Young Intach Explorer

Elephants are frequently being electrocuted in Orissa and the government has sought to fix live wires with Central funds not meant for such an exercise, a request questioned by Central officials as well as conservationists

Funds under the Compensatory Afforestation and Management and Planning Authority (CAMPA) are meant for conservation of wildlife and forests. The funds are collected in the first place from organisations, government or private, which have diverted forest land. The Orissa government has now proposed to use these to fix electrical lines because private power companies say they cannot afford it. The government has decided to urge the Ministry of Environment and Forests to clear Rs 20 crore from the state CAMPA fund.Orissa, which has almost 80 per cent of all elephants i

eastern India, has seen 110 of them killed by electrocution in the last 11 years

The Wildlife Society of Orissa, an NGO, surveyed low-hanging lines in Dhenkanal district, where a large number of elephants live, and found these sagging at 147 locations. A list was handed over to the government two months ago

Orissa’s four power distribution companies (WESCO, SOUTHCO, NESCO and CESU) have been citing lack of funds to repair the lines

Principal chief conservator of forests Priyanath Padhi told The Indian Express that a decision has been taken to request the MoEF for permission to use CAMPA funds, though he is not sure if it is a feasible idea. “As the energy department has said the distribution companies can’t repair the lines, we are thinking if we can use CAMPA for that. But the MoEF has to take the decision,” he said.

MoEF officials say it would be a bad idea. “We will soon take a decision on Orissa’s proposal, but using CAMPA funds for works of private power distribution companies would send out a wrong signal. Tomorrow the Railways might ask for CAMPA funds to prevent killing of elephants by speeding trains,” said an official in the CAMPA division

CAMPA funds comprise collections from industries and government organisations for diversion of forest areas to non-forest purposes. The core principle is that CAMPA funds would be given back to state governments for undertaking measures to conserve the forests and wildlife and to mitigate the impact of such diversions. Orissa got Rs 270 crore in 2009 and 2010 and is expected to get another Rs 250 crore this year

Members of the National Board of Wildlife have questioned the request. Former NBW member Belinda Wright, executive director of Wildlife Protection Society of India, said, “If CAMPA funds are essentially paybacks by corporates, how can it be given back to them? To benefit the environment you are taking on one hand. Handing over the same to those people to benefit wildlife and the environment would be wrong.

Another NBW member, Biswajit Mohanty, said if the MoEF gives approval, this would open the gates to all other private companies. “If the companies don’t have the money to repair their electricity lines, simply cancel their licences,” he said

The National Board of Wildlife is expected to meet in December to discuss the rise in elephant electrocutions in Orissa. Additional director general (wildlife) in the MoEF Jagdish Kishwan, also in charge of Project Elephant, said, “It’s sad. We are really concerned about the deaths and have written several letters to the Orissa government.

Indian Express, 1st December 2011

No alcohol, cigarettes and sex. No reading and writing. Even talking and praying not allowed . The regimen would drive most people to despair in a day but, surprisingly, it's finding more and more converts in the city. Part of the 10-day initiation into the Buddhist practice of Vipassana, the strict routine teaches people to selfobserve and understand their nature.

Experts say the quest for solace amid stressful routines is making people try not only Vipassana but other ancient Buddhist practices like Soka Gakkai as well.

It's a surprising resurgence for Buddhism in the country 2,500 years after its inception. "We run four centres in Delhi, and each month about 500 people enroll in the course. Two years ago, the figure was between 250 and 300," says Prem Chauhan, secretary, Vipassana Centre Dhamma Sota. Even youngsters are now drawn to it, he says.

"Vipassana is all about concentration , self-control and reining one's thoughts. And apart from breaks for breakfast, lunch, and evening tea, participants spend the rest of the day meditating," says Chauhan. For those who cannot cope with the rigours of Vipassana, Soka Gakkai is a less challenging alternative. Derived from Nichiren Buddhism of Japan, it involves chanting the mantra 'Nam-myohorenge-kyo ' and has over the years made its presence felt in Delhi.

"It's all about being in rhythm with the universe and worshipping the law of universe - what you give is what you get. You can't change the karma you were born with, but through chanting and changing your actions, you can reduce your negative karma," says Afsana Kapoor, who started chanting 14 years ago. "If I change as a person, everybody around me also changes," she adds.

Samara Mehra began chanting about 10 years ago, when her daughter fell ill during the class 12 board exams. "Before I started chanting, I had heard that Soka Gakkai is very empowering," she says. Mehra chanted for her daughter everyday through the boards - about one month - and even during each exam. "I would sit outside the centre and chant for the three hours that the exam lasted. She did very well and scored 85% overall," says Mehra.

Believers chant individually, in one-on-one sessions, in groups with other people, and once a month hold meetings where they share their experiences with each other. "We meet and talk about how chanting has helped us overcome difficult situations. It's about spreading happiness and giving each other support, especially when somebody is going through a tough time," says Kapoor.

It's a way of living, not a religion , she adds, so the question of religious conversion doesn't arise. "Along with chanting, I also read Gayatri Mantra and Bhagvada Gita. There are many Sikhs, Hindus, and Muslims who also chant," says Kapoor.

