyes. In her
breast is a vast ocean
of poison. Round her
comely waist dwell the
furies of hell... her
blandishments are
India’s ruin. Alas! her
smile is India’s death.”
(The Nautch Girls of
Colonial Punjab- Pran
Nevile)
The Tribune, 12th
April 2011
The district administration has initiated the process to prepare a zonal master plan for developing an eco-sensitive zone in 5-km area around the boundary of Sultanpur National Bird Sanctuary as per the guidelines of the union ministry of environment and forests.
Deputy Commissioner PC Meena today called a meeting of the officials concerned and directed them to ensure compliance with the guidelines of the Central government in this regard.
After the meeting, Meena said a monitoring committee would be constituted under his chairmanship to keep an eye on the progress made in implementing the provisions of the government notification. The 10-member committee would submit its action taken reports to the ministry every year.
He directed the senior town planner to deploy adequate enforcement wing staff to ensure that no unauthorised construction takes place in the prohibited area.
The union ministry of environment and forests has declared 5-km area around the boundary of the Sultanpur National Park in Gurgaon district as an eco-sensitive zone and the state government has been asked to prepare a zonal master plan for this area involving all departments concerned.
Meena maintained that no change of land use from green usage such as orchards, horticulture, agriculture, parks, etc. to non-green usage would be permitted in the zonal master plan, except limited conversion of the agricultural land to meet the residential needs of local residents, apart from improvement of roads and bridges, infrastructure, construction of public utilities and community buildings.
He said mining and crushing activity within a radius of 1km from the boundary would not be allowed. Similarly, no construction of any kind would be allowed up to a distance of 300 metre from the boundary except tube well chamber of dimension not more than 1,000 cubic inches.
The construction of any building having more than two storey would not be allowed in the area from 300 metre to 500 metre of the park and laying of new high-tension transmission wires would also not be allowed up to a distance of 500 metres from the park.
No new wood-based industry and any polluting unit could be established within 1 km of the boundary. The felling of trees on forest and revenue land would be subject to the approved management plan by the Central government.
The extraction of groundwater would be permitted only for bona fide agriculture and domestic consumption of the occupant of the plot and no sale of the groundwater would be permitted. Discharge of untreated industrial effluents into any water body within the eco-sensitive zone would also not be permitted.
The bird sanctuary,
situated about 15 km
from Gurgaon city, is
known for its wide
variety of aquatic
avifauna.
The Tribune, 12th
April 2011
The five-kilometre area from the boundary of Sultanpur National Park in Gurgaon district was declared an eco-sensitive zone by the Union Ministry of Environment and Forest on Monday. The State Government has been asked to prepare the zonal master plan for this area involving all concerned departments. A monitoring committee would be constituted under the chairmanship of PC Meena, Deputy Commissioner (Gurgaon), to monitor the compliance.
“No change of land use from green uses such as orchards, horticulture, agriculture parks and others to non-green uses would be permitted in the zonal master plan,” said PC Meena, Gurgaon Deputy Commissioner, referring the guidelines of the Central government. He said that mining and crushing activity up to one kilometre from the boundary of the protected area of Sultanpur National Park would not be allowed.
Similarly, no construction of any kind shall be allowed up to a distance of 300 metres from the boundary of the park. “Construction of any building, wood based industry, polluting unit, laying of new high tension transmission wires from 300 metres to 500 metres of the park would not be allowed. The felling of trees on forest and revenue land would be subject to the approved management plan by the Union Government.
He said that extraction of ground water would be permitted only for bonafide agriculture and domestic consumption of the occupier of the plot and no sale of the ground would be permitted. Also, no untreated or industrial affluent would be permitted to be discharged into any water body within the eco-sensitive zone.
He said that the zonal master plan would provide for restoration of denuded areas, conservation of exiting water bodies, management of catchments, watershed management, ground water management, soil and moisture conservation, needs of local community and such other aspects of the ecology and environment that need attention.
The plan would demarcate all the existing and proposed urban settlements, village settlements, types and kinds of forests, agricultural areas, fertile lands, green areas, horticultural areas, orchards, lakes and other water bodies. It would exempt all canals and drainage works.
“The Sultanpur
National Bird Sanctuary
situated about 15 km
from Gurgaon city is
important and known for
aquatic avifauna where
about 30 thousand birds
belonging to about 250
species visit during
winters,” said PC Meena.
“The important birds
visiting this park
include pelican,
cormorants, herons,
egrets, storks,
flamingoes, geese and
ducks. A number of
territorial birds of
Indian origin stay here
the year round. Breeding
of Saras, crane and rare
black necked stork have
been recorded in this
park.”
The Pioneer, 12th
April 2011
The historic Arimora Forest Inspection Bunglow(IB) near the bank of the Brahmaputra deep inside the Kaziranga National Park, which happens to be very popular with dignitaries coming to enjoy the scenic beauty of Kaziranga, is on the verge of extinction due to massive erosion caused by the mighty river, thanks to the indifferent attitude of both the Union as well as State governments.
Right from the Central Ministers under various regimes to the Chief Minister of Assam, everybody visited Arimora Forest IB only to express mere words of concern towards theproblem caused by erosion which has in fact washed away a vast virgin grassland area ofKaziranga National Park (in Arimora) considered to be an ideal habitat of the wildlife including the rhino, elephant, tiger etc.
Erosion had washed away more than 30 sq km area of the National Park in Kaziranga. Arimora Forest IB which was 100 meters away earlier, is now almost on the bank with Brahmaputa flowing just 28 metres away from the inspection bunglow. On the other side of the IB there is a small Shiva temple constructed by the department for the forest guards to worship, which is now just on the edge of the bank . “Only the Shiva temple is somehow saving this IB,” said a forest guard to this correspondent while visiting Arimora.
“Arimora has already lost its past glory . So many VIPs used to come here only to give false assurances with regard to protection of Arimora,” said another forest staff. Last year the Union Environment and Forest Minister Jairam Ramesh too visited Arimora to note the situation.
Though the government has announced a scheme ( amounting to Rs 177 crore and 56 lakhs ) for protection against erosion in Kaziranga, practically nothing concrete can be seen on the ground in Arimora. The porcupines were erected earlier to divert the water current and thus control the erosion but more needs to be done . Sources said that though porcupines could be effective in terms of diverting the current of water thereby reducing the impact of the force created by the current, but the bank of the river Brahmaputra needs to be protected by stone barrier so that not much damage could be done on the soil surface on the bank.
The director of the
Kaziranga National Park,
Surajit Dutta said that
something would be done
soon to get rid of the
problem. He said that he
had already drawn the
attention of the Union
Government with regard
to this situation in New
Delhi and was quite
hopeful that some
measures would be
adopted to solve it. Now
time is simply running
out. If the government
is really serious about
this problem, then
Arimora must be given
first priority in terms
of sanctioning of funds
and other resources.
The Assam
Tribune, 12th April
2011
Citing reports of the crew of the Hollywood production Singularity mounting a tent on top of the Cenotaphs in Orchha and filming from an unsafe distance a few feet away from the nests, of endangered vultures the Bombay Natural History Society, Deputy Director (Research), Vibhu Prakash told The Pioneer that "Vultures have the same level of protection as the tiger and vultures being disturbed during the crucial breeding season is a loss beyond repair."
This statement comes as a shot in the arm for conservationists, calling for a halt on the shooting of the film Singularity in heritage city of Orchha. The Forest Department had issued the NoC for the film production, only after Prakash had recommended that film shooting from a "safe distance" would not harm the endangered species.
Nevertheless, judging by the reaction of the forest officials, JP Rawat, Game Reserve Ranger, Orchha claimed that no harm has been done to the vultures in the Cenotaphs. Rawat acknowledged there were at least four nests of the endangered species on the top of the Cenotaphs, which have been videographed.
Rawat also said that no one from the crew was allowed to film from the top floor of the Cenotaph where the vultures make their nests. Rawat dismissed outrightly, that a tent was erected on the top of the Cenotaph as shown in the pictures published by The Pioneer.
In spite of two officers being deputed to take care for the vultures, none of the forest officials including Rawat objected to the use of a crane to lift the production equipment to the top floor of the Cenotaph, barely a few feet from the nests of the vultures as approved by Rawat himself.
Rawat and the two other officials of the Forest Department Anoop Singh and Shaheed Khan, refused to accept the fact that a crane was used by the production unit of the film to lift equipment to the top floor of the Cenotaph. DFO Padam Singh outrightly refused to accept responsibility of protecting the vultures as he said it was not his mandate, as the building was under the purview of the Department of Archeology.
The failure of the Forest Department to protect the vultures has raised eyebrows over the sincerity of the department in protecting the vultures.
Meanwhile, vulture expert Prakash said he had given consent for the shoot only after receiving assurance that it would take place from a very safe distance of at least 100 metres. The vulture expert said during the breeding season, thermoregulation of the newborn is critical for its survival. He added as reports suggest the film crew was on top of the roof of the Cenotaphs, which is a concerning development.
The Forest Department ought to be more vigilant as vultures are a very habitat specific species. When asked what impact would it have if humans are dangerously close to the nests for more than 12 hours for a week continuously, Prakash replied, "A vulture can fly only after 120 days or more and during this breeding season the survival rate of a newborn is very less." However, he said the exact number of fatalities could only be ascertained by visiting the location.
Importantly, the
Forest Department had
sought opinion for the
permission of the film
shoot in Orchha from
Prakash, even though
Prakash acknowledged
that he had ‘not been to
Orchha for over five
years’.
The Pioneer, 13th
April 2011
The Sikh Reference Library, which suffered extensive damage during Operation Bluestar, is on its way to salvage its past glory with the SGPC modernising and digitising the library.
The library boasts of around 400 manuscripts of Guru Granth Sahib, over 800 other manuscripts and 21,000 books. The digitisation work is being carried out by the SGPC in collaboration with the Punjab Digital Library, Mohali, owned by the Nanakshahi Trust.
A special facility has been set up on the library premises to digitise rare manuscripts in a proper manner. Two modern cameras have been installed to digitise these manuscripts. The procedure allows the digitisation of around 1,000 pages daily or even more with each camera, depending upon the condition of a manuscript.
The library has manuscripts that are as old as 300 years while the oldest book dates back to 150 years. The library is also getting photocopies of rare books from the National Library, Kolkata, and Punjabi University, Patiala, before subjecting them to the process of digitisation. It is also digitising three English, six Punjabi and two Hindi newspapers. It has been preserving The Tribune since 1927.
Once the digitisation work is complete, scholars and researchers would simply need to switch on a computer in the library to access its entire treasure trove of knowledge. The SGPC has allotted Rs 39 lakh for the digitisation of the library in its annual budget for 2011-12. After the digitisation of the entire library, the SGPC intends to open sub-offices of the digital library at Gurdwara Dukh Niwaran Sahib in Patiala and Kalgidhar Niwas in Chandigarh to facilitate scholars and researchers.
The library has undergone expansion and modernisation in the recent past. It is now equipped with computers, scanners, printers, ACs and even a fumigation chamber to preserve books.
Interestingly, though the library is located in the Golden Temple complex, it is not an easy job for anybody to locate it, thanks to its “odd location” and lack of signboards.
SGPC Secretary Dalmegh Singh Khatra said they would soon put up maps of the Golden Temple complex on both the entrances. He said the digitisation would ensure the preservation of rare manuscripts and books for posterity even in case of any untoward incident.
Regarding the SGPC’s claim that the Army had taken away a huge number of rare manuscripts and books from the library post-Operation Bluestar, he said they had been pursuing the matter with the government for long to get those books back, but their efforts had drawn blank.
Post-Operation
Bluestar, while the Army
authorities claimed that
the library had caught
fire during an exchange
of fire with militants,
the SGPC accused the
Army of deliberately
setting the empty
library afire after
taking the rare and
invaluable material
away.
The Tribune, 13th
April 2011
The hare-brained move of the Forest Department officials to ‘protect’ the signboards by entwining them with barbed wires in the Biligirirangana Temple (BRT) Hills wildlife sanctuary could prove disastrous for the animals in the sanctuary.
Signboards line the entire stretch of the road from Gumballi up to BRT Hills, K Gudi and Vandarabalu and they have been entwined with wires to prevent elephants from harming them. Unwittingly, the forest department, which is responsible for the conservation of wildlife, is itself causing harm to the animals.
Elephants do not like any unnatural objects that they come across. They fling away any such objects or damage them. Hence, the forest department thought it fit to ‘protect’ them with barbed wires.
Risk of being injured
Animals including elephants, may scratch their bodies against the barbed wires to overcome itching due to the summer heat.
Many animals do not have sweat glands like humans and experience itching more often. Animals like elephants, deer and porcupines also scratch their bodies against trees or other objects whenever they are bothered by flies and other insects.
If the animals scratch their bodies against barbed wires there is every chance of they sustaining injuries. If the wires are rusted, it may even prove lethal for the animals, say environmentalists.
They have expressed their ire against the forest department for not considering the issue sensitively.
The environmentalists have demanded that the government should take steps to remove the barbed wires entwined to the signboards in the interests of the animals.
Use pamphlets
Instead of putting up signboards inside the forests, it would be better if pamphlets containing the information to be conveyed are distributed to visitors at the checkposts, they say.
Printing and
distribution of
pamphlets would cost
only 10 per cent of the
expenses incurred on
putting up the
signboards, the greens
point out. Through the
pamphlets, awareness can
be created among the
visitors about
environment protection
and their
responsibilities, they
said.
Deccan Herald, 13th April 2011
A day after the shooting of Hollywood film Singularity was halted, controversy continues over the issue as International Union for Conservation of Nature (IUCN) member Anil Chhangani, alleged that that a vulture chick died because of the shoot that took place in the world famous Cenotaphs of Orchha.
Speaking to The Pioneer Chhangani said vulture nest '7G at Badi Chhattri (Big Cenotaph) area' in Orchha has been impacted due to the film shoot. The researchers of Lucknow University monitoring the vulture population in Orchha during the critical breeding season observed a newborn chick in 'nest 7G' through February and March with its parents. However, after the film crew got the Cenotaphs for film shoot, the chick in 'nest 7G' was nowhere to be found.
The disappearance reported to the forest officials has gone unnoticed.
The vulture like the tiger is a protected species under the Wildlife Protection Act 1972 Schedule (a). Chhangani alleged that the Forest and Archeology Departments in the State have ignored the protection of the endangered species, which has resulted in the blatant violation of norms by the film crew of the Hollywood movie. The missing chick was noticed on April 4. Despite the knowledge of the death of an endangered specie, the film production continued in the Cenotaphs of Orchha.
In the expert opinion of vulture expert and IUCN member Chhangani the disturbance caused by the film crew, who shot from the top floor of the Cenotaphs are responsible for the missing chick, and the damaged nest 7G.
The study also suggests that this may not be the only loss suffered by the vultures' population on account of the Hollywood shot in the prime-breeding season. Chhangani said according to conservative estimate at least there would be 25 to 30 per cent loss of vultures in the area due to the disturbance caused.
The research group monitors 30 nests in Orchha primarily in the Jahangir Mahal, Cenotaphs, Chattarbhuj Temple and the Laxmi Temple -all the places where vulture nests are located and observed by the research team.
While the filming of the Hollywood movie was on the researchers have observed that a vulture took less than 2-3 rounds to feed the newborn chicks, instead of a normal average of 15 to 20 rounds in a day. In the opinion of the expert Chhangani, this is enough to dehydrate and kill the newborn, in the hot weather.
Chhangani said that
over the years his
group's intervention led
to relocation of six
film productions in
Rajasthan. The
Government officials
however did allow the
shooting to take place
in Orchha, which in
Chhangani's opinion
should not have been
allowed.
The Pioneer, 14th April 2011
A centuries-old lake, Rukunu Dowla Lake at Shivarampally adjoining National Highway 7, has been encroached upon by private parties and massive construction is under way on the lake bed. The local populace at Shivarampally village has made numerous representations, starting from RDO to the Chief Minister when the encroachment began in 2008, but nothing has been done so far to safeguard the old lake.
The remnants of check dam are still evident in the land where the private party has laid stones and the massive construction is being done in the lake bed itself. “We have raided many lakes to curb illegal encroachment but this particular lake hasn’t come to our notice so far. Once we find out the details we will proceed to take action,” said Mr Sunil Kumar Gupta, member environment, HMDA. The lake is situated in Survey No.s 42, 49, 50/1 and 50/7 of Bum Rukunu Dowla village, Rajendranagar mandal, Ranga Reddy district. The property belongs to the Government of AP according to the revenue documents and the adjacent property, which is occupied by the private party with Survey No.s 50/2, 50/3/A, 50/3/AA and 50/3/EE.
In the Survey of India map and in the village map, the position of the lake has been clearly demarcated, which shows the area where the private party laid stones on the lake’s land. According to the chronology of Qutub Shahi Dynasty 1922 from the Salar Jung Museum, the lake reservoir was built in 1170 AD by Nawab Mir Musa Khan Rukunu Dowla, who was the prime minister of Asafjahi II. It was called Bam of Rukunu Dowla, or the reservoir of Rukunu Dowla.