Jyoti Kumar started chanting back in 2000, and over the years her faith has remained steady. "Chanting is about self-empowerment , and not about worshipping deities With chanting, I can feel the strength within me to overcome obstacles," she says.

Freelance stylist Mitali Anand had a similar ex perience. "I started chanting be cause of financial troubles, and al though they didn't disappear, gained the strength to take them in my stride," she says.

Many others neither chant nor meditate but consciously integrate the tenets of Buddhism - to refrain from lying, stealing and intoxica tion; to show compassion for other beings; to live a life of moderation - into their daily lives.

"Buddhism is growing as a faith in every stra tum, because people are looking for a way out from the stress they face It's not a blind faith - you have to reason before taking action - and I think people are drawn to it be cause it's based purely on logic," says Ashok Wangdi, trustee, Asoka Mission.

Priya Arora, 26, says Buddhism helped her cope with the pressures of her job as a marketing execu tive. "By the end of the day I would feel mentally and physically drained. A few months ago I start ed reading a simple book on the teachings of Buddha, and by fol lowing those principles I have be gun to feel more at peace than ever before," she says.

Times of India, 1st December 2011

To mark 100 years of Delhi, a nine-day food festival ‘Dilli ke Pakwan’ — from December 3 to 11 — will have century-old vending outlets in the Capital rustling up authentic street food and delicacies. The festival will have emporium hub, Baba Kharak Singh Marg, coming alive with food stalls, cultural programmes and traditional handicraft stalls

The nine-day fest organised by the Delhi Tourism promises to give Delhiites a taste of the intangible heritage of the city. The décor of the place is being meticulously planned, officials said. The emporiums and the trees dotting the street will all be lit up and as visitors walk in, 100 chairs — symbolic of the 100 years of Delhi— will be lined up at the entrance. Old film posters depicting scene from yesteryear Delhi will also be put up to create an old world charm

Managing Director, Delhi Tourism, GG Saxena told Newsline, “The traditional food of Delhi is inextricably linked to the intangible heritage of the city and in an effort to showcase this, the nine-day food festival will have some of the century-old outlets — mostly from Chandni Chowk — offering authentic street food and other delicacies unique to Delhi. On the occasion of Delhi’s centenary year, this festival will be a treat for tourists as well as Delhiites.

Delhi Tourism has been in talks with several vendors who have been specialists in street food and delicacies for over a century now. Some of the vendors who have confirmed to take part in the fest so far are Ghantewala halwai and Daulat ki chaat, two vendors from Paranthewali Gali, Bikanerwala. There will be stalls of traditional Indian fast food and Mughlai delicacies.

Stalls with traditional handicrafts will also be set up and artisans will hold demonstrations on pottery and bangle-making. Mehendi artists, sketch makers and artists who specialise in rice engravings will also set up stalls. The street will be abuzz with cultural shows, folk dance and music performances all day. Officials said that Wizcraft, an event management group, has been roped in to organise the shows

The celebrations, right before Delhi turns 100 on December 12, will help in creating awareness about Delhi’s heritage. “As Delhi prepares to apply for UNESCO’s Heritage City tag, such events will help in showcasing and celebrating the intangible heritage of the city,” Saxena sa

Indian Express, 1st December 2011

SGreater Flamingos, which fly thousands of miles from Siberia to breed in the warm marshes of the Khadir region in Kutch, are landing into a death trap. In the past 10 days, at least 400 of these graceful birds have been electrocuted by high tension cables near their breeding grounds.

D K Sharma, chief conservator of forests, admitted to at least 130 deaths, but locals and ornithologists have been recording much higher numbers. The flamingoes have landed in record numbers this year, with one estimate putting their strength at five lakh, the highest ever.

Experts said the deaths were taking place at night, when the birds disturbed by passing vehicles would fly straight into the wires. The 220-400 kilowatt cables can kill a human being instantly.

Bharat Jethawa, census coordinator for Asian Water Birds, said, "It is difficult to estimate the number of deaths, but I saw dead flamingos at three or four places during a recent visit."

This is the second instance of mass electrocution of the birds in Gujarat this year. In June, a large number of flamingoes were similarly killed in Bhavnagar. The dead birds became an easy meal for stray dogs in the area.

Experts said the problem had grown in recent years. In their recently published study titled 'Flamingo mortality due to collision with high tension electric wires in Gujarat', ornithologists Anika Tere and B M Parasharya mapped seven sites in Kutch, Bhavnagar and Jamnagar where high tension cables run close to flamingo sites.

Jugal Tiwari of the Centre for Desert and Ocean said birds of prey like harriers also contribute to the deaths by creating a flutter in flamingo colonies, leading to the birds flying into the cables.

"I have suggested that the cables should be insulated with rubber coating to protect the birds," Tiwari said.

The forest department has written to the state government's energy department, asking for the cables to be either insulated or put underground at places where they run close to flamingo breeding grounds.