According to the local people, this land also belongs to the government and the private party manipulated the documents with the help of some revenue authorities. The public, which has been fighting for the protection of the lake, says, “The land is shikimi land, which means the land has to be kept as it is, with cultivation allowed during the dry season. Construction cannot be permitted on this particular land.” Deccan Chronicle, 14th April 2011
Greens cry foul over plan to set up factory in the forest
The decision of the Karnataka Industrial Area Development Board (KIADB) to hand over agriculture land for industrial purpose in the elephant corridor of the Biligirirangana Temple (BRT) Hills tiger reserve has come under criticism by environmentalists.
An industrial area is being developed by KIADB near Modahalli in Lokkanahalli hobli of Kollegal taluk. The area is cheek by jowl in the BRT tiger reserve.
KIADB’s decision to acquire land near the Gundal reservoir for industrial purpose has led to the controversy.
As many as 410.44 acres of land has been handed over by KIADB to Bannari Amman Sugar Company. Environmentalists point out that the said land is within a radius of just one km of the tiger reserve and is part of the elephant corridor.
As per the Supreme Court order, non-forest activities cannot be taken up within a radius of 10 km of wildlife sanctuaries, national parks and tiger reserves, in a bid to prevent harm to wild animals.
The greens point out that setting up industries there would amount to violating the apex court order.
It is also necessary to get a no-objection certificate from the high-level committee of the National Wildlife Board (NWB) before taking up development work within the fixed boundaries of national parks. The committee has been formed on the direction of the Supreme Court.
Local forest officials have no power to sanction permission. Moreover, it is unlikely that the high-level committee of the NWB will give its nod. Workers of the said company have already started de-weeding the place using cranes. Also, it is alleged that the sugar company is trying to acquire more land than ‘permitted’.
The move is being met with stiff resistance from farmers who are not ready to part with fertile agriculture land.
The officials of the sugar company had sought a clarification from the forest department on whether an industry could be set up near the reserve forest.
Deputy Conservator of
Forests R Ravishankar
told Deccan Herald that
it had been made clear
to the company that no
work could be undertaken
without the nod of the
high-level committee of
the NWB.
Deccan Herald, 14th April 2011
First phase will develop area up to Jevar in Gautam Budh Nagar; plan to be put up for approval next month
The Yamuna Expressway Industrial Development Authority (YEIDA), responsible for charting the development of the region around the Yamuna Expressway that will connect Greater Noida with Agra, has finalised a draft phase-I masterplan for the project, paving the way for major expansion.
The region is
emerging as a potential
destination for real
estate investments, with
plans for residential,
industrial,
institutional and
commercial areas, as
well as green belts and
parks, recreational
greens, a proposed
airport and an aviation
hub. According to a
senior YEIDA official,
most of the land that
falls under the Yamuna
Authority has already
been registered and
acquired by investors. A
large part of the
revenue generated by
registration comes from
residential areas under
the authority, the
official added.
According to the
masterplan, the
authority will develop
the area up to Jevar in
Gautam Budh Nagar in
phase-I, which would
include 584 sq km of
Gautam Budh Nagar and
Bulandshahr. The
masterplan will be put
before the board of
directors for approval
in May. In phase II, the
masterplan will cover
the area till Agra.
For residential sectors, the connecting roads will be 60-m wide, while in Greater Noida, the road’s width will be 24 m. The roads connecting YEIDA sectors with Greater Noida and Noida will be 130 metre wide, officials said. “We have taken into consideration that roads within the residential sectors should not be less than 12 metres wide. In Greater Noida, the minimum width of the road is 9 metres,” informed a senior official. To connect the sectors with adjoining regions such as Khurja of Bulandshahr and Palwal of Haryana, the authority has planned a 120-m wide road.
According to officials, approximately 334 villages of Gautam Budh Nagar, Bulandshahr, Aligarh, Mahamaya Nagar (Hatras), Mathura and Agra are notified under the YEIDA.
The Yamuna Expressway lies between vital traffic corridors such as National Highway-91, which connects Delhi with Kanpur. “The Yamuna Expressway will be the lifeline in the regions adjoining it. The area will be developed as mega-cities with modern amenities,” stated the official.
The masterplan for phase-I also plans to connect the region with other regions through other expressways like the Eastern Peripheral Expressway and the Ganga Expressway. A 130-m wide railroad corridor connecting it with Khurja in Bulandshahr and Palwal in Haryana has been planned. The masterplan also proposes a new expressway connecting it with Khurja and Palwal.
An area of 10,000 hectare has been notified for proposed the airport and aviation hub. The plan also envisages 25 residential sectors for the region, all of which have been earmarked in the area near Greater Noida. “After Greater Noida gets filled, the population will migrate to the YEIDA’s residential units. After development of Greater Noida, the next sought after region will be the Yamuna Expressway sectors,” added Mohinder Singh, chairman of YEIDA.
The authority has
allocated more than 20
sectors for commercial
development. “Major
commercial
establishments have been
planned in sector-14 A,
5, 12 D and 4 A. A
Sports city has been
planned in sector 25,
whereas an inter-state
bus terminus and a
transport nagar have
been planned in
sector-23 C and 23 D,”
said the official.
Indian Express, 15th April 2011
The Archaeological Survey of India (ASI) is giving a makeover to a number of historical monuments in the capital, but shortage of Delhiquartzite stone has led to delays in the conservation work.
The red quartzite stone is found in the Aravalis, but after the Supreme Court imposed a blanket ban on mining a few years ago, there is practically little or no availability of this material.
"This has become a problem for us as quartzite stone is heavily used in the construction of most of the monuments in Delhi. While carrying out repair work, this stone cannot be substituted especially on the main structures even though we do so on the fortification walls,'' said officials.
Monuments like the
Firoz Shah Kotla fort,
Khooni Darwaaza, Qutub
Minar, Humayun's Tomb,
etc, have quartzite work
on them. Khooni
Darwaaza, for instance,
is mostly made using
quartzite stone.
Historians say three
major stones were used
in building Delhi's rich
heritage — marble,
quartzite and sandstone.
Till Humayun's time,
quartzite was used
extensively and the
influence can be largely
seen in many of the
monuments of this
period. After this, Shah
Jahan favoured use of
sandstone while building
mosques and tombs and
the Red Fort is the
biggest example of this
architectural change.
"The Delhi quartzite is
unique and it is found
only in the Aravalis.
Right now, we are trying to get similar stones from other places or from dismantled buildings that were made from this stone. But after some years, the quartzite stone will not be available at all,'' said sources in the ASI. The Aravalis is predominantly made of quartzite rocks and for years ancient rulers sourced the stones from here to build mausoleums and other structures. Quartzite is a decorative stone and was used as wall covering, roofing tiles, flooring and stair steps. Crushed quartzite is sometimes used in road construction.
Mining in the
Aravalis — rich in a
number of natural
minerals like the red
quartzite — was banned
first in 2002 by the
Supreme Court due to
ecological issues. The
Aravalis is a mountain
system located in
northwestern India and
runs from northeast to
southwest for
approximately 800
kilometres through
Gujarat, Rajasthan and
Haryana with rocky
offshoots touching south
of Delhi.
Times of India, 15th April 2011
While the debate on the
vulnerability of
Sunderbans as one of the
hot spots of climate
change continues —
experts have predicted
that at least a “dozen
islands on the
South-western part of
the mangrove swamps are
likely to lose an
average of 65 per cent
of their land by 2015.”
These according to
experts are “tangible
impacts” of the climate
change phenomenon being
perceived here.
What adds to the concern
is that of these 12
islands assessed to be
the most vulnerable to
accelerated erosion,
five of them have human
habitation. “Loss of
land — an indicator of
the impact of climate
change is a reality here
causing displacement of
villagers and cannot be
ignored,” pointed out Dr
Sugata Hazra, director,
School of Oceanographic
Studies, Jadavpur
University, Kolkata.
He reminded that four
islands from this region
have already been lost
and many others greatly
reduced in size by
erosion. “There is a
reported land loss of
97.16 sq kms from some
of these most vulnerable
south-western islands of
the Indian Sundarbans,”
he added.
Even islands with dense
mangrove have not been
spared and have been
found to be
substantially eroded.
“The indications of
climate change have been
found to be very
conspicuous for instance
in Moushuni on the west
— one of the five
inhabited islands,”
pointed out Dr A Anurag
Danda, head, Sundarbans
Programme & Climate
Adaptation (Coastal
Ecosystems) WWF-India.
As per the reports of
climate change studies
and adaptation conducted
by the School of
Oceanography in
association with WWF,
Moushuni had an
estimated area of 33.52
sq kms as per the map of
Bengal settlement Survey
(1942). The present area
now stands at 28.28 sq
km, indicating over 15
per cent loss of land.
Baliara, one of the
villages, in the island
is estimated to be
eroding @ 0.041 sq.
km/year. The report
points out that going by
the current rate of
erosion, at least 11 per
cent families are highly
vulnerable and may be
forced to shift within
the next five years.
A very obvious impact of
the drivers of climate
change is the
susceptibility of the
embankments. Aimed at
keeping the brackish
tidal water at bay,
these mud banks often
fail to sustain the
major source of
livelihood in the region
based on rain-fed paddy
agriculture.
Rapid onset of natural
disasters like high
intensity cyclones and
heavy rains lead to
breaching of
embankments, causing
damage to crops and
agricultural land and
raising the salinity
level of the latter. As
per a study report, the
major portion of the
Moushuni island for
instance is encircled by
28.77 km length
embankments, of which
the maximum stretch of
23.39 km is made of
locally available
earthen materials, that
are obviously unable to
resist the tidal surge.
Livelihood has thus been
hit due to rising sea
levels, coastal erosion,
loss of mangrove cover
and saltwater incursion.
“Rising sea is a menace
that constantly thwarts
every attempt to keep it
out of fields and
farmlands. Further,
there is also the
lingering fear amid the
villagers of constant
erosion of land by the
sea, observed Dr Danda,
who had been working
with the Sunderbans
during the last 15
years. While rising sea
levels raise the threat
of the sea inundating
the agricultural land,
erosion reduces
landholdings physically,
leading to loss of both
livelihood and food
security, he felt.
The reports mentioned
that the frequency and
intensity of extreme
events as high intensity
cyclones and tidal
surges have not only
increased in number, in
the region but are known
to have become much more
“ferocious, and
happening even outside
the July to September
high propensity period.”
“Extremes of weather in
the Sundarbans is a
reality”, said Dr Danda.
One cannot overlook the
changing and erratic
rainfall patterns,
extended and hotter
summers with shorter
winters. This has made
conventional cultivation
of crops difficult for
farmers. The
productivity of crops
has been affected---
crops have become more
disease-prone, requiring
larger amounts of
pesticides and
fertilisers to ensure
adequate harvest.
“Traditional methods of
cultivation have been
put at risk, and today
the worst predicament
for a farmer here is
that he does not know
what to grow when,” he
regretted.
Pointing to the future
Dr Hazra further
predicted that the
Sundarbans delta will
experience a little over
2 degree Centigrade rise
in temperature in
keeping with the present
rate of temperature
increase within the year
2100. This would be
coupled with 70-100 cms
sea level rise along
with consequent rise in
high intensity events
like severe cyclones and
surges. The situation
may further worsen in
the event of anticipated
sharper change in the
temperature gradient,
added Dr Hazra.
As per the figures from
the study, a total land
area of 6402.09 sq. km
of the Indian Sundarbans
in the year 2001 has
been reduced to 6358.05
sq km by the decade end
with the rate of coastal
erosion being 5.50 sq km
every year. This amounts
to net land loss of
44.04 sq km which
includes erosion of
64.16 sq. km and the
accretion of 20.12 sq.
km. The rise in the
relative mean sea level
in the current decade
has been at the rate of
12.8 mm every year.
“Such slow onset
disasters like coastal
erosion and land loss in
this ecologically
sensitive zone
definitely have a close
relationship with the
process of climate
change,” claimed Dr
Hazra.
However, Pradeep Vyas,
director Sunderban
Biosphere Reserve
pointed out that the
vulnerability of the
impacts of climate
change is being
exaggerated by the
experts. “Average tidal
amplitude between 3.5-5
metres is a regular
phenomenon here against
which the villagers are
battling regularly-so
how does a nominal
increase of sea level by
few mm really make much
of an impact in their
lives?” he questioned.
He further added that
erosion is a common
feature of any coastal
landscape, Sunderbans is
no different. Apart from
erosion there has been
accretion of land too,
he added.
The Pioneer, 16th
April 2011
Visitors to the 17th-century Red Fort are facing problems with the parking lot that was opened recently. Steep parking charges along with an extended walk to the entrance of the world heritage site in the scorching sun are proving to be a dampener for a monument, which boasts of the second highest footfall after Qutub Minar in Delhi. Plans by Archaeological Survey of India (ASI) to provide some relief to visitors who use the parking facilities by either transport to the entrance gate or through a second entry are yet to materaialize.
The parking lot that can accommodate up to 450 vehicles was opened for visitors during theCommonwealth Games last year. While facility was free during the Games, now Rs 40 for two hours with an additional Rs 10 for every hour after that is charged. "Considering that it takes 20-25 minutes to walk to the entry gate, almost half of the time is gone in just commuting to the entrance to Red Fort. And then with a huge structure like Red Fort, it takes two to three hours to explore it properly. All this adds up to hefty parking charges," said Vanita Khanna, a resident of Dilshad Garden who visited the fort with her two children earlier this week.
ASI officials
acknowledged the problem
and claimed they were
trying to work out a
solution to make things
comfortable for
tourists. "We were
earlier planning to
start a shuttle bus from
the parking to the
Lahore Gate entrance but
we did not get
permission from Delhi
Police. We are also
toying with the idea of
making another visitors
entrance gate at Delhi
Gate which is located
next to the parking lot
but we need additional
manpower for that," said
a senior ASI official.
The Times of India, 16th April 2011
“I have visited only 5-6 important heritage monuments in Delhi. I am actually surprised to know that Delhi has so much to offer," said Sripurna Banerjee, a teacher with Greenfields School (Safdarjung Enclave). She wasn't the only teacher who was surprised to know that Delhi has 174 ASI-protected monuments and scores of others under Delhi government. Teachers from 38 other city schools shared the same sentiments Banerjee during a workshop 'Adopt a Monument' organised by INTACH.
"Starting a 'Heritage Club' in my school is on top of the agenda for me," she said after the workshop.
Conservation NGO Indian National Trust for Arts and Cultural Heritage (INTACH) organised the workshop to encourage students - through their teachers - to work hands on and increase their understanding and appreciation of Delhi's heritage.
Observed Bindu Keswani from The Pinnacle School, Panchsheel Enclave, "Apart from taking students to different heritage sites, other ways like a quiz on monuments can be tried for sensitising students." She already takes students from class 6, 7 & 8 to monuments near their school.
Charu Bhatnagar from Indian School, Sadiq Nagar in south Delhi, said, "Our school management is very encouraging and we have already been taking students to various sites. Dealing with authorities like ASI, MCD or DDA is sometimes problematic. But the workshop has helped me understand the procedure."
Purnima Datta, who heads INTACH's heritage education and communication service, said INTACH would act as a facilitator between schools and the authorities.
"We hope to get increased response as the CBSE has last year introduced 'Adopt a Heritage' in its continuous and comprehensive evaluation (CCE) scheme," she added.
AGK Menon, INTACH Delhi's head, said, "The need is to involve people at all levels, for instance, history students, too, can be good resource persons." INTACH also released a handbook titled 'Adopt a Monument' on the occasion. Hindustan Times, 16th April 2011
Els Slots is a woman with a mission. From January, she's been on a five-month round-the-world trip that will cover about 50 World Heritage sites in Bahrain, India, Vietnam, Laos, Australia, Bolivia and Peru. Slots works in an international IT firm in Netherlands and explains her preoccupation with "ticking off the list of sites ...is an obsession I share with travellers from around the globe".
For tourists like Slots, the words 'World Heritage' suggest that a site is definitely worth seeing. The idea of a site that the whole world can regard as its heritage has had traction since 1972. A UN conference inStockholm decided that a Unesco World Heritage (WH) seal will be stamped on the world's most valuable wonders. At present, the WH list spans 151 countries and includes 911 properties. These are sites that Unesco's World Heritage Committee regards as having "outstanding universal value". The Taj Mahal is on the list; so are the pyramids of Egypt; the Great Wall of China and many other well-known landmarks.
Nearly 40 years on, it's time to think again, say conservationists. Many believe the WH tag needs to acquire a sharper focus that embraces little known wonders that urgently need attention. "There are thousands of monuments and sites out there, which need immediate attention. Being the biggest brand in conservation, Unesco's World Heritage tag can provide them support and focus," says a conservation architect in the UK. He adds that the WH list needs to be edited, possibly removing iconic, well-known sites like the Taj and the focus could move to "places that require urgent help".
It's not a bad idea, agrees Jeff Morgan of the California-based Global Heritage Fund (GHF), a non-profit organization involved in conservation. Morgan says that the WH tag has played its part by helping "bring much-needed attention" to sites like the Taj. "But today the over-use of these monuments due to their status can be problematic. Also, you cannot deny that many (non-WH) sites, especially in developing countries are vanishing even as we speak. The international community needs to seriously invest in their future," he says.
But isn't a temporary
world heritage list a
paradox? If a site is so
important it is judged
to be the shared
heritage of the world,
doesn't that denote
permanence? Lisa
Ackerman of the New
York-based non-profit
group, World Monuments
Fund (WMF) stresses that
"the designation is
meant to be permanent
because these sites are
deemed to have
contributed to world
culture in broad ways."
Ackerman points out that
the World Heritage tag
"is not so much as a
benefit for famous
monuments but a reminder
of their cultural value
across the spectrum of
places around the
world".
Getting on the list —
a process Unesco calls
"inscribing" — can be
a long drawn-out one.
The first step is
nomination by the "state
party", ie countries
that adhere to the World
Heritage Convention of
1972. The "state party"
that nominates the site
pledges responsibility
for its preservation,
safety and upkeep.
Hyderabad-based
conservation architect
Abha Narain Lambah says
that this underlines the
importance of a
permanent listing. "A
rotational system would
not be good as this will
only create a brief
interest in the site.
Today, Unesco requires
that a nomination
dossier be accompanied
by a well-formulated
management plan for the
site. This helps ensure
that the custodian of
the site has already
identified the possible
threats to the site and
taken adequate measures
to secure the site from
such risks," says
Lambah.
So far so good,
except that it doesn't
always work out that
way. Jeff Morgan says
that WH status does not
always guarantee that a
site will have the
required "management or
resources." He says
Hampi is a good example
of a site that goes on
the world heritage list,
sparking "a rush to
drive tourism and
developers to flood the
site, but little
corresponding
enforcement and
management resources are
invested." Soon enough,
Hampi received the
dubious distinction of
being put on Unesco's
endangered list. Morgan
says it was a classic
case of celebrating a
remarkable site with the
WH tag, but little else.
"In the first place,
Hampi received the WH
stamp with no management
plan and ongoing mining.
The bridge and road were
going to allow large
trucks through the site.
The budget was increased
only a little for site
management, despite
exploding visitation and
associated solid waste."
So, other than the glory
of being on the list,
how does it help to be
declared a world
heritage site? Some say
Unesco should be able to
enforce certain
provisions to safeguard
a site. Threatened sites
like Hampi, for
instance, can be demoted
to the "List of World
Heritage in Danger" and
eventually taken off the
original list if nothing
is done to protect them.
But only two sites have
been taken off the WH
list in the 40 years the
system has operated. A
former archaeologist
says there is a
"fundamental flaw in the
whole process. When
state parties nominate
their sites, it's like
an indulgent teacher
asking a student to
choose the questions
he'd like to answer and
then looking on, as he
answers them — whether
correctly or
incorrectly".
Is that unfair to
Unesco? In its defence,
many say it has done a
sterling job of
safeguarding the
planet's heritage
despite the enormous
handicap of being a
large committee-based
organization with
competing national
self-interests. "Nothing
today is free from
pressures," agrees
Gurmeet Rai, director of
the New Delhi-based
Cultural Resource
Conservation Initiative.
"There is pressure
within the country for
sending the nominations
and then of course one
hears about all the
convincing that goes
around about building
the case for
inscription. But if the
site is significant and
is well managed, why
should there be a
problem in achieving the
inscription on the
international platform;
the challenge however is
in the country itself."
On Monday, World
Heritage Day, time for
Unesco's member
countries to rise to the
challenge?
The Times of India, 17th April 2011
On February 21, we set out for an educational trip to the Old Fort near Pragati Maidan. The lush green surroundings welcomed us to this Mughal-era monument. Our walk started with an introduction by our guide for the day, who told us the basic history of the monument starting with its different names: Indraprastha, Dina Panah and the renowned Purana Quila.
Our first stop was at the Quila-i-Kuhna, the single-domed mosque built by Sher Shah Suri in the 1540s. The Mughal architecture mixed with the Rajasthani architecture was truly captivating. Writings from the Quran were inscripted on the borders of the doorways. Marbles in shades of red, white, blue and green adorned the inside walls of the mosque. The symbolic moon and stars were carefully spread over the inside walls of the mosque. After a few photographs and questions, we moved towards the Sher Mandal, the structure built by Sher Shah Suri and used by Humayun as a private library. It is also the tragic spot where Humayun slipped and fell to his death. We then walked over to the hammam ie the bathing area and the Humayun Gate. All the gates are double-storeyed sandstone structures abutted by two huge semi-circular bastion towers. They are decorated with white and coloured-marble tiles and replete with ornate overhanging balconies, jharokas and pillared chattris. We took a leisurely walk in the gardens where vibrant flowers were blooming, eager to view other spots and structures.
At the last stop for the day, we took at least a hundred pictures, putting the memories of the entire trip into a camera roll. The whole group of students, along with two teachers, then walked back towards the Bara Darwaza, the entry gate. Before departing, we were taken to the old artifacts museum near the Bara Darwaza.
- Surabhi Bhandari
On February 21, our school organised a heritage walk to the Old Fort, also known as the Purana Qila. This magnificent fort has two enormously large gates, within which is enclosed a huge campus. Large lawns and trees, forming the dome of this landscape, add to its beauty.
The fort had been constructed for the purpose of protection against enemy attacks, but was built in a way that tactical counter-attacks were possible. Every corner of the fort is engraved with stars and moons — two of the many symbols of Muslim architecture. It also has shades of Rajasthani architecture, including some umbrella-like structures. Like the India Gate, which carries names of brave soldiers, the walls of the Old Fort have prayers inscribed on them.
Every stone and every path in this complex have their own stories and tales to relate, some known and others waiting to be discovered. The fort area now encompasses a museum that displays a beautiful collection of artifacts from ancient times. The two-hour-long walk through the old paths and old hideouts of the Old Fort was indeed very enjoyable and enriching.
- Shikha Chandra
Our School, Birla Vidya Niketan, organised an educational trip to The Old Fort for all commerce students of Class XI. As soon as I got to know that we would be visiting the Old Fort, visuals of Pandavas and Mughals started coming to my mind. The visuals became clearer when the day of the visit approached.
As soon as we entered the Old Fort through the Western Gate, also known as Bada Darwaza, we were greeted with a gentle breeze and lush green vegetation.The fruit trees and flowers appeared to bring the ground alive.We could see the ruins scattered all over the place from a distance. After taking a quick glance at the breath-taking beauty of the ambience of the fort our guide arrived.He lead us further inside, and told us that the Old Fort is situated where once the city of Indraprastha — founded by the Pandavas — existed.The Old Fort was built by the second Mughal Emperor, Humayun.Though he called it Din Panah, it later came to be known as Purana Qila.
As we approached the mosque Qila-e- Kunha, the guide told us that it is made of red sandstone and marble. It is a single-aisled mosque with five entrances and horseshoe arches.It gave us a glimpse of the Chajja pattern, which is reminiscent of Rajputana architecture.It is extensively decorated with intricate designs and calligraphy.
- Ritika Sharma
On February 21, The Indian Express organised a heritage walk to the Old Fort for the students of our school. The purpose of the walk was to acquaint the students with the rich historical legacy of the city and to sensitise them on conservating historical monuments. With a balmy breeze and crisp sunshine running through the place, it was the perfect day for a rendezvous with Mughal history, and all of us had high expectations from the trip.
The Purana Qila or Old Fort was built by the second Mughal emperor, Humayun, but it was later captured by Sher Shah Suri. Upon entering, you are immediately engulfed by the mystery and intrigue of the place which has survived for almost five centuries. Most of the older structures have been destroyed over time, but the mosque, Qila- e-Kunha, built by Sher Shah Suri in 1540, is among the few structures that have survived the ravages of time. The intricate detailing on the mosque walls is tangible proof of the magnificence of the Mughal era. The stars and moon design quintessential to Persian architecture can also be seen here. The fort could be called a unique amalgamation of Anglo-Islamic architecture with classical Rajputana designs. Apart from the mosque, the only other surviving structure is the Sher Mandal, Humayun’s library. An ominous silence surrounds this place as it silently reminds the visitors of the great emperor, who met his death by tripping off this very structure.
- Ankita
Purana Qila or the Old Fort is an ASI-protected structure which was constructed by the Mughal Emperor Humayun. It is said to guard the ruins of Indraprastha (from the Mahabharata era). An architectural masterpiece, the Old Fort is a perfect blend of Muslim and Hindu architecture. It is also proof of the glory of Mughal art and architecture. The site, which attracts hundreds of local and foreign tourists everyday, is also used for commercial purposes such as sound-and light-shows. The beautification and restoration of the Old Fort is still going on. The main aim behind taking us for the heritage walk was to improve our knowledge about the monument. And, admittedly, it did that — and more.
- Anmol Makkar
Old Fort or Purana Qila is the inner citadel of the city of Dina Panah, founded by Humayun. The entrance is through the Bada Darwaza with its main bastion. The Qila-e-Kuhna mosque and Sher Mandal can be seen from there. The Archaeological Survey Of India had even carried out excavations in 1954-55, most of which are located in the museum built inside the Fort. Even though many monuments today are preserved by the ASI, we find that the beauty of these monuments do not find ample recognition in the public. They carve graffiti on the structures, making them look ugly. Care must be taken, so as to preserve these monuments and make them look like a proper heritage site. All in all, the heritage walk was a great success, with students getting to know many facts about the Old Fort. It has awakened a new respect for past glory and grandeur. This grand tradition must be preserved and following, keeping the strictest standards in view. We need to create awareness among the youth of the country.
- Siddharth Saxena
As one enters the architectural wonder that is the Old Fort, one can’t help being instantly enchanted by its old-world charm and majestic beauty.And this is precisely what Class XI students of Birla Vidya Niketan experienced on their educational trip to Purana Qila on February 21 . On the outside, it might just look like typically opulent Mughal fort, but when you look closely, you notice that it is an amalgamation of Hindu and Muslim architecture — complete with Rajputana jharokas, Islamic crescent motifs and magnificent minarets. Among the main attractions are the Qila-e-Kuhna, a mosque made of quartzite, red sandstone and makrana, built by Sher Shah Suri in 1540. The delicately carved patterns on its walls are excerpts from the Quran.The Sher Mandal,used by Humayun as a library was the place where Humayun died after slipping from the stairs on January 20, 1556. After spending a day visualising the opulence of the Mughal era and appreciating the beauty of Purana Qila,the students left with a renewed respect for Indian culture and heritage,along with an insight into its rich history.
- Ishmeet Kaur
Indian Express,18th April 2011
With Northeast fast
emerging as the hot spot
for bird tourism,
tourist guides are
resorting to frequent
playback of bird calls —
using tapes and I-pods
which often have
microphones attached for
increasing sound effect
— to bring out the rare
birds for sighting. This
is particularly being
done to promote high-end
foreign tourism.
Experts caution such
practices may have
impact on the life
patterns of birds, and
should be strictly
prohibited in protected
areas. However, this
also has a positive side
with bird hunting
instances declining as
the locals realise their
livelihood will be
affected if they kill
them.
Such ploy is being
largely used in certain
lesser known
destinations of
Northeast, emerging hot
spots for bird
destinations. Wildlife
Sanctuaries as
Eaglenest, Mehao,
Namdapha in Arunachal
Pradesh, Mishmi Hills in
Nagaland, Dibru Saikhowa
in Assam among others,
figure prominently.
Northeast is after all
one of the hottest spots
of bio-diversity
flaunting the widest
range of birds and their
diverse habitats.
Pointing to Eaglenest
Wildlife Sanctuary
located in the forested
hills of Arunachal
between Bhutan, China
and Myanmar is today the
hottest new birding
destination.
The sanctuary shot into
international fame
following the discovery
of a new species —
“Bugun Liocichla”, by
Ramanna Athreya,
astrophysicist and
naturalist there. “The
bird named after the
Bugun Tribe, was the
first new bird species
to be discovered in
India in more than 50
years, bird tourism
picked up in the area
with the help of local
community”, experts
pointed out.
Talking to The Pioneer,
Dr Anwaruddin Choudhury,
eminent naturalist and
author of Birds of
Assam, conceded that
such practices referred
to as “tape lure” of
birds are being used to
bring out rarely sighted
species as Black
breasted Parrotbill,
Jerdon’s Babbler, Mishmi
Wren Babbler among
others from dense
vegetation.
Explaining the modus
operandi of the ploy,
“playback works best on
territorial avian
species during their
nesting season, when the
real bird thinks the
recording is a rival
threatening to encroach
on either its territory
or its mate. The
territorial male is then
likely to come out to
confront the intruder by
patrolling the edge of
its territory and
singing, or it may stay
silent and close to its
mate to guard her.
Playback can definitely
affect a species at any
time of the year, but
the response is most
dramatic during the
breeding season. This is
also the peak tourist
season and such activity
is likely to affect the
breeding pattern or
activities of the bird,
he felt.
Dr Asad Rahmani, bird
expert and Director of
Bombay Natural History
Society on the other
hand pointed out that if
this is used sparingly
and not rampantly, it is
not particularly
harmful.
Promoting bird tourism
is undoubtedly a
sustainable source of
livelihood amongst the
local communities as it
would desist them from
trapping or killing
them. Further, if done
frequently, birds too
would also recognise
these artificial calls
and stop responding.
“Though in BNHS we do
not allow playback
calls, it should be used
with conservation in
mind and not squarely to
promote tourism”, he
added. He also added
that sometimes this
enables the researchers
to ensure that a
particular rare species
continues to exist or
become extinct.
“There is no doubt that
playback of bird’s call
is one of the most
useful tools in a
birder’s struggle to see
birds in the wild”, felt
Piran Elavia, running
“Responsible Tourism”
Ventures in Northeast.
He pointed out that the
use of playback is
prohibited in certain
parks and sanctuaries.
It is, however, being
widely used by
researchers,
ornithologists, tourist
guides and bird watchers
are resorting to this
practice. Further,
exotic tourists who come
to these areas for bird
sighting undertake very
expensive tours — thus
it becomes imperative
for tourist guides to
make such birds visible
to them.
The Pioneer, 18th
April 2011
The Taj group of hotels today announced their foray into Jammu and Kashmir with the formal opening of the ‘Vivanta by Taj’. The “no smoking, no polythene” luxury hotel was inaugurated by Chief Minister Omar Abdullah.
Located on Kralsangri Hill overlooking the Dal Lake and Asia’s largest Tulip garden, the resort, spread over six acres, has 89 rooms and is designed to deliver a vibrant and contemporary experience to its customers.
Taj Hotels, Resorts and Palaces have entered into a management contract with SAIFCO Hill Crest Hotels, expanding its footprint in the state with the launch of the property in Kashmir.
“The establishment of Hotel Taj at picturesque site shall set example for other premier chain group of international hotels to follow the line as situation in the valley is gradually improving and consequently providing opportunities to the tourist industry to fill the tourism-oriented space quickly,” Chief Minister Omar Abdullah said at the inaugural function.
Union Minister for New and Renewable Energy Farooq Abdullah, besides other state ministers and officials of the state government, were also present on the occasion.
The Chief Minister
said the inauguration of
the hotel under the
umbrella of Vivanta has
proved that serious
efforts were being made
to strengthen the
tourist infrastructure
in the Valley by private
sectors as well.
The Tribune, 18th
April 2011
Nainital-based
environmentalist Ranjit
Bhargava, who belongs to
Lucknow and spends his
time between Uttar
Pradesh and Uttarakhand,
has made a strong plea
on the occasion of World
Heritage Day (April 18)
to the Government to set
up a suitable and
respectable monument at
the site of the
dilapidated tomb of
Begum Hazrat Mahal who
played an important role
in the first war of
independence in 1857.
Talking to The Pioneer
here on Sunday,
Dr.Bhargava said, “It
was a matter of deep
shame that India’s
political leadership has
no interest in
developing and
protecting India’s
heritage sites abroad
including the Indian
National Army Memorial
in Singapore, Begum
Hazrat Mahal’s tomb in
Nepal and Jim Corbett’s
tomb in Nyeri in Kenya.
But in the case of the
Begum’s tomb, we have
lost a diplomatic
initiative to Pakistan .
Earlier this year, my
friend, S.Ahmad, a
heritage worker and
educationist of Lucknow,
visited the site and
observed that some spade
work was in progress by
the Pakistan embassy in
I took up the issue with
the media and pointed
out Pakistan’s interest
in making a monument
there,” added
Dr.Bhargava.