Times of India, 1st December 2011

Jessica Douglas Home has curated an exhibition of pictures her grandmom had shot on her extensive travels through the Indian subcontinent. Ektaa Malikreports

It’s been an eventful 100 years since she was last here. She was 23 in the autumn of 1911 and at that age, she witnessed history being made. She was perhaps impressed by the regal splendour or the sheer magnanimity of the event happening in front of her, but she was hooked. As a result, she took copious notes, photographed what she thought was important, little knowing that she would be documenting history for generations to come

Lilah Wingfeild had travelled to Delhi for the Royal Durbar and witnessed George V being crowned the emperor of India, and saw the first makings of what we today see as “Lutyen’s Delhi”

What could have been a better homecoming for the young Anglo-Irish beauty — to be brought back to this land that captivated her, by her own granddaughter Jessica Douglas Home. Jessica, a known biographer and artist, has brought back the India that her grandmother saw. She has curated this exhibition using the pictures that Lilah Wingfeild had shot on her extensive travels through the Indian subcontinent. Jessica brings to us her own personal heritage which she inherited from her grandmother

Lilah’s pictures depict a Delhi that was just about to take off. The “Tented City” as she calls it, or better known as Camp, with its conical white tents, own system of telegraphs, railways and transport system. A miniature kingdom in the heart of a bustling empire. The canvas metropolis for 2,50,000 visitors but the city was soon dismantled after the King departed

The pictures bring to fore the two main attractions — the military might and the grandeur of the princely states. Both these things were known to be pledged in fealty to the crown. The manner in which royal military welcomed the King and Queen would have left any British Lord awed. The week-long preliminary festivities took an almost climactic turn on December 12, the day when the King was crowned as the Emperor of India. The royal pavilion flanked by soldiers from every possible corps of India

The exhibition also showcases the various other places that Lilah had travelled to. It’s a different India. An India where she sat on the ground near Khyber Pass and had her meals. The rough terrain some how poetically complementing the fair maiden

The Imperial Hotel in New Delhi serves as the perfect place to stage this “the second Homecoming” for Lilah Wingfeild. With its rich historical past and regal surroundings, Lilah would be happy to be back here, with her granddaughter for company

The Pioneer, 1st December 2011

Lilah Wingfield, 23, an Earl’s daughter arrived in Delhi in late November 1911 to attend the Royal Durbar to mark the shifting of the Capital of British India from Calcutta to Delhi.

She took pictures with her Kodak — on display at The Imperial till Thursday — of 13-year-old boysrecently made Maharajas, staid British royals, ceremonial elephants, a 25-square-mile Tent City, monumental ruins, and, most of all, the occasion that it gave Delhi’s new masters to size up their subjects. And vice versa

The young aristocrat, as the pictures show, did the royal trail well. Her favourite photograph “was the one she took of the 13-year-old Maharaja Sumer of Jodhpur in his carriage during the State Entry — 7th December 1911. They had become friends on the ship to India — he waved to her from his carriage,” says her granddaughter and artist Jessica Douglas-Home, who is in Delhi for the centenary celebration

The princesses were at that time off-bounds, “but she did become a good friend of the Begum of Bhopal”. The city Lilah saw has changed, but places like the Chandni Chowk, notes Douglas-Home retain the similarity. “But many of the ancient palaces, monuments, beautiful temples have been blocked by new housing.”

Hindustan Times, 1st December 2011

Chief Election Commissioner Dr. S. Y. Quraishi narrates the story of Old Delhi at a lecture organised by INTACH

“Kanmailiya”, “saqqa”, “tongawallah”, “warq beaters” and calligraphy are words slowly fading away from the dictionary of Delhi, but Purani Dilli-wallasstill remember how these and several other things were an integral part of the traditions of Old Delhi

ETIQUETT
“Eating with a spoon was looked down upon, and not considered good etiquette. In fact, people would not wipe their hands after washing them because it was believed that impurities from the cloth would enter the food,” said Chief Election Commissioner S. Y. Quraishi, sharing similar existing and forgotten traditions of Old Delhi

He was speaking at a public lecture on “Old Delhi: Living Traditions” organised by the Indian National Trust for Art and Cultural Heritage (INTACH) as part of its campaign for nomination of Delhi to UNESCO's list of World Heritage cities. Dr. Quraishi, whose family has been living in Delhi for around 500 years, narrated the story of Delhi as a “personal account”. He spoke about traditions and practices that have been preserved by the city despite the changes in its appearance

He spoke about the markets, food, culture, language, professions and mingling of cultures that is still evident in Shahjahanabad, Nizamuddin and Mehrauli

Beginning with the marketplaces of Old Delhi, he said that most continue to deal in the same wares as they did years ago. “Dariba was a real scene of culture, not just a market…Khari Baoli was and still is the largest wholesale spice market in Asia, Chawri Bazar is for wholesale paper, Darya Ganj for medical equipment and book publishing, Urdu Bazar is famous for its street food, Nai Sarak for books and stationery, even though some sari trading shops have come up in recent times,” said Dr. Quraishi

He also mentioned the fading and some extinct traditions like “saqqa”, who would distribute cool water in sheepskin, “kanmailiya” or ear cleaner, who was extremely important for travellers who would want their ears cleaned of dust and sand accumulated along the way

“Poetry was a full time profession,” said Dr. Quraishi, reciting poetry of greats like Mir Taqi Mir and Ghalib, who belonged to Delhi. “Poetry was, in fact, not confined only to the poets. Hawkers, “saqqa”, “dhobi”, everyone indulged in some form of poetry. More importantly, it was not a preserve of the Muslims alone,” he added. He also spoke about the Urdu language, which was an integral part of the culture of the city

Dr. Quraishi also brought out the “mingling and closeness of communities” in Old Delhi. “Monuments of five religions stand shoulder in Old Delhi,” he said. The Digambar Jain Temple, which is the “oldest Jain temple in Delhi”, the Gauri Shankar Temple, Sis Ganj Gurdwara, Sunehri Masjid and the Central Baptist Church, are testimony to unity that has existed in the city since centuries

DIVERSE FESTIVAL
The diverse festivals celebrated in the Walled City, and the famous Old Delhi food which is still sought after, was also mentioned. Dr. Quraishi agreed that the Delhi Metro had helped put Old Delhi back on the culture map of Delhi, especially the variety of food available in the by-lanes

He also spoke about the “tehzeeb” and culture that people took pride in. “The“ugaldaan”, “paandaan” or spittoon, which people carried with them were a far cry from the present day situation, where every several walls in the city seem to be splashed with “paan” stains,” he added.
The CEC then spoke about the sports and recreational activities that Old Delhi-wallahs indulged in, some of which are still practised, while others like“chaupar”, animal fights, “kabootarbaazi” (pigeon fighting) are slowly dying out

He ended the talk by taking the audience through pictures of the Anglo-Arabic School where he had studied, the original building of St. Stephen's College, the Hardayal Library (which was renamed from Hardinge Library), Ghalib's house in Ballimaran and Old Delhi railway station, which despite being an architectural “eyesore”, is still an essential part of Old Delhi

The Hindu, 1st December 2011

The holy city of Amritsar (meaning pond of nectar), derived its name from the sarovar that surrounds the beautiful Golden Temple.

The town, which can undoubtedly be mistaken for a dusty small city by first-time visitors, is amongst the most popular pilgrim centres for Sikhs. Not only does it attract the local Indian travellers but it is certainly a part of the ‘places to visit’ list of foreign tourists also.

The sense of purity that one experiences inside the gurudwara premises is unforgettable. The magnificent Golden Temple and other gurudwaras situated in various corners of this small town gives it an apt name — Guru ki nagari.

This historic city was once known as Ramdaspur after the name of the fourth Sikh Guru who founded the city. In 1947, after the Partition, the state of Punjab was one of the worst hit areas and was divided into parts out of which few went to Pakistan and the rest remained with India making Amritsar a border city.

Amritsar is a mix of old heritage and recently developed township areas. As soon as the name of the city comes into one’s mind, what people are reminded of is the world heritage site of Harminder Sahib. The clean water, the pure surroundings and the beautiful carvings on the top of the main hall are most attractive features of the gurudwara.

Though the Golden Temple is certainly the most striking feature for the tourists, a first-time visitor can explore many other interesting things too.

Amritsar is a good idea for a weekend getaway as it is easily accessible both by railways and airway. You just need a couple of days and you can surely see new places, eat traditional Punjabi dhaba cuisine and shop a lot.

Apart from Harminder Sahib, the other sacred place in the city is Mata ka Mandir, a must-visit for tourists seeking religious experiences. This place has small tunnels and caves that one needs to go through to reach the main place of worship. It is believed that women who want to get pregnant come here to pray for their future.

The other important temple is the Durgiana temple named after goddess Durga and its structure is similar to the Golden Temple. Some people even call it a replica of the Sikh gurudwara.

A place of historical and patriotic interest is the Jallianwala Bagh. The massacre hit park looks like just another garden but has a lot of patriotic value. The wall with bullet marks, the well where people jumped to save their lives, the museum and memorial offer glimpses of the struggle that our forfathers went through to give us a free country.

Another important place that tourists love is the Indo-Pak Wagah border. It is just about 5 km from Attari, which is the last Indian station for the Samjhauta Express. This is the main border between the two countries and is just about a few kilometres from the main city. Hired taxis take passengers to the border in the evening when a special drill takes place at sunset by the border guards of both countries. People from both sides come to see the drill and the atmosphere is filled with patriotism. The retreat ceremony at the border is a must watch.

Amritsar is a combination of good food, great tourist places and not to forget, traditional Punjabi outfits and juttis. A weekend in the city can surely be a rejuvenating break.

The Asian Age, 2nd Dec 2011

The rare book, Views in the Himala Mountains, that captures the legendary James Baillie Fraser's expedition to become the first ever European to reach the Gangotri, has now been reproduced in its entirety. By Ektaa Malik

James went on to be the first ever European to cross the Jumna and the Bhagirathi Valleys and reach the Gangotri — the legendary source of the Ganges, very mythical in its appeal.