“Do our diplomatic
missions abroad have no
concern for our national
pride? The Ministry of
External Affairs should
direct all our
diplomatic missions
abroad to locate Indian
heritage sites in their
countries of posting and
ensure that they take up
the issues relating to
preservation of these
sites with the host
Government and do the
needful thereafter and
report back,” said the
well-known
environmentalist who has
been working on this
issue and writing to the
Uttar Pradesh Government
about it frequently. He
has urged the Uttar
Pradesh Governor and
Chief Minister to take
up the issue urgently
with the Central
Government.
Says a shocked
Dr.Bhargava, “The tomb
is now in a broken down
condition, encroached on
the north by a
photocopier, on the
south by a stationery
shop and a water lifting
pump has been placed in
the east. Near the tomb,
garbage is littered all
over” Begum Hazrat Mahal
was the wife of the last
Tajdaar-e-Awadh, Wajid
Ali Shah.
The British had annexed
Oudh in 1856 and Wajid
Ali Shah was exiled to
Calcutta. But a year
later when the ‘mutiny’
began, the Begum who had
been divorced by the
Nawab long ago and was
living in Lucknow, led
the rebel soldiers
against the East India
Company. Begum Hazrat
Mahal placed her
14-year-old son Birjees
Qadr on the throne of
Awadh and she fought to
regain the territory
lost to the British. For
six months she defended
Lucknow from the British
army.
The people of Oudh
supported her and she
proclaimed independence
from the British rule.
She fought bravely and
had urged the rural folk
to take part in the war.
Alongside Nana Sahib,
Rani Laxmi Bai, Tatya
Tope, Bakht Khan and
Maulvi Ahmadullah, she
played a unique role in
the 1857 struggle.The
Begum was not only a
strategist but also
fought in the
battlefield. She had
rejected the offer to
accept a pension of Rs
12 lakh by British. When
her forces lost ground,
she fled Oudh and tried
to organise soldiers
again in other places.
She spent some time in
Terai also and
ultimately had to leave
for Nepal where despite
demands of British
Government asking for
her handover to face
trial, she was allowed
to live in the Himalayan
kingdom. The grave is in
an Imambara in
Kathmandu. Rana Jang
Bahadur who had given
refuge to the Begum and
her companions had
ordered the construction
of the grave.
Having been granted
asylum by the then-Prime
Minister, Jung Bahadur
Rana, by all accounts in
exchange for her
jewellery and treasures,
she is said to have
arrived in the valley
sometime in 1858, with a
small band of faithful
supporters. Some
narratives state that
the Rana rulers gave her
a palace to live, and
also provided a military
commission for her son.
The Pioneer, 18th April 2011
As Delhi gears up to celebrate World Heritage Day on Monday, a series of lectures and seminars being organized across the capital are aiming to bring people together to appreciate their city's rich heritage and understand Delhi's roots.
With over 1,200 heritage buildings in the city out of which 173 are under central protection of the Archaeological Survey of India (ASI) and about 50 more with the state government, Delhi is one of the most historically rich cities in the world and now even the state government is seriously contemplating sending a proposal to Unesco for getting Delhi a world heritage city tag. New laws to protect this rich heritage has seen its ups and downs, new bodies that are to be formed to look after Delhi's heritage are still in the pipeline but all heritage experts agree on one thing – Delhi's historical links can no longer be ignored and every citizen must take pride in preserving it for future generations.
Conservation of India's millennia-old cultural and architectural heritage will be the focus of the third Pupul Jayakar Memorial Lecture organised by the Indian National Trust for Art and Cultural Heritage (INTACH) here on Monday where heritage expert Prof. Deepak Nayyar, a professor of economics, will talk about 'Rethinking Heritage and Restoration: Discovering a Small Inheritance'.
The National Museum, meanwhile, is celebrating World Heritage Day with a lecture by Prof K V Thomas, Union Minister of State for Consumer Affairs, Food and Public Distribution. The Aga Khan Trust for Culture has chosen World Heritage Day to celebrate the life of Urdu poet Mirza Ghalib with an exhibition on poets of Hazrat Nizamuddin Basti, a film show, a play on the life of the Ghalib by Sair-e-Nizamuddin, a youth group of heritage volunteers from Hazrat Nizamuddin Basti, and Ghazal recital by the renowned Begum Muneer Khatoon at the the India International Centre.
"Mirza Ghalib's contribution to Hindustani culture and to the world's intangible heritage is phenomenal and we want to celebrate the sprit of World Heritage by celebrating the life of a cultural icon," said an official.
Plans are afoot by
both ASI and the state
archaeology department
to give a facelift to
the city's many
monuments and work is in
progress at sites like
Hauz Khas, Adilabad
Fort, Lodi Gardens, etc.
At the same time,
residents who live in
close proximity to
protected monuments are
struggling with the
recently passed Ancient
Monuments and
Archaeological Sites and
Remains (Amendment and
Validation) Act, 2010
wherein they are not
allowed to undergo even
minor constructions in
their homes unless they
get permission from a
proposed body called
National Monuments
Authority. Delays in the
setting up of this body
have led to rising
complaints of
unauthorised
constructions in the
city. A conservation
expert said the law has
led to a virtual
citizens' unrest in
several areas of Delhi
where residential
neighbourhoods have
sprung up within 100
metres.
The Times of
India, 18th April
2011
It was touted as the biggest public-private collaboration in Delhi between the Archaeological Survey of India (ASI) and the heritage conservation body, Indian National Trust for Art and Cultural Heritage (Intach), but an agreement between these two bodies to restore five protected monuments in Lodi Garden has hit rough waters.
After Intach and the ASI fell out over the quality of conservation work on the monuments, the work remained stalled for several months, and sources indicate that Intach has threatened to pull out of the agreement.
In 2009, Intach signed an MoU with ASI to conserve five monuments in phases with the funding of Rs 1 crore coming from Steel Authority of India (SAIL). In the first phase, Bara Gumbad, Shish Gumbad and Mohammed Shah's tomb were to be conserved and phase II consisted of Sikander Lodi's tomb and Athpula. However, while the project was meant to be completed in a year's time, it appears to be nowhere close to it. According to sources, ASI has held back on releasing funds through the national culture fund (NCF) as they were 'unsatisfied' with the quality of work undertaken on the monuments of phase I and found it to be 'sub-standard'.
Sources said ASI had released just Rs 25 lakh from the total budget and were reluctant in releasing more money. Meetings between ASI and Intach are yet to yield results. "We are following the ASI's policy of conservation to keep the monument as it is as far as possible, but unless more funds are released, we will be unable to continue with the project. We have successfully restored five monuments under the state archaeology department also in Lodi Garden so we fail to see what the problem here is. If ASI is not happy with something, we need to know what it is to resolve the problem and finish the project,'' said A G K Menon, convener of Intach Delhi Chapter.
ASI officials, on their part, continued to insist everything was normal and delays were procedural. "Yes, we have found some shortcomings in the Lodi Garden conservation project and this has been pointed out to Intach but they are committed to rectifying the problem and finishing the project. The craftsmanship was not upto the mark and there was no finesse in the work. It appears that proper precautions were not taken and there was lack of supervision. This has been communicated to Intach. They have asked for more funds to be released so they can start phase II and this should happen shortly,'' said A K Sinha, director (monuments) ASI.
Interestingly, this
is not the first time a
public-private
partnership with ASI has
had problems. Barring
Humayun's Tomb, other
NCF projects in Delhi
like Jantar Mantar and
Qutub Minar have also
failed to take off as
ASI could not see
eye-to-eye with
sponsoring bodies like
Park Hotel or Indian Oil
Corporation. "ASI
doesn't exactly
encourage public-private
partnerships as they are
reluctant to let go of
any control of the
monument and feel
sponsoring corporates
should not interfere
where funds should be
utilized in the monument
and how. Monetary
disputes led to a
falling out when IOC
wanted to adopt Qutub
Minar,'' said a source.
The ASI-Intach
collaboration for Lodi
Garden monuments was a
first where Intach had
been more involved in
conservation of
unprotected sites like
Mehrauli Archaeological
Park in the past and
lately working alongside
the state archaeology
department for upkeep of
over 90 monuments.
The Times of
India, 18th April
2011
Authorities hope that familiarising schoolgoers with the monuments around could augur well for the edifices "MAGNIFICENT MON UMENTS SET THE CITY APART FROM OTHER METROS."
While one is busy strut ting in the swanky malls, who spares a thought for the city's rich heritage and its splendid monuments? These glorious tombs hold a testimony of the magnificent bygone era and youth need to be told about the same.
Now Indian National Trust For Art and Cultural Heritage (INTACH) is hoping to bring the youth closer to their rich historical past. With the just launched initiative, "Adopt a Monument", they aim at helping students relate to the city monuments more "personally". "This is more of an awareness and conservation campaign for which we are joining hands with all the major schools in the city. These schools will organise trips for students to the nearby monuments. The students will spend some quality time there, and know more about the related history. With the help of the archaeology department, they will also take up tasks like cleaning or educating others about the monument. So, they surely will develop an attachment with the structure," explains A.G.K. Menon, Convenor, Delhi chapter, INTACH.
Kanika Singh of Delhi Heritage Walks agrees that with new modes of entertainment, heritage fails to catch fancy of the youth.
"Still, many school and college students join us for walks. We tell them that history is not only a way of looking at the past with pride, but also a way to visualise future," she says.
"I want to roam about, and know more about the his tory of the city where I was born. So, I hope this program makes for a fitting start for me," says Ayesha Bhatt, a student, who has grown up watching the ruins in her locality, Hauz Khas Village.
Niti Prashad, a Delhi-based teacher, has been working in the city for past eight years, and confesses that she is yet to see all the monuments here. "It's the presence of a these magnificent monuments that sets the city apart from other metros, but we don't have time to go and enrich ourselves," she says. "Tying up with schools is a good idea as both teachers and students will benefit from it," she adds.
Around 40 students from the city registered their participation in this just-launched program, informs Menon and adds, "Interestingly, not only the well off school, but also MCD students, have been made a part of this program, so art of this program, so that they get a feel of the culture."
Kanika, who is a
histo ry research
scholar adds that if
love for heritage
becomes a passion, and
they choose to pursue
their passion, it can
also become a good
career opportunity for
the youth.
The Asian Age, 18th April 2011
The Nizamuddin Basti, the centre of Hindustani culture for centuries, will soon come alive with qawwali performances in its authentic settings. In an effort to revive qawwali traditions and bring alive its roots in the Nizammudin Basti, the Aga Khan Trust for Culture (AKTC) is documenting and archiving qawwali traditions, and now also handpicking children from traditional qawwal families to train them to carry the tradition forward.
While preserving the dying qawwali tradition, the Trust hopes to simultaneously create spaces in the Nizamuddin Basti, like the Chaunsath Khamba, the Central Park opposite the MCD school and the Dargah, where regular performances can take place. As part of a cultural revival initiative called the ‘Aalam-e-Khusrau’, co-funded by the Ford Foundation, the Trust is facilitating public performances, discussions, research, archiving and documenting, research fellowships, scholarship programmes and multimedia exhibitions on Khusrau.
Since its beginning in the 13th-14th Century by the Sufi Saint Hazrat Nizamuddin Auliya in Ghiyaspur, qawwali is said to have been adapted in many situations and variations, but all of them display the distinct musical style and structure of the present-day qawwali. Amir Khusrau, the most beloved disciple of Hazrat Nizamuddin Auliya, supposedly created this style of music as a form of veneration.
Scholars, however, say the tradition is now dying out. Children in qawwal families are found to carry the tradition forward, but without any formal knowledge of music. To train them, AKTC is now in the process of hand-picking children from these families from the Nizamuddin Basti, Chitli Qabar in Old Delhi and Fatehpur Sikri. They will be sent to maestros in classical music for formal training.
Last year, the ‘Jashn-e-Khusrau’ programme included khanaqahi qawwali performances, poetry-reading, lectures and discussions on qawwali and Amir Khusrau, exhibitions depicting the world of Dargah Hazrat Nizamuddin and the Basti area urban renewal projects, as well as heritage walks through the settlement of the Hazrat Nizamuddin Basti.
A similar programme is being planned for 2012, when a travelling exhibition-cum-workshop will also travel to UP, Rajasthan, Punjab, and Jammu-Kashmir, where the AKTC is documenting and archiving the existing qawwali traditions.
The AKTC has also put forth a suggestion to the Ministry of Culture to set up an Amir Khusrau Resource Centre that can house books, manuscripts, illustrations, recordings and artifacts pertaining to Khusrau’s legacy.
The AKTC has proposed that the centre be located in the Nizamuddin area, while regular events can be organised at central locations like the India International Centre and monuments such as Chaunsath Khamba that will create an interface between performers and scholars to ensure that Khusrau’s legacy is carried on.
“Qawwali traditions initiated by Hazrat Amir Khusrau here in the Nizamuddin area in the 14th Century are as much our contribution to the world’s heritage as Humayun’s Tomb. Hopefully this programme will lead to the revival of the pure art and generate greater interest amongst the younger generation while giving the qawwals new performance venues and greater recognition,” Ratish Nanda, project director, AKTC, told Newsline.
“Nizamuddin Basti has
been the cradle of
Hindustani culture for
700 years and we hope to
revive it through these
programmes.”
Indian Express, 21st April 2011
16th century tomb in Sundar Nursery nursed back to its old grandeur by
It was history lost in the vagaries of nature. But now it’s being revived to its old grandeur. This 16th century tomb inside Sundar Nursery near the Humayun’s Tomb complex may resemble just another monument, but once inside you will hold your breath in awe.
The ornamental ceiling laden with exquisite floral patterns is awe-inspiring and gives you a glimpse of the exquisite architecture of the Persians. Heritage experts say this is comparable to a wall painting or reminiscent of Persian wooden ceilings and one of the most unique patterns found in the country.
The Mughal-period Sundarwala Burj is one of the nearly dozen monuments dotting the Sundar Nursery, which has been taken up for conservation by the Aga Khan Trust for Culture (AKTC) in collaboration with the Archaeological Survey of India and the central public works department (CPWD).
But its interiors laced with incised platter and bands of Quranic inscriptions is what sets this early 16th century monument apart. Skilled craftsmen took over eight months to reveal these patterns in floral and star-shaped designs on the ceiling and walls in the interiors of the burj. AKTC officials said while about 20% of the patterns had to be recreated by the craftsmen, the rest involved a massive cleaning job. This included removing centuries of soot deposits and dirt.
The project, which has been co-funded by the American Ambassador’s Fund for Cultural Preservation, commenced last September and is expected to take another few months. Officials said decades of water seepage from the dome and ceiling had led to some of the ornamentation being lost and remaining portions covered with deposits that require to be carefully cleaned to restore its glory.
“The architectural homogeneity, disfigured by successive coats of 20th century cement plaster and modern paints, had to be restored with a traditional lime plaster mixed with traditional ingredients such as marble dust, egg white, molasses, lentil, fruit pulp and brick dust. The conservation works were preceded by several scientific studies over a year, including a 3D laser scan documentation, to record the detailed patterns and an analysis of mortar samples” said Sangeeta Bais, conservation architect, Aga Khan Trust.
Added AKTC chief engineer Rajpal Singh: “It was important for us to save the ornamental ceiling from deterioration, the lime plaster on the dome forms a long lasting protective layer and since traditional materials such as gur and belgiri have been used, the patina will return with the monsoon.’’
Besides the interior
work, the exterior
façade of the structure
has also been given a
makeover with the usage
of lime plaster which,
conservationists said.
This will prevent
further decay by
limiting damage caused
by water seepage. AKTC
and CPWD are also
working towards
implementing a sensitive
landscaping of the
setting of the tomb and
are planning to connect
it via pathways with
Sundrwala Mahal, located
just a few feet away.
Historians say these two
monuments originally
stood within an
enclosure and entry was
through a lofty gateway.
RESTORING THE PAST
The 16th century
Sundarwala Burj is among
the earliest buildings
built during the Mughal
period in Delhi. It is
located in Sunder
Nursery opposite
Humayun’s Tomb. It is
known for its ornamental
ceiling with star
patterns and plant
motifs. Reminiscent of
Persian wooden ceilings.
Seepage on dome
disfigured ornamentation
and some portions are
covered with deposits
that need to be
carefully cleaned.
Architectural
homogeneity, disfigured
by successive coats of
cement plaster and
modern paints, needed to
be restored with
traditional lime plaster
mixed with traditional
ingredients such as
marble dust, egg white,
molasses, lentil, fruit
pulp and brick dust.
Conservation work
commenced in September
and is expected to be
completed before the
arrival of monsoon.
Times of India,
22nd April 2011
With the Supreme Court
on Friday lifting a stay
imposed by Madras High
Court on rules of
appointment of its
members, the National
Green Tribunal (NGT),
judicial body to deal
with environmental
issues, is expected to
start functioning from
May.