Mountains have a sense of comfort about them. They stand sturdy, solid to the touch. They stand tall conversing with the skies, in defiant splendour. In India, their importance is of epic proportions. Many peaks in the Himalayan Range are said to be the abode of the gods. It’s no wonder that many have tried to scale these peaks, enchanted by the challenge or just fascinated by the journey.

It was the year 1815 when two brothers set out to explore these stately environs. James Baillie Fraser hailed from Scotland, and after trying his hand unsuccessfully at trade in Guyana, he came to India. He tried business here but finally gave in to wander lust, his true calling. He travelled to Delhi, to meet his brother William, whom he had not met for 16 years. At that time, William Fraser had been appointed a political agent with the British Forces for the war with the Ghurkhas.

After the War ended the two brothers embarked on a sojourn, disguised, wearing the clothes of the local Ghurkhas to unveil the world of the snow capped peaks and find out where the mighty Ganges originated from. In the middle of the expedition, William was called back for his official duties. But James carried on. He travelled with his sketchbook in hand, capturing the changing topography. The acute observations made by James Frazer later served to be the stepping stones to cartography in Asia.

The paintings and sketches of James Frazer are life like in detail. James went on to be the first ever European to cross the Jumna and the Bhagirathi Valleys and reach the Gangotri — the legendary source of the Ganges, very mythical in its appeal. His paintings and sketches recreate the mystique that’s tantamount to the Himalayas. The illustrations succeed in transporting one back almost 250 years.

The paintings not just render a vivid sight of mountain scenery, but also showcase glimpses of mountain life and culture prevalent in the Himalayan region. A lone semi clad ascetic stands on the banks of a river, his hands folded as he pays his respects to the life giving river. The colours range from the golden red hue of the sky at sunrise, to the pearly blue of a gurgling stream. Every aquatint has a fragile, ethereal feel to it. Maybe it is, for the world that existed 200 ago is now no longer present.

These extensive travels and explorations then resulted in the glorious volume titled Views in the Himala Mountains published in the year 1820 by Rodwell and Martin, London. This volume contained 20 of the most captivating hand coloured engravings by James Fazer and W Havell, an artist from Calcutta who was roped in by Frazer to engrave the illustrations for the book. The book is now a collectible item, and till date remains one of the most noteworthy works to be ever done on the Himalayas.

Views in the Himala Mountains is now reproduced in its entirety, in the original format with additional text from Robert Hutchinson, an expert on the said region. While a foreword comes from William Dalrymple.

The book is now available again, and was launched at the Imperial Hotel by Dr. Karan Singh in the National Capital. Speaking at the launch, William Dalrymple highlighted the relationship that the two brothers had with India. “They broke all stereotypes of colonial rule in India. William was a scholar of Persian, and a great friend of Ghalib’s. James painted India as he saw it, and fell in love with it. Both the brothers did not eat meat, and did not drink alcohol; such was the impact of this country and culture on them,” says the celebrated author.

Elaborating on the contribution of the Frazer Brothers, Robert Hutchinson says “The two brothers made the discovery of Gangotri, and all they had in the name of equipment was a small compass. The works of James Frazer set the tone for the further explorations Indian temples. It’s Frazer who first describe Lakhamandal and the Temple of Bheem in his works. James’s amateurism was perfectly accurate .The sketches are a precise account of his many travels”.

Some of these paintings have been a part of the rich heritage collection that is present in the Imperial Hotel. These paintings are now also part of the reproduced volume of the book. The works of James Baillie Frazer are still on display at The Imperial adding to its rich aura that’s seeped in history.

The Pioneer, 2nd Dec 2011

At first glance, a pork-fat eating contest and a vintage World War II motor rally do not seem to belong together. But visit Nagaland during the first week of December, and you might just catch all this and more at the ongoing 11th edition of the annual Hornbill festival at the Kisama village near Kohima.

The weeklong festival kicked off on Thursday with all the 16 tribes of the state coming together to showcase their art and culture. A new attraction to this year's edition is the Literature Festival, which will feature books on Nagaland and books written by Nagas. The festival is named after a bird that is revered by the Naga community as a whole.

With the lifting of tourist restrictions of Protected Area Permit this year, more tourists are expected to visit the insurgency-hit state. The festival budget too was increased by Rs.50 lakhs and is now Rs. 2 crore. "We have seen a rise of about 10% in the number of tourists we get every year. Last year we had more than 10,000 tourists during the Hornbill week," says I. Himato Zhimomi, commissioner and secretary, Nagaland.

An average seven events every day cover a range of activities like greased-pole climbing competitions, chilli-eating contests, cultural performances, rock concerts and also a film festival. A "Night-Bazaar" concludes the events of each day. "Morungs" or dormitories/hostels of each tribe have set up enclosures and stalls with houses and machaans made of bamboo in the Kisama village - each reflecting the style of living of that tribe.