The apex court stayed
the high court’s order
and directed the
Ministry of Environment
& Forest (MoEF) to “keep
all rules and
regulations in place by
May 6” and inform the
Bench about its status,
so the body may start
functioning.
A Bench — comprising
Justices GS Singhvi and
AK Ganguly — also
indicated that even if
some deficiencies remain
in the rules, the court
would pass orders to the
effect that petitions
may be filed and interim
orders may be sought
from the green tribunal
with immediate effect
after May 7.
The Bench passed the
orders on a petition by
MoEF seeking transfer of
the case, challenging
rules for appointment of
members of National
Green Tribunal, from
Madras High Court to the
apex court.
The apex court had, on
December 16 last year,
directed the Centre to
appoint expert and
judicial members for the
tribunal and make NGT
functional in a month.
However, even as the
appointment process was
on, the Madras High
Court stayed the rules
for appointment of
judicial members of NGT
on a plea by a law
student, M Naveen Kumar.
Centre then sought
transfer of the case
from the high court to
the Supreme Court.
The Pioneer, 23rd April 2011
With its restoration plan yet to be implemented,this water body and another one close to it are experiencing environmental abuse
Plans for its
restoration were drawn
up amid much fanfare,
but without their
implementation, south
Delhis Neela Hauz has
got filled with weeds
and the adjoining Sanjay
Van jheel has become a
haven for mosquitoes.
Ironically, Sanjay Van
was the site chosen by
DDA to celebrate Earth
Day this
year.Schoolchildren, who
were taken on nature
trails, immediately
asked why the water in
the lake was so filthy
and frothy, a question
that officials hurried
to dodge. However, the
presence of pollutants
in the water is hard to
miss.
Sources say that
untreated sewage from
nearby colonies is
carried to the Yamuna
through Sanjay Van and
nearby Deer Park. The
sight of mosquito
breeding in this area
was scary. It is already
quite hot and while the
government will soon
launch a drive against
mosquito-related
diseases, nobody will
even think of Sanjay
Van. Fish that could
have eaten the mosquito
larvae are not even
present in the water due
to its high toxic
levels. The entire water
body is full of sewage,
said a resident of
Vasant Kunj, who
attended the Earth Day
celebrations on Friday
morning. Professor C R
Babu, professor emeritus
Delhi University, who
had drawn up the plans
for restoration of Neela
Hauz,said : Both Sanjay
Van lakes and Neela Hauz
are in a terrible
condition. At Sanjay
Van, the raw sewage has
ensured that there is no
wetland community left
there that can kill off
the mosquito larvae.
Neela Hauz is populated
with not just water
hyacinth but a new weed
of the Alternanth era
family that indicates
eutrothication
conversion of the site
into a terrestrial
eco-system. Neela Hauz
restoration should be
taken up before the
monsoon season and it
will take at least one
year before any signs of
improvement can be seen.
hose who visit the area
regularly say that
Sanjay Vans condition
can be improved much
sooner if only the
government directs the
raw sewage to a sewage
treatment plant. An STP
exists and all the
government has to do is
to ensure that sewage is
treated before it is
allowed to enter Sanjay
Van. This will show
immediate results and
one need not wait for
the restoration of Neela
Hauz, said Dr Surya
Prakash, a bird watcher.
He added: The poor
quality of water and
plastic and polythene
waste that dots the
water body is not just
odious but also
detrimental for
birds.Barely any
migratory birds come
here since there is no
food for them. The reed
bed provides an ideal
nesting ground for
weaver birds but they
also dont come here as
there is no food for
them. Black-Headed
Ibises, again very rare,
can be seen here but the
habitat is not
favourable for them and
they could be lost too.
While DDA gets the plan
cleared, Delhiites have
taken matters in their
own hands. Retd Air Vice
Marshal Vinod Rawat who
has been campaigning for
Sanjay Van for several
years, has involved
children in a drive to
reintroduce native
Aravali tree species in
the area. Over three
months we have planted
3,000 saplings. On
Friday, we specially
arranged for a native
variety called Khejri
and planted about 50 of
those. We are trying to
sensitize people to the
issue now and create
awareness about the
problems that plague it
at present, he said.
Times of India,
23rd April 2011
You can surprise yourself by walking the lanes of Rajasthan's only inhabited fort in Jaisalmer, says Nikki Utpaul after a visit
The dust storm was
blowing when I reached
Jaisalmer. Stepping out
of the safe confines of
my car, I struggled to
hold my shawl in place
and keep my eyes open. I
quickly moved towards a
shop nearby for cover.
It took all of five
minutes to settle down.
I brushed away tiny
grains that had settled
on my lashes and looked
up.
It seemed like an oasis
at first, the golden
fort. But its
magnificent solidity was
overwhelmingly real. The
gigantic walls that once
served their purpose
still stand tall and
strong as ever and the
domineering 99 bastions
that looked out for
their Maharawal (ruler)
and his people continue
to hold their place,
adding grandeur and
displaying a certain
nonchalance to
modernity. On closer
scrutiny, I found
numerous little windows
with colourful curtains
swaying out. Were there
inmates still? Could it
be for real?
It’s true, about 4,000
descendants of the
fort’s original keepers
still live inside. Call
it continuity of
tradition or a desperate
bid to cling on to their
living, the people here
have endowed the stone
with character. Perhaps,
the yellow sandstone
does not glow so much in
the sun as it does in
human warmth.
Back in time
From a tourist point of
view, it’s hard to
imagine that you too can
stay inside one of the
many hotels within the
complex. Yet when you
walk down the lanes of
the Jaisalmer fort with
a guide filling you up
on its history, it’s
difficult to hold your
thoughts from wandering
off to get a glimpse of
how life must have been
in the days of the
Maharawals. Only here we
didn’t have to be very
imaginative. For life
was at its glowing best
with people occupying
quarters, women going
about their household
work, children playing
on streets and business
functioning out of
little shops and spaces
that could in no way be
classified as
encroachment. They have
been living this way for
generations.
As if sensing a
question, Narendra, my
guide, told me that he,
too, is a proud owner of
one of the houses inside
the fort. According to
him, 4,000 families live
inside the premises of
the Sonar Qila, made
popular by Satyajit
Ray’s film of the same
name. “Many people have
converted their homes
into small guesthouses
and hotels that they let
out to tourists, mostly
foreigners,” he told me,
settling my curiosity
about the curtained
windows that I saw from
outside the fort.
At Akshay Pol, the first
gate of the fort, my eye
caught a signboard at a
shop selling handicrafts
and bedsheets — “Magic
bedsheet, no Viagra
needed.” Akshay Pol
incidentally is the main
shopping arcade for the
locals and also served
as the old square where
the crowds congregated
at some point or the
other. The scenario got
busier at Ganesh Pol.
More shops, cafes and
even more people, this
was one crowded,
throbbing knot of
enterprise. For
transport, there are
autos that the locals
use to commute within
and outside the fort.
Funny, how we find it
hard to imagine the
merger of different
eras. I didn’t need a
pen and paper to take
notes about how I felt
life must have been 800
years ago. Here it was
right in front of me,
like a fairytale or
should I say Amar Chitra
Katha?
Followers of the old
order
Residents of the fort
still stay in the areas
that were once allotted
to their communities.
So, it is the Brahmins
who still stay closest
to the main palace near
the Dussehra Chowk, the
spot that hosted many
celebrations and
festivals in earlier
days. The Jain community
mostly stays around the
Jain temples and take
care of the same. Like
preservers of a legacy
the royal clan passed on
to them, the people here
continue to abide by the
way of life that once
was and live in great
harmony.
They are equally
conscious about
preserving the beauty of
the fort and do their
best to keep alive
traditions. In keeping
with earlier diktats,
they have largely left
the exterior of their
houses the way it was in
the past. “We know we
have something other
forts do not and we
value it greatly,”
Narendra said with that
unmistakable pride
Rajasthan is known for.
As I walked down the
street, I came across
many people who shared
with me the stories of
their ancestors. And
almost every household
had a story of their own
experience with the
Rawals, who ruled this
town for centuries. For
more of preserved
history, there is the
heritage museum that the
main palace has been
converted into. I,
however, chose to stay
close to the living.
Living art and
revival of craft
The narrow lanes are
filled with small shops
selling hand-made items.
You can even shop for
beautifully crafted and
extremely colourful door
knobs along with the
numerous other
handicrafts that are
sold here. Leather
skilfully crafted into
bags, shoes, stools and
pencil boxes and
applique work on
bedspreads and wall
hangings are also much
in demand. Only take
care to put on your best
bargain face or you are
likely to get duped.
But if there was
something that pulled me
inside the houses of
locals, besides the
curiousity, it was the
desire to capture the
flavour of the era gone
by. On my way, I noticed
a house with Ganesh
painted on its exterior
wall with what appeared
to be a wedding
invitation. The names of
the bride and the groom
were written alongside
the date and an open
invitation to all.
Narendra told me that it
was customary for all
families to do so and
was considered
auspicious.
Inside too, the decor
was largely a reflection
of old Rajasthani
lifestyle. Even today
people prefer to dress
in traditional clothes
and eat traditional
meals, irrespective of
the fusion experiments
taking place in other
cities. The loyal janta
of the Sonar Qila will
forever reprise the
glory for its king. And
as the canon pointed at
the what is now the new
Jaisalmer, I sat down
and glared at the golden
sandstone houses of the
city staring at the
setting sun, only too
happy to get a taste of
life back when the
Maharawals called the
shots.
Getting there
By Rail Direct
trains are available
from Jaisalmer to
Jodhpur; Delhi via
Jodhpur-Jaipur-Alwar;
Bikaner and Jaipur.
By Road Deluxe
and ordinary buses of
Rajasthan Roadways ply
from Jaisalmer to
Jodhpur, Jaipur,
Bikaner, Barmer, Mount
Abu, Jalore, Ahmedabad
and other major Indian
cities. The bus stand is
located opposite the
railway station in
Jaisalmer.
More about the fort
Rajasthan’s second
oldest fort, Jaisalmer
Fort stands 250 ft high
with 99 bastions out of
which 92 were
constructed between 1633
and 1647. Even now the
wells inside the fort
are a regular water
source and nearly one
fourth of the city’s
people stay in it.
It is mainly accessed
through four gates and
has a number of
forbidding gates at the
entrance itself, leading
to the courtyard.
Vehicles are not allowed
beyond the courtyard.
The Raj Mahal, which was
a living house of the
royals, has now been
being converted as
Jaisalmer Fort Palace
Museum and Heritage
Centre. The main
attractions are the
intricately sculpted
walls and balconies. The
doorways connecting
rooms are quite low to
ensure that those who
walked the corridors
maintained a low stature
in front of the king and
his queens.
The Pioneer, 24th April 2011
Vishnu Bhatt’s narrative of the 1857 rebellion is part autobiography and part history, say Prafull Goradia and KR Phanda
1857: The Real Story of
the Great Uprising
Author: Vishnu
Bhatt (English
translation by Mrinal
Pande)
Publisher: Harper
Perennial
Price: Rs 250
The book, 1857: The
Real Story of the Great
Uprising, by Vishnu
Bhatt was written in
Marathi and published in
1907. Later, it was
independently translated
into Hindi by Amritlal
Nagar, a well-known
Hindi writer, and
Madhukar Upadhyaya, a
journalist. Mrinal Pande
now gives us an
elegantly translated
version of this volume
in English.
A large number of books
and articles have
already been published
on the 1857 uprising.
Both British and Indians
— Hindus and Muslims —
have written about the
causes that led to this
revolt and shook the
British Empire to its
roots. While British
authors regard the
upheaval as the “Great
Mutiny”, Indian
historians call it the
“Great War of
Independence”. In fact,
it was neither. It was a
revolt.
Bhatt’s narrative is
unique in more ways than
one. One, it is part
autobiography and part
history. Two, the write
up is based on what he
saw and heard from those
who had either
participated in the
event, or been witness
to the actual happenings
on the ground. Three, it
provides details about
the atrocities committed
by the British on even
those who didn’t
participate in the
uprising. Four, it tells
us how fellow princely
states collaborated with
the British against
native rulers who had
challenged the authority
of the East India
Company. Such details
are rarely available in
the history books
prescribed for
school/college students.
Pande has done an
excellent job in
providing the English
translation of the
uprising that changed
the future of India. It
was this event that
forced the British to
end the rule of the
company. Henceforth,
India became a colony of
the British crown.
Born in 1827, Bhatt
belonged to a poor
Brahmin family. He
decided to leave his
village in Alibagh
district of the then
Bombay province to earn
some money and repay the
huge debt that his
family had incurred in
the course of the
marriage of his brother
and sisters. Bhatt
commenced his journey in
1858. He was told that
the dowager queen of
Gwalior had decided to
conduct a yagna
in Mathura for which she
had earmarked a
substantial amount of
`7-8 lakh. Learned
Brahmins in Nagpur and
Poona had received
invitations to
participate. Bhatt also
decided to go to
Hindustan — this is how
the country was then
called beyond the
Vindhyas. Little did he
realise that he would
unwittingly become a
witness to the upheaval
that struck the country.
During the course of his
travel, which lasted for
three years, he stayed
in Gwalior, Kanpur,
Lucknow, Jhansi,
Bundelkhand, Kalpi,
etc.
Near the Mhow military
camp in Indore, Bhatt
heard about the
impending mutiny. He was
told that the British
had rejected the pleas
of the Indian sepoys not
to force them to load
the new Enfield rifle
with the new cartridges
greased with cow fat and
lard of the pigs.
Instead, the Governor
General invoked a
conclave of the rulers
of princely states and
asked them to follow a
set of 84 new and
inviolable rules. These,
among others, stipulated
that if one brother
became a Christian, he
would not be denied
share in the family
property; he would also
be free to reside in his
ancestral house; a Hindu
widow would be free to
remarry; she and her
children would not be
denied share in
ancestral property,
etc.
The rulers returned to
their respective
capitals, unhappy. The
sepoys, on their part,
resolved that Hindus and
Muslims would never
convert to another
religion. “Letters have
been surreptitiously
circulated to the effect
that, on the 10th of
June, when the
commanders summon us,
starting with the camp
at Meerut, all the
soldier brothers will
say thrice to their
commanding officers: ‘We
won’t accept the
cartridges, we won’t, we
won’t’. And if the White
men do not relent, they
shall be thrown out
bodily and all their
ammunition, guns and
monies will be
confiscated by the
native soldiers and
their army camps will
then be set on fire,”
Bhatt was told by an
Indian soldier.
While Bhatt was at
Gwalior, he heard
several stories about
the spread of mutiny.
There were speculations
about which side the
Maratha sardarswould
be on.
Lord Dalhousie, who was
Governor General between
1848 and 1956, had
pursued policies that
aimed at turning India
into Asian Britain. With
this objective in mind,
he introduced railways,
uniform postage and
electronic telegraph.
These measures,
according to Dalhousie,
were the three engines
of social improvement.
This is what had made
the Western nations what
they were. However, the
methods Dalhousie used
for acquiring further
territories for the
British went against the
country’s traditions. He
also violated the
treaties entered into
with the native rulers
by his predecessor, Lord
Wellesley. According to
the Doctrine of Lapse,
enunciated by Dalhousie,
any princely state or
territory under the
direct influence of the
East India Company would
be annexed if the ruler
was either “manifestly
incompetent or died
without a direct heir”.
This was first applied
in 1848 to Satara and
thereafter to six more
states, including Nagpur
and Jhansi. Also, he
applied the excuse of
“misrule” for the
annexation of Oudh in
1856. Even Nana Sahib
was dispossessed of his
pension.
KM Panikkar, a
well-known historian,
administrator and
diplomat, observes in
his book,
A Survey of Indian
History
(1947): “In spite of the
oppression, misrule and
obvious degeneration,
Oudh represented to the
Mussalmans of north
India the greatness of
Islamic rule. With its
annexation by the
British, the last
vestiges of Muslim
authority had vanished
and from Delhi to
Murshidabad Muslims felt
that their sun had
indeed set. As for the
Marathas, the great
Houses of Scindia and
Holkar still held vast
tracts of north India in
sovereignty. It was the
annexation of Satara,
Nagpur and Jhansi that
they felt irretrievable
blows to their prestige.
The two great peoples
(Hindus and Muslims),
who had lost the empire
of India, were in a
sullen mood and the
disaffection soon
manifested itself in an
open rebellion... Within
48 hours, Delhi had been
occupied and Bahadur
Shah proclaimed the
Emperor of India. The
whole of north India
(except Punjab),
especially the Gangetic
valley, threw off the
British yoke.”
The rulers of the states
who had suffered at the
hands of the British
took part in the revolt.
Bhatt tells us how the
Rani of Jhansi died
fighting the British.
The fate of other
rulers, big and small,
was no different. They
were either killed in
battle or hanged, if
caught alive. The
British, however, didn’t
only took their revenge
on the rulers; they also
reduced entire cities to
vast cremation grounds,
observes Bhatt..
Bhatt’s narrative gives
details of more than
half-a-dozen places
where the British had
let loose a reign of
terror during 1857-58.
Any such incident in
Europe would have turned
the entire area into a
centre of pilgrimage.
Not so in India. The new
Indian leadership,
ruling the country since
its independence in
1947, has done nothing
more than paying a lip
service to those who had
sacrificed their lives
in 1857. The only
explanation that can
justify this behaviour
is that Hindu leaders
mostly suffer from
slavish mentality or
what Austrian
psycho-analyst Chevalier
Leopold von
Sacher-Masoch calls
“Masochism”.
The Pioneer, 24th April 2011
If the Daniells painted 18th century India realistically, Italian photographer Antonio Martinelli’s recreation of these paintings is magical, writes Poonam Goel
When the uncle-nephew
team of Thomas and
William Daniell
travelled to the
innermost parts of 18th
century India in 1786 to
paint monuments,
landscapes and rural
life, little did they
know that the 144
aquatints they would
produce from their
nine-year-long sojourn
would centuries later
become the muse of a
modern photographer.
Italian photographer and
Indophile Antonio
Martinelli has retraced
their steps by visiting
those exact locations to
recreate Daniells’
painterly works in
photographs, as closely
as possible.
Seventy-three of these
selected aquatints with
their corresponding
photographs, culled from
the collection of
Victoria Memorial Hall
of Kolkata, are now on
view in an exhibition
titled ‘Oriental
Scenery: Yesterday &
Today’, at the Indira
Gandhi National Centre
for Arts in New Delhi
till June 30.
This is not Martinelli’s
first tryst with India
though. He has made as
many as thirty-four
trips to the country
since his first in 1972
and has authored six
books on India — the
most recent one being an
architectural overview
of Lucknow, which was
launched in Paris
recently. But the one
project that gets
Martinelli most excited
about is his love affair
with the India that the
Daniells recorded on
their return to England
in 1795. “I was
introduced to their work
in the 1980s when an
Indian friend, Princess
Naheed Mazharuddin Khan
of Surat, showed me
Mildred Archer’s book
dedicated to the
aquatints produced by
these two artists. Some
time later, I had the
chance to look closely
at the original 144
aquatints of their
‘Oriental Scenery’ in
the India Office Library
in London. The impact
that these hand-coloured
prints had upon me was
profound. I was totally
fascinated by their
magical, yet startlingly
realistic images of
India. When I learned
that the Daniells framed
their landscapes and
monuments with the help
of an artistic device
known as the camera
obscura, it made their
work comprehensible to
me since in many
respects it appeared to
anticipate photography.”
It was passion alone,
perhaps, that did not
deter Martinelli from
embarking on this
ambitious project. While
the Daniells had
travelled with a mini
entourage of nearly 50
people in a safer
environment, Martinelli
has had no such luxury.
Aided only by a driver
and an assistant from
Garhwal, Martinelli made
four trips during
1995-97 and managed to
locate and photograph,
barring only ten, all
the locations visited by
Daniells in their 144
aquatints.
“If I could not
photograph some ten
monuments, it was either
because they had totally
vanished, or because
they had been so
radically transformed
that they were no longer
recognisable. One by
one, the aquatints
divulged their secrets,
but sometimes only after
many days of walking
along the bed of a
mountain stream,
carefully approaching
the side of a mountain
or the turn of a road.
Eighteenth-century India
is still partly to be
discovered, like the
enchanted place of a
timeless land, barely
masked by some 200 years
of development,” says
the 53-year-old
Martinelli.
And what a discovery it
was. From Hindu temples
to majestic forts,
thundering waterfalls to
pristine river ghats,
Martinelli saw them all,
even keeping in mind the
season in which the
Daniells had visited
each place. And the
results are astonishing.
Strikingly similar to
the original structure,
and yet different in
perspective because of
the passage of time,
each of Martinelli’s
photographs tell a story
as evocative as the
aquatint it is
juxtaposed with.
So you have the ‘bare’
Benaras Ghats of 1780s
juxtaposed with the
banks now overflowing
with people, the grand
sweep of the Jama Masjid
steps in the aquatint
having been replaced by
encroachments in
Martinelli’s photograph
and the small crowning
pavilion atop the Qutub
Minar that has since
been demolished
disappearing from the
recent picture.
Besides Taj Mahal,
Jantar Mantar, Qutub
Minar and other popular
monuments, the show is
replete with lesser
known Hindu temples,
mosques and tombs as
well. “The Daniells were
interested in religious
architecture,”
Martinelli says.
Although he had research
from the British Library
(London) to guide him,
some of these monuments
were extremely difficult
to trace and
misidentification by the
Daniells certainly
didn’t help. For
instance, Martinelli
discovered that the
beautiful tomb of
Sultanganj, labelled by
the Daniells as the Tomb
of Sultan Purveiz,
prince Khusrao’s
step-brother, was
actually the tomb of his
sister Nithar begum. Or,
that the funeral complex
of Chainpur (Bahar) was
misidentified by the
artist duo as an Idgah.
Amongst the landscapes,
the Papanasam Waterfall
of Tamil Nadu is one of
Daniells’ most dramatic
views and is still
impressive in the modern
day picture, despite the
water being siphoned off
upstream. “The other
challenge, apart from
discovering these sites
which are still not on
any Indian guide book,
was to be as honest to
the original work as
possible,” says
Martinelli. Not an easy
feat as the Daniells had
the advantage of using
an optical instrument
called the Camera
Obscura for the original
sketches. The boxy
contraption was used to
achieve an inverted
reflection, the outlines
of which had to be
traced by hand for an
image. “They also took
several ‘artistic
liberties’ like changing
the scale or introducing
lighting while making
their aquatints, for a
better composition. They
planned to sell their
art and make money,”
laughs Martinelli, “I
however didn’t have the
option of changing
things. I was using the
modern camera.”
While Martinelli admits
he was pleased to find
that most of the
monuments have survived
the ravages of time, he
is quick to add a
cautionary footnote. “In
some places, I was
dismayed by the
haphazard conservation
work that has been done
to restore the
monuments. The Jantar
Mantar observatory in
Delhi is one such
example,” he says,
“cement that has been
used has spoiled the
original structure.”
In the Elephanta Caves,
the damage to the
shafts, as recorded by
the Daniells, has been
repaired with cement
too. The clearing of the
collapsed rock that
appears on the left side
of the aquatint revealed
a naturally-lit side
entrance. The renovation
has somehow now altered
that original look.
Apart from the
misgivings he has about
“conservation that has
in some places been
overdone”, Martinelli is
also concerned that
several of these ASI
protected and UNESCO
heritage monuments are
in the danger of facing
destruction.
“If care is not taken,
there will be nothing
left for the
photographers to shoot
after 200 years,” says
Martinelli. The
exhibition, one hopes,
will serve its dual
purpose, that of a
historical documentation
and a warning bell!
Deccan Herald, 24th April 2011
Treating photographs as documents, just as valuable as newspaper accounts and letters, presents both challenges and opportunities for historians, says Geraldine Forbes, as she reflects upon Indian history through photographs.
I
first began to look at
photographs because the
women I was interviewing
— participants in
India’s freedom struggle
— insisted I could learn
something about the
movement and their
involvement in it by
looking at images.
“Look,” one woman said
as she pointed to a
picture of a woman
picketing a cloth shop.
A few policemen and a
much larger crowd of
onlookers surrounded the
woman in the photograph.
My informant was right.
The photo captured
something about the mood
of the times that
journalists had missed.
This photograph
suggested that the male
onlookers, regardless of
their political
opinions, would have
attacked the police if
they had touched the
woman picketing. Other
stories women told me
when they showed me
their photographs were
more personal and helped
me understand their
participation more fully
than I could from
reading conventional
documents.
My interest is in
focusing attention on
photographs as
historical documents.
Historians rely heavily
on print documents such
as official records and
newspaper reports and
personal accounts found
in memoirs and
autobiographies, letters
and diaries. Treating
photographs as
documents, just as
valuable as newspaper
accounts and letters,
presents both challenges
and opportunities for
historians. Photographs
are a rich source for
women’s history and the
importance of context
for “reading”
photographs cannot be
stressed enough. I hope
to motivate readers to
treat their own
collections as
historical documents and
preserve them for their
families and the larger
project of writing
history.
Indians embraced
photography soon after
it was introduced to the
sub-continent in the
1840s. By the 1850s, men
in Bengal and Bombay
were joining
photographic societies,
opening studios, and
experimenting with and
exhibiting photographs.
Princes and rajas spent
lavishly on the newest
equipment, set up
private studios, and
developed new processes.
For some of these men,
photography was a status
symbol, for others it
was synonymous with
science, while others
found it an interesting
hobby. However, for all
of them, photography was
modern and by
patronising it they
joined forces with those
who looked to the future
and not the past. By the
end of the 19th century,
elite and middle class
families were creating
family albums.
The photographs I
collected were copied
from the collections of
families residing in
Kolkata and Mumbai. The
women whose photographs
I examined were born
between 1900 and 1910
and influenced by a wide
range of social and
political movements.
Their families were
middle class, urban and
professional, and
patronised photographic
studios and often took
their own photos. In
each case, I spent time
with women from these
families and listened to
their recollections
about their family
photographs.
Most collections
included women
photographed at the time
of marriage (1); with
their children (3); in
large family portraits;
and sometimes in old
age; In what I call
“progressive families” —
those interested in new
roles for women — there
were school and
graduation photos;
photos of girls with
their friends; and
images of women taking
part in social and
political activities. As
contemporary authors
have noted, family
collections are
notorious for their
omission of pain,
ill-health, discord, and
rupture. This was
certainly true of
families during the
colonial period.
Moreover, photographs
were considered so
serious that one rarely
finds people hamming it
up or posing for fun.
Standing out among
hundreds of conventional
family photographs are a
number that do not seem
to fit. Among these are
images of women engaged
in a wide range of
activities from riding
mules (6) to rowing
boats and driving cars
(5). There are also
photographs of women
posed in unusual attire,
where they literally
“let their hair down.”
I am especially
interested in what these
unusual images signify.
Do they speak to a new
sense of self and
women’s emerging
autonomy? Or, were these
women play-acting,
temporarily escaping
from conformity to norms
and values? Or, should
we see them as
representative of family
culture? Rather than
speaking to the issue of
autonomy, do these
photographs record
conformity to new family
values and patterns of
behaviour?
Space does not permit a
discussion of all these
unusual photos, so I
will select one to
analyse in terms of what
I know about the
photographs, the
socio-political context,
and the memories of
individuals(2). This
photograph of young
women wearing flying
helmets and standing in
front of an airplane
actually records a
non-event at the 1931
Karachi Congress. The
Civil Disobedience
Movement of 1930-31 was
significant in terms of
the number of women who
joined, demonstrated,
picketed, and went to
jail. Although women had
been visible politically
since 1917, when they
formed a delegation to
meet Lord Montagu and
asked for the vote,
their numbers were few
until 1930. The 1928
Congress session in
Calcutta, where young
women as well as young
men marched in uniform,
was the beginning of a
trend.
Young women, with more
opportunities for
education and a later
age of marriage, threw
themselves into the
movement. They would
prove, some of them
said, that they were as
brave and patriotic as
young men.
Significantly, many of
these young women
insisted on forming
their own organisations
and setting their own
agenda for
demonstrations and
picketing.
The 1931 Congress was
well financed and well
organised with plenty of
young women volunteers.
One of these was
Manmohini Zutshi
(1909-1994), the
daughter of Motilal
Nehru’s nephew and his
wife Lado Rani. Keenly
interested in the new
opportunities available
for women’s education,
Lado Rani in 1917 moved
with her four daughters
to Lahore. In Lahore,
she enrolled her
daughters in missionary
schools and arranged for
private music lessons
(4) while she learned to
ride a bicycle and
joined a women’s club.
After Motilal became
president of the Indian
National Congress in
1919, Lado Rani and her
daughters became staunch
supporters of the
freedom struggle.
Manmohini and her
sisters were among the
first girls in their
community to complete BA
and MA degrees (7).
Manmohini first attended
Kinnaird College, and
then took the unusual
step of joining the
Government College for
Men in Lahore. A skilled
debater, she took a keen
interest in student
affairs and joined the
Lahore Student Union,
becoming its first
female president in
1929. Although she
belonged to the Indian
National Congress and
called herself a
Gandhian, Manmohini
admired the
revolutionaries and
applauded their actions.
Following Gandhi’s Salt
March in 1930, Manmohini
organised protests,
demonstrated, courted
arrest, and was
sentenced to prison on
three separate
occasions.
At the 1931 Congress
meeting, Manmohini was a
minor celebrity,
beseeched by young women
and men for her
autograph and frequently
snapped by Brownie
cameras. When a young
man offered to drive her
and her friends to an
airstrip where a small
plane had landed, he
soon had a car full of
single women in their
late teens and early 20s
ready for an adventure.
The young women donned
helmets and prepared for
a flight that never
happened. However, the
fact there was no flight
is of little importance
compared to what this
photograph represents in
terms of female autonomy
in the early 1930s.
Gandhi’s initiatives
legitimated independent
political action by
young men and women that
made possible new
friendships and
adventures. At the same
time, these educated and
self-assured young women
gave the North Indian
movement a youthful,
self-confident and
glamorous image.
My example (2) is meant
as a caution against
“reading” photographs
without investigating
all the aspects one
would check if reading a
personal document such
as a letter, or in our
time, an email note.
Like emails, photographs
are frequently cropped,
edited, and forwarded
and it is difficult to
know which is the
original.
When we place these
unusual photographs
within the context of
the family collections
where they were found,
we find more conformity
and less rebellion than
a presentistic read
might yield. The women
who were photographed
riding camels, donkeys,
and bicycles; wearing
shorts and jodhpurs; and
letting their hair down
(8), belonged to
families that encouraged
female autonomy within
limits. The photographs
were not discarded,
judged too blurry or
over/ under exposed to
keep, but instead
preserved with those of
graduations, weddings,
and other significant
events.
These photographs
belonged to a time of
extraordinary
experimentation in
women’s roles throughout
the world. India was not
an exception to what was
happening in other
countries and the women
in these photographs
belonged to families
which saw themselves as
modern and patriotic.
The two were not viewed
as contradictory and the
fiercely patriotic Lado
Rani (riding the donkey)
sought out English
classes for her
daughters and then
argued with missionary
teachers over politics.
She encouraged her
daughters to pursue
their studies, become
political activists and
apply for jobs, but also
wanted them to marry and
have children. In many
cases, the autonomous
actions of these young
women received family
approval.
The value of these
photographs is in the
issues they raise, as
much as the clues (not
answers) they give, to
questions about women’s
autonomy,
representation,
modernity and family
culture. Many historians
have written about women
joining the Gandhian
movement in the 1930s
and concluded that the
nationalist movement
subsumed a nascent
feminist movement. But
focusing solely on the
dynamics of the
political movement
obfuscates what was
going on within
families. These
documents add a new
dimension to our
understanding of subtle
changes within families,
changes that are not
easily captured in
conventional records.
Deccan Herald,
24th April 2011
When I sipped the famous Darjeeling tea at a restaurant in the Grand Hotel in Kolkata, I hardly thought that I will have to write on a heritage site which played a vital role in bringing tea cultivation to our motherland.
A few kilometres away,
on the west bank of
River Hooghly, lies the
200-year-old garden
which was not only
instrumental in
introducing tea to
India, but also gave
India products like
cinnamon, clove, nutmeg,
cocoa, coffee, jute and
varieties of hemp and
flax.
Yes, we are talking
about the famous Indian
Botanic Garden in
Shibpur, Howrah, which
was renamed as Acharya
Jagadish Chandra Bose
Botanic Garden on June
25, 2009. British
scientist Joseph Dalton
Hooker once said about
this Botanic Garden,
“Amongst its greatest
triumphs may be
considered the
introduction of the tea
plant from China… which
led to the establishment
of tea trade in the
Himalayas and Assam.
This is almost entirely
the work of the
superintendents of the
gardens of Calcutta and
Seharunpore.”
It all happened in 1786,
when Colonel Robert Kyd,
an army officer with the
East India Company, was
permitted by the
authorities to develop a
garden with a nursery of
exotic spices brought
from South East Asia and
other parts of the
world. Thus, on the bank
of River Hooghly, about
313 acres of land was
transformed into the
Botanic Garden. Though
Colonel Robert Kyd had a
passion for trees, he
was not a botanist.
Hence, his initial
venture to plant rare
species failed. Most
plants didn’t survive,
but the seeds of his
will power were sown
deep inside the soil
washed by the sibilant
river and today the
garden stands proudly
flaunting its
one-and-a-half lakh
specimens of plants.