The Times of India, 2nd Dec 2011

The Cabinet Committee on Economic Affairs on Thursday gave the green signal to the proposed third phase of cleaning the 22-km stretch of Yamuna river passing through Delhi. The Japan International Cooperation Agency (JICA)-assisted Yamuna Action Plan (YAP) Phase III project in Delhi was approved under the Centrally sponsored scheme of National River Conservation Plan at an estimated cost of Rs 1,656 crore.

The project will be implemented on 85:15 cost sharing basis between the Government of India and the Government of NCT of Delhi for a period of 7 years. Under the YAP III, it is proposed to rehabilitate the damaged trunk sewers to maximise utilisation of the available sewage treatment capacity with the Delhi Jal Board (DJB) and modernise its Sewage Treatment Plants (STPs) in three catchment areas of Delhi, namely Okhla, Kondli and Rithala.

“The project includes construction of a new state-of-the-art STP in place of old 136 MLD STP at Okhla and equip them with tertiary-level treatment facilities to achieve treated effluent quality of 10 mg/1 for Biochemical Oxygen Demand (BOD) and Total Suspended Solids (TSS) so as to improve the water quality of river Yamuna,” a statement issued by the Government said on Thursday. The project will be implemented by the DJB under the supervision of the Department of Urban Development, Delhi government.

The Indian Express, 2nd Dec 2011

Kazhugumalai, rife with Jain sculptures, is a treasured document to the existence of an ancient unique culture. Shubashree Desikan

It is not every day that you get a chance to spend a leisurely afternoon in a place steeped in history, art, architecture and lore.

My visit to Kazhugumalai with a group of artists was one such rare, prized coming together of the above factors. Kazhugumalai is not more than 25 km from Kovilpatti in Thoothukudi district of Tamil Nadu. The object of focus in this town is a rocky hill with a large number of Jain sculptures on top and an eighth century Pandya temple, Vettuvankoil, situated halfway up the hill.

At the approach to the hill was a bridge over a canal. During the monsoon, water would flow over the bridge and the whole area would be green, but that day, in September, the sun was gloriously up and the smooth hill glowed, striped and daunting like rock tigers. Steep steps had been cut that went right up to the top. We took the other, circuitous route that went first to Vettuvankovil and then sloped more gently upwards.

Pandya architecture
The similarity between Ellora rock temple and Vettuvankovil, carved out of the rockface in the hill, has been remarked upon. Yet, on reflective examination, Vettuvankovil testifies to the excellence and originality of Pandya architecture.

A careful study of the vimana shows many differences. Shiva is shown playing an udukkai or drum, and not with a veena as in the former. Perumal, or Vishnu, is shown with Chandra and Surya on either side, with the latter accompanied by the consorts. A traditional pattern is followed with respect to the direction faced by these gods, for instance Shiva faces east. Also, the three-tier structure, with eight sculptures in the first tier is typical of Pandya architecture. The Pillayarpatti temple and the one at Tirupparankundram are Pandya temples built in this style.

There is a story told of a father and son, sculptors working on this temple. The father was sculpting the rock at the top, while the son who was sitting at the bottom of the hill, listened to the sound of the chisel travelling downwards and following it, made a sculpture that was of extraordinary beauty.

Lore has it that the father slew the son in a fit of jealousy, thereby giving the temple its name, Vettuvankovil, “temple of the one who cut”. Bloodcurdling, but that is the way of folklore.

We then followed the pathway to the top of the hill where a beautiful banyan tree casts its shadow over a row of Jain tirtankaras, frozen in time.

Setting a date on sculptures is a very tricky job and depends much on the interpretation of history. A deep insight into the culture and times is required. According to Pa Ramachandran, sculptor and scholar in Asiatic studies, the Kazhugumalai Jain sculptures must have been sculpted during 8-10 century CE. The statues of Parsvanatha and Adinatha, which are similar to the work in Vettuvankovil, must have been built during the time of Pandya ruler Parantaka Nedunjadaiyan in the eighth century and the rest, over a period of time in the ninth and tenth centuries, during the time of Parantaka Viranarayanan.

Kazhugumalai is also important because it holds many inscriptions that shed light on the prevalence of Jainism in the Pandya country. There is a belief that Jainism was rooted out from the Tamil country in the sixth century by Saivism and was revived much later on by the digamber saints who came from North India. However, the Kazhugumalai sculptures bear evidence that it continued to exist in the Pandya regions in the 8th to 10th centuries.

Religious harmony
The proximity and diversity of the Jain sculptures and Vettuvankovil show that the two religions may have coexisted, while still not interfering with each other. Also, the indigenous and independent nature of this religion is evidenced by inscriptions that state that there were many women teachers and saints. This is not practice in the form which came from the North at a later period. So the Kazhugumalai site is a treasured historical document to the existence of a whole unique culture.

We spent about four hours there. A family came to pray at the Ayyanar temple erected there. As we feasted on ragi stew, which one of our friends had brought, using the fallen leaves of the banyan as plates, the family collected some firewood and made up a stove on which they cooked pongal to offer their deity. It was an experience that would stay in our minds until much later.