Kyd’s appeal to the
highest authorities of
the British Government
was timely. The famous
Royal Botanic Garden was
established in 1759 at
Kew near Richmond,
England. So the
permission for the
setting up of a similar
garden in Calcutta was
granted by the royal
authorities without much
hassle. In 1973, William
Roxburgh, an established
botanist, took charge of
the garden. Being a
professional and the
first full-time paid
superintendent of the
garden, he understood
that he couldn’t
preserve all the species
because of the sultry
weather of Gangetic
Bengal. So, he
established a huge
herbarium to preserve
the seeds or parts of
plants. With Rexburgh’s
appointment, the garden
got a new lease of life.
Under him worked another
enterprising man,
Christopher Smith, who
was sent by Roxburgh to
South East Asia to
collect seeds of nutmeg
and clove. Following his
request, the Court of
Directors of Royal
Botanic Garden at Kew
Garden sent seeds of
mahogany plant that they
acquired from the West
Indies. But, Roxburgh
will be remembered for
his success with the
Indian substitute of
hemp and flax. Though
jute was used for ages
in India, it was
extensively reproduced
and propagated under the
guidance of Roxburgh.
This was followed by
teak.
In 1823, Major Robert
Bruce sent some samples
of tea for preservation
and reproduction to the
garden from the Singpho
kings of Assam and
Arunachal Pradesh as
earlier efforts with the
Chinese variety was
repeatedly found
unsuccessful. By the
turn of the century,
Assam became the largest
tea producing state in
the world under the
ownership of the East
India Company.
After Roxburgh, who is
arguably considered the
father of Indian botany,
Francis Buchanan became
its superintendent and
his efforts enriched the
herbarium. He was
followed by Danish
surgeon Nathaniel
Wallich, Huge Falconer,
Thomas Thomson, Thomas
Anderson, C B Clark ,
Capt George King… And
the long list of
superintendents goes on.
Each of these
superintendents made
their own contribution
to the garden. In 1950,
during the tenure of
Kalipada Das, the garden
was renamed as the
Indian Botanic Garden
(IBG).
It was during the tenure
of Thomas Anderson that
Cinchona plant, from
which quinine is made,
came to India. He handed
its first seeds to his
able curator, Sir W J
Hooker, in 1861. Later,
he started the
experimental trial of
its cultivation at
Darjeeling and also
established the hills of
Mongpo as a place for
commercial cultivation
in 1864. Wallich donated
40 acres of land to
Bishop Middleton who
established the famous
Bengal Engineering
College at Shibpur.
The story of IBG will be
incomplete without the
mention of the
250-year-old ‘Great
Banyan Tree’. It was
there much before the
garden started
officially in 1786.
Today, it stands tall at
14428.44 sq metres and
the circumference of the
crown is more than one
kilometre with its
highest branch reaching
25 metres. The main
trunk was removed in
1925, as it got decayed.
With roughly 2,880
aerial roots, it looks
like a mini forest from
a distance.
Another captivating
sight worth mentioning
is the floating ‘water
lily’ which came to the
garden from Amazon River
via Kew Garden in 1873.
It looks like a giant
plate of 1.5 metre
diameter. The leaves
have a water-resistant
oily film and contain
numerous micro tubes
with air spaces to keep
it afloat. These float
in some of the 24 lakes
inside the garden. The
orchid house has a good
collection of exotic
orchids. The garden has
140 types of
bougainvillea, giant
bamboo Dendrocalamus
giganteus from South
East Asia and
Madagascar, world famous
Amherstia Nobilis or
trees of heaven from
Burma, Brownea coccinea
or mountain rose from
Venezuela,
multi-branched palm
Hyphaene thebaica from
Nile Valley, Egypt, the
biggest fruit producing
plant Lodoicea Maldivica
from Maldives, and
thousands of other
exotic plants.
But this paradisiacal
garden has lost its
sheen due to
administrative lacunae.
Theft, illegal tree
felling and sale,
intrusion of local
political toughs for all
the wrong reasons and
littering have been
reported in the recent
past. However, timely
intervention of the High
Court which acted upon a
PIL submitted by Subhas
Datta, a green lawyer
and activist, brought
some order. Even then, a
lot needs to be done to
preserve this beautiful
heritage site to
posterity.
Deccan Herald, 24th April 2011
A lot has been said and written about how our rich and varied heritage is being ignored or is falling into disrepair. In our pursuit of glamour and material success we, as a nation, seem to have lost any connection with our past. It is imperative that the younger generation learns about the achievements of its ancestors, be it in the scientific or cultural spheres. Only thus would a brand new Indian be born — one who straddles the world of traditions and the world of change and innovation, with equal felicity.
This is where programmes such as heritage walks can be of immense help. Visiting museums, monuments and other places of historical and cultural importance might engender in the youth a sense of pride for their country, India, and make them think twice about blindly aping the West. The need of the hour is to help preserve our glorious past so it is not lost to future generations.
- Yasmin Contractor, Principal
The heritage walk on the Qutub Minar trail was a welcome treat that students could avail of. In the serene and lush green atmosphere, students were transported to ancient, historical frontiers. Qutub Minar, the tallest minaret on Earth, was enticing,enchanting, educating and truly worthy of the time we spent there. The silent tower of victory stands indomitable, with memories inscribed on its soul as clear as crystal. The debris of red sandstone was used to build the minaret with its present hues. The iron pillar is a metallurgical wonder that has neither rusted nor corroded with heat, rain and thunder. The monuments and their splendid rudiments left an everlasting impression on students’ sentiments.
The Qutub Minar is a UNESCO world heritage site, and it stands proudly at 72.5 metres .
- Shalabh Chohan, Teacher
Delhi is the nerve centre of the most vibrant cultures in the world, and its monuments are an everlasting legacy etched in stone. The heritage walk organised by The Indian Express for the students of Summer Fields School was an enriching experience. As we walked into the Qutub Complex, the aura of our history enamoured us. The tour guide from INTACH took us around, sharing his in-depth knowledge about the monument. The development of architectural styles from Aybek to Tughlaq are quite evident in the minaret. The Qutub Minar comprises cylindrical shafts separated by balconies. It is made of red sandstone covered with intricate carvings and verses from the Quran. The foundations for the Qutab Minar and the Masjid adjacent to it were laid by Qutb-ud-din-Aibak. The complex was built on the remains of Lal Kot, an older Hindu city. The older civilization literally provided the material for the new one. In the courtyard of the mosque stands the famous Iron Pillar, which bears a Sanskrit inscription. The tomb of Itutmish is a plain square chamber of red sandstone, profusely carved with inscriptions and geometrical patterns. The whole of the interior with motifs, the wheel and tossels are reminiscent of Hindu designs. Some of the carvings are adopted from the Jataka Tales. As a whole, the complex is a fusion of architectural designs from different religions. The ASI (Archeological Survey of India) is responsible for the maintenance of this world heritage site. As responsible citizens of the country, it is our prime duty to encourage the identification, protection and preservation of our cultural and natural heritage. Heritage is our legacy from the past, what we live with today and what we pass on to the future generation.
- Sunita Patney, Teacher
We the students of Summer Fields School were brimming with excitement on March 29 as we went to visit the Qutub Minar. It is a tall and attractive monument that can be seen from most parts of the city. Mughals used to build victory towers to proclaim and celebrate victories. Qutab Minar is among the tallest and most famous towers in the world.The minaret is 234 feet high and the highest tower in the world. The Qutub Minar was completed in 1200 AD, and since then, it has stayed upright and forever keeping an eye on Delhi like a sentry. The Qutub Minar is a great masterpiece of Mughal architecture. It has a number of floors that have beautiful carvings, like the ones on the tomb of Iltutmish. There are inscriptions all over the tower and they reveal the identity of the builder. The wall is made in a way that it widens from the bottom just to make the minar stronger. Our guide from INTACH told us the minutest details and, by the time we departed from the site, we felt like young history scholars.
- Shagun, VI A
I am going to give a brief account of our visit to Qutub Minar . Last week, our school arranged a heritage walk for the students of Classs VI. Since it concerned monuments and was very much connected with our studies, we were all very excited. We went to the Qutub Minar in Delhi, which looks like a pillar from outside. On it, we saw inscriptions in Hindi-Arabic Style. Our teacher told us the monument related to both Hindus and Muslims. The floral designs and images of animals engraved on the stones exhibited the architectural essence of their workmanship. The designs spoke volumes about their architectural skills. It was built by Qutub-Udin-Aibak andd completed by Iltutmish. The trip to Qutub Minar was quite informative, and it made us aware about the rich cultural heritage of ancient India.
- B Anantha, VI-C
On March 29, the Indian Express organised a heritage walk to the Qutab Minar. It was an enthralling experience. Our tour guide informed us that UNESCO has declared the Qutub Minar as a world heritage site. It is notable for being one of the earliest and most prominent examples of Indo-Islamic architecture. It is surrounded by several other ancient and medieval structures and ruins, collectively known as the Qutub Complex. The structure is made up of red and buff sandstone. Qutb-ud-din Aybak, the first Muslim ruler of Delhi, commenced construction of the Qutub Minar in 1193, but could only complete its basement. His successor, Itutmish, added three more storeys and, in 1368, Firoz Shah Tughlaq constructed the fifth and the last storey. The workers working on different structures were from different religions and, hence, the architecture depicts the art from different religions.
The ASI (Archeological Survey of India) looks after the monument’s maintenance. To raise funds, an annual Qutub Cultural Festival is organised. Many Bollywood films have been picturised in this complex, which has added to the funds collected. The Indian Heritage attracts a large number of foreign tourists every year. Heritage is our wealth and it is our responsibility to take care of it.
- Unnati Jain, VI-C
Recently, Indian
Express organised a
Heritage walk to the
Qutub Minar.I was very
excited.When I stepped
out of bus, I saw a huge
gate. There was
magnificient structure
in front of me, known as
the Qutub Minar.There
was also a guide with
us. He told us that the
area around the Qutab
Minar is called Qutub
Complex. Work on the
Qutub Minar was started
by Qutab-Ud-In-Aibak and
completed by his
son-in-law, Iltutmish.
The guide told us that
it made of red
sandstone. It was a
great opportunity for
all the students to gain
some knowledge about the
rich heritage of our
country.
- Rahil Taneja, VI-C
The Indian Express, 25th April 2011Ornithologists, researchers and nature lovers from the northern region assembled here today to undertake the first-ever bird species count since Independence.
The exercise was part of the Shimla Bird Race organised by the Himachal Birds, an NGO founded by serving IPS officer and bird lover Somesh Goyal. Divided into eight teams, 40 participants from Chandigarh, Punjab, Haryana and Delhi toiled the whole day trekking up and down the hills, looking for the winged creatures in the thickets on the forest floor and the towering trees.
“It is indeed a unique experience for them and they feel that such events will go a long way creating awareness among the people about nature conservation” said Chandrima, a bird lover from Delhi, who covered the thickly wooded Glena and Vice-Regal Lodge area.
Somesh, who was part of the team which covered the Shoghi-Kusumpti belt, was very excited to notice that they came across 12 species which had not been recorded in the past.
He said there were around 100 species, including rare pheasants, koklass, kaleej and cheer, in and around the Shimla hills. The last comprehensive bird species lists were prepared by British men Frome and Hugh Whistler sometime before Independence.
All teams will meet in the evening, exchange notes and arrive at a final bird species count which will enable to know the exact bird status of the area.
According to Somesh, bird races are held to count the maximum number of birds on a single day in a particular city or area, but no such exercise had ever been carried out in Shimla all these years.
The exercise will provide a comprehensive bird list of Shimla birds which will be provided to the Forest and Tourism Departments.
The Himachal Birds has been actively promoting bird watching and conservation. It organised a photo exhibition here on March 20 to mark World Sparrow Day.
The Himachal Birds
has decided to institute
two annual awards of Rs
11,000 each for
outstanding contribution
by an individual and a
group in the field which
will be presented during
the Bio-Diversity Week
in October. Nominations
will be invited by the
end of August 2011 and
the final selection of
the winners will be over
by mid-September 2011.
The Tribune, 25th April 2011
A controversy is brewing
in Karnataka over the
allotment of over 400
acres of land to a
private firm to set up a
sugar mill in the newly
declared Biligiri Ranga
Temple (BRT) hills tiger
reserve in
Chamarajanagar district
by the State Government.
In what is seen as a
violation of
environmental norms, the
Karnataka Industrial
Area Development Board
(KIADB) has allotted 410
acres of land in
Modahalli in
Chamarajanagar district
which falls under eco
sensitive zone and comes
under both Tiger reserve
and an elephant
corridor.
A source in the Forest
Department told The
Pioneer that the
Government has gone
ahead to sanction 410
acres of land in Tiger
Reserve and an elephant
corridor to set up a
private Sugar mill which
destroys the pristine
ecosystem.
He said, “The Government
has sanctioned 410 acres
of land in the elephant
corridor and Tiger
reserve to set up a
sugar mill in the BRT
hill Tiger reserve. The
Government can’t allot
land in a Tiger
reserve”.
The State Government
created the tiger
reserve (359.1 sqkm) out
of the BRT Hills
Wildlife Sanctuary and
the Centre issued the
final notification for
the BRT Hills Tiger
Reserve on January 24
this year. This
newly-declared Biligiri
Rangana Temple (BRT)
Hills Tiger Reserve
adjoins the Bandipur
National Park in the
Western Ghats.
According to norms, no
commercial activity is
allowed in a 10 Km
radius of an
eco-sensitive zone of
any wildlife sanctuary
or animal reserve.
Forest Department
sources said the State
Government should have
also referred the
project to the State and
National wildlife Boards
for clearance. The
forest department has
informed the Tamil
Nadu-based Bannari Amman
Group not to commence
construction without the
approval of the boards.
Wildlife activists are
protesting this move and
want the Government to
withdraw the permission
to the project, as the
zone is important for
migration and survival
of endangered animals.
According to Praveen
Bhargav, member of
National Wildlife Board
and managing trustee of
Wildlife First, a
science driven
conservation
organisation that has
been focusing its effort
since 1995 to save
endangered species and
remnants of wildlife
habitats in Karnataka,
it was an “unmindful
act” by the Government
and would result in
further destruction of
the pristine
eco-corridor. He told
The Pioneer that this
act would certainly
disrupt the corridor and
lead to permanent
damage.
He said, “We must
protect our corridors.
In the absence of a
scientific land use
policy, we are
blundering along with a
myopic perspective that
does not factor in the
long term value of such
biodiversity rich
landscapes and natural
resources. This is going
to destroy an elephant
corridor along with
intruding in to the
tiger reserve”.
Chamarajanagar Deputy
Conservator of Forest
Ravishankar told The
Pioneer since the sugar
factory location falls
in the Tiger reserve,
the operators must
obtain necessary
clearance from the
concerned agencies.
He said, “The location
of the proposed sugar
factory falls in the
Tiger reserve. We have
asked them (sugar
factory management) to
take environmental
clearances.” According
to sources the State
Government had approved
the sugar mill project
in 2008 and gave
clearances in 2009 and
2010.
The Pioneer, 26th
April 2011
Surajpur Bird Sanctuary in Greater Noida, spread over 330 hectares, will soon have 52,000 additional plants of new varieties. Efforts are afoot to develop large green belts in the sanctuary.
All the new plants would be bird-friendly, sanctuary officials say.
The Greater Noida Authority (GNA) would spend Rs 60 crore to revamp the bird sanctuary.
A large number of existing plants have dried up so the need for replacing them with new plants of different varieties is urgent, say the officials.
The motive for this beautification of the sanctuary is to promote tourism in the area.
According to GNA officers, a new approach road has been built from Devla village to the sanctuary. About 300 notice boards and signages are being put up in the area for guiding the visitors about which birds could be viewed in which area.
In all, 11 lakes will be developed in different parts of the sanctuary.
In fact, some of the lakes have already been completed. Project co-ordinator of the World Wildlife Federation (WWF), (India) Asgar Nawab said Surajpur Bird Sanctuary was being developed over an area of 330 hectares.
As per a survey conducted by the WWF (India) and the forest department, birds of 133 different varieties along with 150 typesof cattle and wild animals are found in the sanctuary.
After the completion
of the project, Surajpur
Bird Sanctuary would
become a major
attraction for the
Delhi-NCR region,
claimed Greater Noida
Authority officials.
The Tribune, 26th
April 2011
A hitherto little noticed Sawai Man Singh Sanctuary has crowned itself with glory in the annals of tiger conservation in the post-Project Tiger era in the country by playing host to a new tiger family. The comparatively small — just 250 sq km — sanctuary, situated south of the much more famous Ranthambhore National Park (RNP), now takes the cake for the third known breeding ground for tigers in the wild in Rajasthan after RNP and Sariska Tiger Reserve.
Tigress T 8 was sighted with two cubs this weekend at Chiri Kho along Sawai Madhopur-Bundi Road. The feline, a migrant from RNP, has been staying in Sawai Man Singh Sanctuary -- not known to be a place favoured by tigers so far– for two to three years. “It is a breakthrough. Tiger breeding is crucial indication both in terms of habitat improvement and prey base. It is the result of good management practices,” said a jubilant Principal Chief Conservator of Forests, R. N. Mehrotra, talking to The Hindu on Monday.