The Hindu, 4th Dec 2011

On December 10,1934, unfamiliar patterns, hues and styles of Indian art met the condescending eyes of the West for the first time at the London Art Exhibition at New Burlington Galleries, with around 500 works by artists like VS Adurkar and Mukul Dey, among others. “Hindu art,” noted one British art critic, “is almost wholly conventional in form and expression and beautiful in spirit, but it naturally became wearisome to Western eyes by repetition, sentimentality, distortion of form and monotonous colour.” Typical of that era, the patronising attitude of the West helped little. The exhibition, nevertheless, made a significant mark in the history of Britain. “The arrival of Indian art in Britain showed that Indian art could be seen from an aesthetic point of view, rather than simply as an anthropological study,” points out Susheila Nasta, principal investigator of the extensively researched project “Beyond the Frame: India in Britain, 1858-1950”, that focuses on the long, yet little-known, history of India’sontribution to the UK, in the form of art, sports, politics, literature, army and so on.

A collaborative effort of the British Council, UK’s The Open University and National Archives of India, “Beyond the Frame” is a compilation of articles, photographs and letters. “The project centers around socio-political, cultural and intellectual contributions that Indians made to Britain during this period, which is also known for the largest Asian migration to Britain,” says Nasta. Penny Brook, Lead Curator of the India Office Records in London, adds, “This is possibly the first time that material from National Archives of India and British Library has been compiled.” The display in the exhibition is divided into sections like ‘arts and intellectual life’, ‘sports’ and ‘activism and politics’, among others. While one can see heavy influences of intricate art of Gwalior, Khajuraho and Konarak in the1910-11 drawings of the British sculptor Jacob Epstein, information on Indians occupying high posts in Britain is also available in form of official records and photographs. Twenty-four-year-old Abdul Karim, for instance, was Queen Victoria’s secretary and adviser. The early 1920s saw Indian dancer Uday Shankar — inspired by Ajanta caves for his performances — partner with Russian ballerina Anna Pavlova at the Royal Opera House in London. British kitchen also saw significant influences, especially through Mulk Raj Anand’s book Curries and other Indian dishes (1932), and BBC radio’s Indian broadcaster, Venu Chitale, who offered Indian cookery lessons. “The fact that Indians brought with them multiple visions of modernity is interesting,” says Nasta. She points out that several discoveries were made while researching for the exhibition. When English poet, Wilfred Owen died in 1918, tucked in his pocket was a paper penned with verses of Rabindranath Tagore’s Geetanjali. The page is now on display at the British Council.

The exhibition at the British Council and National Archives is on till December 5 and 30, respectively.

The Indian Express, 4th Dec 2011

Bouncing in an auto-scooter on the pot-holed roads of the purana shahar of Hyderabad, inhaling thick black exhaust fumes while arguing with the paan-spitting driver about what he wanted to charge, I wondered: what would bring a firangi back, again and again and again, to this place?

Jean-Baptiste Tavernier (1605-89) is a little different from the other firangis I have written about in this series. He was a firangi in the literal sense – a French visitor to India. But unlike Thomas Coryate, Augustin Hunarmand, or Thomas Stephens, he didn’t die here. What he did do, however, was to keep coming back, as the title of his celebrated travel narrative The Six Voyages of Jean-Baptiste Tavernier (1676) makes clear. In particular, he kept coming back to Golconda, the kingdom in the Deccan ruled by the Qutb Shahi dynasty. I visited Hyderabad, the Golconda capital founded by Muhammad Quli Qutb Shah in 1591, to find out why.

Like Tavernier, I am a serial visitor to India. But in an age of jet airliners, luxury hotels, and air-conditioned cars, travel means for me something quite different from what it meant for Tavernier. We tend to associate travel with a welcome respite from the rigours of work. But the original meaning of “travel,” derived from “travail” and the French verb “travailler” (to work), tells a different story.

In the seventeenth century, one had to work particularly hard – and at substantial risk to one’s life – to reach India from Europe. If you took the long sea route (as did Stephens), you faced the possibility of shipwreck, piracy, and scurvy. If you travelled overland on the Silk Route (as did Coryate and Hunarmand), you were likely to encounter bandits and all manner of deadly illnesses. And in India itself, you had to reckon with intense heat on top of everything else. To travel once from Europe to India, and live to tell the tale, meant you were lucky. To travel half a dozen times meant you were mad – or driven by a passion bordering on love.

Jean-Baptiste Tavernier caught the travel bug early: he probably inherited it from his father, a Protestant refugee from Antwerp who mesmerised his son with absorbing tales about faraway lands. In his teens, Tavernier roamed around Europe, but he hungered to see more exotic places. Between 1631 and 1633, he journeyed to Asia, getting only as far as Isfahan in Persia before returning to Paris. His next journey was from 1638 until 1643, during which he visited Golconda for the first time. Upon returning to France, he stayed only a few months. His third voyage, from 1643 to 1649, took him all the way to Java, with lengthy stays again in Golconda. His subsequent trips (1651-55, 1657-62 and 1664-68) also featured Golconda prominently in their itineraries.