“Breeding takes place at very few places in India. A new area in tiger breeding is a very positive sign, especially when it happens outside the Project Tiger area,” said Rajpal Singh, Member of the Rajasthan Board for Wildlife. “Good tiger breeding is taking place in Rajasthan despite prophets of doom who had predicted some time back that Ranthambhore would not have tiger cubs as the atmosphere was not conducive for breeding,” he pointed out.
“This has come as very encouraging news as we have been busy shifting forest villages out of Sawai Man Singh Sanctuary to get it ready for the proposed Rajiv Gandhi Biosphere Reserve,” Mr. Mehrotra informed. The inhabitants of two villages, Hingdwar and Kalibhat, are in the process of moving out of the area.
“The birth of cubs in the new area is also indicative that the degraded forests hold good potential. These forests can bring back the life cycle which existed earlier,” he asserted. The areas south of Ranthambhore showing a clear indication of regeneration of flora and fauna is also a sure sign that the present experiments are in the right direction. Though the report of an expert team which conducted a survey on the proposed biosphere reserve is to be ready only by May 15, the tribe of tigers flourishing beyond Ranthambhore is opening up a lot of probabilities in conservation initiatives in the Hadauti (Kota) region.
“The Ranthambhore tigers have reached the doorstep of Lakheri forests. In a year or two we will be regenerating Bundi forests as well,” a confidant Mr. Mehrotra affirmed. “As for the Rajiv Gandhi Biosphere Reserve, it will encompass an area of 2,000-2,500 sq km from Karauli to Jhalawar,” he said.
As for the frolicking
young tigers, Rajasthan
will have more of them.
“Rajasthan now has about
16-17 tiger cubs — the
maximum number in any
State. I am sure there
will be more in the next
three months,” Mr.
Rajpal Singh said
predicting a cat
population explosion in
the near future.
The Hindu, 26th April 2011
This book celebrates the presence of the divine even amidst the mundane and the material in our country. It showcases popular, devotional art in India and also metal icons, masks, sculptures, puppets, and ritual objects of divinities from this country as well as from Thailand, Nepal, Tibet, and Indonesia, as displayed in the Museum of Sacred Art, Radhadesh, Belgium.
REFRESHING
It is an effort to show
“how contemporary
artists continue to
create visual
representations of Hindu
divinities in new and
refreshing ways.”
Radhadesh being “a
spiritual community
belonging to the
International Society
for Krishna
Consciousness (ISKCON),”
it is only natural that
a majority of the
paintings in the book
should be on Lord
Krishna.
A separate section is devoted to the art of the Hare Krishna movement which was also influenced by Italian art and Russian artists. The clarity of photographs, especially that of the beautiful old castle where the museum is housed, is such as to transport the reader to the museum. Also included are brief biographies of the artists.
J. Bhagawati, Ambassador of India to Belgium, Luxembourg, and the EU, in his preface, mentions how the collection “reflects the rich multiple art forms of India.” In her foreword, Chistiane De Lauwer, Curator (South Asia), MAS/ Ethnographic Museum, Antwerp, says she was struck by the lack of knowledge in Belgium about one of the world's most ancient and rich cultures. So, she went on to study Indian art, language, and religion. The museum and catalogue grew out of the need to spread awareness on Indian spiritual art.
Unlike in the West, the genre of spiritual art is still vibrant in India, says Martin Gurvich, Director, Museum of Sacred Art, in his introduction. The museum's focus is on living art forms rather than historical pieces, and so most of the pieces are from the 20th and 21st centuries.
In her essay on the
“Living Traditions in
Indian Art: The Divine
Image,” Tryna Lyons
describes how spiritual
art is found everywhere
in the country and goes
on to speak of the art
and artists in various
regions. Among the
beautiful photographs
featured from the museum
collection are the ones
of Lord Krishna with
Radha, with gentle-eyed
cows, with the gopis on
the river bank.
Gold-leaf worked
paintings in the Tanjore
style and Mysore style;
the pichhavais (cloth
hangings) from
Nathadwara in Rajasthan;
paintings on cotton and
paper by artists such as
B.G. Sharma and Indra
Sharma; inlay work on
wood from Karnataka;
beautifully proportioned
bronzes of Tamil Nadu;
eye- catching Madhubani
paintings from Bihar;
and rod puppets from
Indonesia also find a
place. In all, a
catalogue that
compresses the essence
of the museum exhibits
and communicates the
spirit of popular and
contemporary Indian
spiritual art to the
West.
The Hindu, 26th
April 2011
To support the conservation and restoration of a 16th century Mughal-era tomb in Delhi, Germany has signed an agreement with the Aga Khan Trust for Culture (AKTC).
The Federal Ministry for Foreign Affairs is providing a huge financial grant over the next two years for the restoration and urban renewal of Chausath Khambha in Nizamuddin area.
German Ambassador to India Thomas Matussek and Project Director for the AKTC Ratish Nanda, signed the agreement. Also present was Michael Siebert, Deputy Commissioner of the German Year in India. "The German government is proud and honoured that we can give our humble contribution to the wonderful work that the Aga Khan Foundation is doing to preserve the rich cultural and spiritual heritage of this holy place," said Ambassador Matussek during the signing ceremony. During his visit in October 2010, German Foreign Minister Guido Westerwelle had pledged his ministry's support to the AKTC in conserving the Chausath Khambha complex.
The aim is not only to preserve an important cultural heritage site, but also to provide the local community with a space to hold large-scale events..
This year, Germany and India celebrate the 60th anniversary of diplomatic relations. Beginning in September 2011, a Year of Germany in India titled 'Germany and India 2011-2012: Infinite Opportunities' is being organised throughout India. The focus of the Year is 'CitySpaces' and will deal with all aspects of urban life and development. The Chausath Khambha is an important city space and will be featured prominently.
Ambassador Matussek added, "The German contribution is a not just a financial contribution, but also a very symbolic political contribution. When we start the Year of Germany in India this summer we hope some of the cultural activities can take place here to underline the importance of what we do together."
Chausath Khambha
is the tomb of Mirza
Aziz Kokaltash, the
great Mughal Emperor
Akbar's foster
brother. The tomb
was built in the
year 1623-24 A.D.
Conservation of
Chausath Khambha
will be undertaken
as part of the
Humayun's
Tomb-Sunder Nursery-Hazrat
Nizamuddin Basti
Urban Renewal
initiative, a
not-for-profit
Public Private
Partnership project
of the Aga Khan
Development Network
in partnership with
the Archaeological
Survey of India,
Municipal
Corporation of Delhi
and the Central
Public Works
Department. The
project is the first
of its kind to
combine conservation
with environmental
and socio-economic
development while
working with local
communities and
stakeholders.
Chausath Khambha is
so called on account
of the 64 columns
(Sixty four =
Chausath) of the
tomb structure. It
is a unique
structure built
entirely of marble
and, together with
the adjacent tomb of
Mirza Ghalib,
comprises the
largest open space
in Hazrat Nizamuddin
Basti.
The monument has
suffered severe
decay due to
excessive water
seepage. Now, the
conservation works
by AKTC will require
partial dismantling
of the tomb
structure and will
take 18 months to
complete. Past
repairs in nearly
every one of the 25
domed cells have
included cementing
the broken portions,
thereby causing
further damage.
Times of India,
29th April 2011
Relics of Copper Age, Mauryan period found on Banas river bank in Rajasthan
Findings depict the phase in north-western India when early metal tools had started appearing
The barely-literate grocer with a passion for history has made many discoveries over 20 years
In a major discovery, relics of the Copper Age and numismatics and tools of the Mauryan period have been unearthed from a big mound on the banks of the Banas river at Kumharia village in Rajasthan's Bhilwara district, promising to connect several missing links in ancient history.
Bundi-based amateur archaeologist Om Prakash Sharma alias Kukki discovered broken bowls of black and red ware pottery, mica-mixed earthenware with zigzag lines, terracotta toys and pieces of conch and shell bangles during his recent exploratory visit to Bhilwara. The rare findings depict the phase of civilisation in north-western India when early metal tools had started appearing.
Missing link
The vast tract along the
Banas river seems to be
hiding underneath the
artefacts dating back to
the prehistoric period
when the post-Rig Vedic
civilisation was
flourishing in the
region during the 12th
to 9th Century B.C.
Bagore village in
Bhilwara district has
already reported the
discovery of ancient
archaeological objects.
Copper Age tools were earlier found in Rajasthan at places such as Kalibanga in Hanumangarh district, Ahad in Udaipur and Namana in Bundi. Mr. Sharma told The Hindu from Bundi on Thursday that the baked reddish-brown clay toys found by him were mostly in the shape of bull with horns, and also depicted other animals.
“This entire region, spread over several kilometres, has layers after layers of ancient civilisations. If the sand mounds [in the region] are excavated in a systematic manner, traces of continuous human habitation for at least 4,000 years can be found here.” He said he stumbled upon the relics while trying to find evidence of Kumharia's connectivity with Bagore.
A barely literate grocer with a passion for history and archaeology, the 54-year-old has discovered rock paintings belonging to the Mesolithic-Chalcolithic age and objects and tools of the Copper age and Mauryan and post-Gupta period in the vast hilly tracts of Bundi, Kota and Bhilwara districts over the past two decades.
Another significant finding by him at Kumharia was the punch mark copper coins issued by the Mauryan dynasty between 321 B.C. and 185 B.C. They are in different shapes and sizes and have one or more symbols punched on them. Mr. Sharma said these symbols represented either the royal insignia or the mark of the local guild which struck the coins.
According to him, the mound also has traces of huge brick walls belonging to the Kushan period of the 1st to early 2nd century A.D. and the Gupta period which existed approximately from 320 A.D. to 550 A.D., covering much of the Indian subcontinent.
Appeal
Mr. Sharma has informed
the Archaeological
Survey of India and the
State Directorate of
Archaeology here about
his latest finds and
requested the
authorities to protect
the region from vandals
digging up the
archaeological heritage.
The expansion of
Kumharia village with
new constructions in the
area would lead to
“permanent loss of the
precious legacy”, he
said.
Mr. Sharma, who
was honoured for his
achievements in the
field of archaeology on
Republic Day here last
year, is also working on
a project sanctioned to
him by the Directorate
of Archaeology for
documentation of ancient
rock paintings in Bundi
district. There are
about 55 sites in Bundi
where the rock art
provides a glimpse of
flora and fauna of the
pre-historic era.
The Hindu, 29th
April 2011
The arrival of summer is always a time of celebration in cold regions. One such celebration is the annual Hemis Festival, held at the Hemis Gompa, the largest Buddhist monastery in Ladakh.
Whichever way you choose
to arrive in Leh, you
are assured of an
exciting and magical
journey. Leh is the
biggest city in the
Ladakh area of the state
of Jammu and Kashmir in
India’s northern
reaches. Surrounded by
the lofty Himalayas,
accessible only by one
of the highest roads in
the world or flight, Leh
sits at a breathtaking
altitude of 3524 metres
and was once a bustling
centre of the Trade
Route that wound along
the Indus River between
Tibet, India, Kashmir
and China. At times
during the almost 500-km
road trip to Ladakh, I
wondered if we were
closer to heaven than to
Leh! Clouds came down
and met the road at
points and great drifts
of snow banks lined the
road.
Passing over the second
highest road in the
world, I struggled for
breath in the thin
mountain air and as our
jeep wound its way
across the lofty
Himalayas, it seemed we
had entered a magical
kingdom.
There the Himalayas are
a riot of colour and
shape.
The landscape turned the
car window into a moving
picture postcard view of
a land with lofty
mou¬ntains coloured
turquoise, orange peaks
striped with slashes of
black and distant hills
coloured with the pastel
shades of spring growth,
tinted by passing
clouds.
While the majority of
India bakes in the
summer heat, the people
of Ladakh have only just
awakened from a long and
lonely winter.
The arrival of summer
there is always a time
of celebration. One such
celebration is the
annual Hemis Festival,
held at the Hemis Gompa,
the largest Buddhist
Monastery in Ladakh.
As the seat of
Indo-Tibetan culture,
Hemis monastery is home
to more than 500 monks
and plays host to
hundreds of people
during the time of the
festival.
The festival is
dedicated to the Guru
Padmasambhava, and the
festival is an
extravaganza of dance on
the day of his birth.
Arriving in Leh, I found
it difficult to tell if
I was gasping for the
beauty of this remote
kingdom or for the
effects of altitude.
Every step seemed to
take place in slow
motion and climbing a
flight of stairs felt
like the highest
mountain, it certainly
takes a few days to
adjust to the affects of
breathing such rarified
air.
The Hemis Monastery is
abuzz with excited
children when we arrive.
As the horns of the
monks ring out over the
valley inside the Gompa,
masked monks are dancing
in precise formation.
During the two-day
festival, marked by
prayers and the display
of an ancient thangka of
Guru, traditional dances
are performed by masked
monks.
Accompanied by cymbals,
drums and trumpets, the
dances are a portrayal
of triumph of good over
evil. All too soon, the
festival is over but it
seems I had saved the
best experience of
Ladakh till last.
Flying from Leh to
Delhi, you are above or
level with the
spectacular beauty of
the Himalayas, it takes
your breath away in
quite another way!
Deccan Herald,
29th April 2011
A surprise awaits all those who view Hyderabad only as a major seat of Muslim culture.
Archaeologists have
uncovered a huge brick
structure and a
massive-sized urn at
Kondapur, 25 km west of
Hyderabad, which they
claim indicate
conclusively the
existence of a
prosperous brahmanic
culture, more
particularly of the
Vedic period.
The year-long
excavations by the
Archeological Survey of
India (ASI) spread over
81 acres in this
satellite town abutting
the hi-tech city and the
IT corridor have thrown
up interesting features.
They comprise some brick
structures in the
western extreme of the
main mound, which
yielded authentic
evidence of a
non-Buddhist sect.
It is a vast complex
having a circular shrine
facing south with one
entrance and surrounded
by rectangular chambers
and fire altars – three
metres in depth having
37 courses of burnt
bricks of different
shapes -- triangular and
damaru-shaped -- behind
the chambers.
G Maheswari, ASI superintending
archaeologist, who led a
team of 15 members
including three students
from JNU and Central
University of Hyderabad,
said “the finding
represents the existence
of a brahmanic culture.
The fire altars yielded
significant evidence of
fire activities in them
along with full pots -
five in number (may be
kalasa) with stamped
impressions of a
trident, purnakalasa,”
she said.
The temple complex
yielded plenty of animal
bone fragments, perhaps
indicating sacrificial
rituals and pottery
articles such as bowls,
sprinklers, spouted
vessels and iron
implements like
spearheads and knives.
“In the same complex in
the vicinity of the
circular structure,
Lajja Gouri (Goddess of
fertility) and a few
cult objects made of
iron were found,”
Maheswari said.
The excavations indicate
that Kondapur was not
just a Buddhist site,
but pointed to a
religion with evidence
of the performance of
Vedic rites. “Till date
we have recorded 2,000
relics including
pottery, iron objects
and also other
antiquities,” the
archaelogist said.
The Kondapur excavations
will be closed by the
end of May.
Deccan Herald,
29th April 2011
Slender lorises, once aplenty in the Western Ghats, may soon become a rare sight. The reason: Bamboo groves, the natural habitat of the slim, small mammals, are drying up and dying, forcing the shy animals to find a new haven.
The loris is small
primate — about six to
10 inches, with a
vestigial tail. Its
round head is dominated
by two large, shiny,
saucer-like brown eyes,
close set. The eyes are
surrounded by large
dark-brown circles of
fur, much like the
pandas.
Natural to the Western
Ghats, lorises live in
bamboo groves and thorny
bushes to escape
predators, surviving on
insects and ants.
The animals with
strikingly large eyes
are harmless, but have
been victims of Nature’s
vicissitudes and the
depredations of
poachers.
The nocturnal primates
are found on the
Gajanur-Agumbe stretch
between Shimoga and
Tirthahalli.
Lorises are locally
known as ‘Chagalinwala’
as they consume Chagali,
an ant species that is
mostly found in bamboos.
About six inches long,
the loris moves slowly,
gripping twigs and
branches of trees with
its limbs.
They continue to prefer
to live in bamboo
groves, spurning the
large plantations of
acacia developed in
Malnad by the Mysore
Paper Mills.
Now, bamboo is facing
extinction, thanks to
the forest fires and
destruction of the
natural forest, forcing
lorises to find
alternatives homes.
That endeavour is beset
with dangers. Although
protected against
hunting as it is
included under Schedule
2 of the Indian Wildlife
Act, poachers are
superstitious about
lorises, and treat them
as harbingers of a poor
hunt.
As a result, most
poachers kill lorises.
Sadly enough, the Forest
Department does not seem
to be alive to the
plight of this cute
little animal, once a
symbol of the State’s
wildlife, but set to
become a memory soon.
Deccan Herald,
30th April 2011