The author donned Hyderabadi aristocratic attire for a photo-op at the Chowmahalla Palace. Tavernier would have approved

So what kept bringing Tavernier back to the Deccan?
The obvious answer is heera: diamonds. Golconda was famous for its diamond mines; virtually every major diamond at the time – including the Koh-i-Noor – is supposed to have come from them. The mines may be fallow now, but to this day Hyderabad remains a clearing house for precious jewels and pearls, available in the throng of bangle stores in the old city’s Laad Bazaar. Tavernier was fascinated by the size of the Golconda diamonds, which he describes at length in his travel narrative. The profit motive certainly loomed large for him: the money he made from selling Golconda diamonds to both Mughal and European kings not only helped bankroll his ourneys but also made him fabulously wealthy. He was, by the 1660s, rich enough to buy a castle in Switzerland, and the French King Louis appointed him a baron.

Yet the prospect of financial gain was clearly not the only reason that Tavernier kept coming back to Golconda. With the capital he amassed, he could have easily paid middle-men to do the dangerous work of travelling to India and purchasing diamonds. Something else must have kept tugging him back. A quick look at his biography suggests another possibility: in the 1660s, by which time Tavernier was in his late fifties, he was still a bachelor, against the will of his family. Indeed, one wonders if the short durations of his stays at “home” in Paris were prompted by family pressure on him to marry; every time a potential bride was brought for his inspection, he seems to have been on the next boat or caravan to India. Did business take precedence over romance? Or did he have a love in Golconda?

Tavernier doesn’t mention love in his writings. But he demonstrates a surprising amount of knowledge about the prostitutes and courtesans of Hyderabad. He notes, without any hint of moral condemnation, that the city boasts an unusually high number of “public women” – 20,000 by his reckoning. And he is impressed by how they ply their trade in concert with toddy-retailers, who get potential customers in the mood for love. At first glance, the Hyderabad of 2011 could not be more different. In this city where Shi’a is the dominant Muslim sect, there are few traces of “public women.” But there are countless women in public: although many are clad in full black chador and hijab, they shop unfettered in the streets of the old city. To this extent, they are in the tradition of their seventeenth-century ancestors, who – as another French visitor, Jean de Thevenot, observed in 1666 – moved through town with “great Liberty.” Maybe Tavernier was attracted, temperamentally and even sexually, to this liberty.

Item girl? In an extraordinary painting by Nicolas de Largillère, Tavernier looks more like a languorous Bollywood item girl than a rugged traveller

Or maybe it wasn’t Hyderabad’s women but its men who attracted him. Tavernier makes a point of saying that “All the people of GOLCONDA, both men and women, are well proportioned, of good stature, and of fair countenance.” This is no mere ethnographic observation: he seems to have spent a lot of time looking at Indian men, their bodies, and how they comported themselves. He was particularly fascinated by the sumptuous dress of rich Indian gentlemen; after receiving from a Mughal aristocrat a gift of khil’at (clothes as a token of imperial favour), he insisted on wearing turban and flowing robes everywhere he went – as depicted by Nicolas de Largillère in an extraordinary painting where Tavernier looks more like a languorous Bollywood item girl than a rugged traveller. With my travelling companion, I too donned Hyderabadi aristocratic attire for a photo-op at the Chowmahalla Palace (the former abode of the Nizams). Tavernier would surely have approved. And asked me where I got my necklaces.

Tavernier did finally marry, between journeys in 1663. But within a year he had fled for yet another trip to India. Whether or not he had another love interest in Golconda, he seems by this time to have fallen deeply in love with its culture, including its food. He praises in particular a Hyderabadi whitefish that he calls “smelt.” I wasn’t able to identify what it was, but I feasted at the Jewel of Nizam restaurant on a tasty dum ki machli, its fish seasoned to perfection and accompanied by a dessert of khubani ka meetha (sweet stewed apricots) and supaari.

Tavernier was equally starry-eyed about the design of Golconda’s cities. What we now call the old city of Hyderabad was then still a new metropolis; Tavernier marvelled at the famous Charminar in the city centre as well as Hyderabad’s wide boulevards and bridges, which probably looked much more impressive a mere fifty years after their construction than they do today. He was also dazzled – as was I – by the old Golconda fort, the huge walled hill-city hewn from the granite boulders that everywhere dominate the Deccan landscape. First built in the thirteenth century, it was substantially upgraded by the Qutb Shahi rulers before its destruction in 1687 by Aurangzeb. Even in its current ruined state, it is a haunting wonder.

The culture of Golconda owed much to the rule of the Qutb Shahis. Indeed, Tavernier couldn’t have felt as comfortable as he did in Hyderabad without the unique cosmopolitan world the Qutb Shahis had fostered there. Golconda’s immensely cultured ruling dynasty was of Persian origin, blended with Arab and Turkish – a heritage reflected in the distinctly western Asian designs, so different from Mughal architecture, of the Qutb Shahis’ magnificent tombs next to Golconda Fort. And the Qutb Shahis also invited, for purposes of trade, huge numbers of Europeans into Hyderabad. As Thevenot wrote, “there are many Franks in this city,” and by this he meant firangis of many nations: Portugal, Holland, and England as well as France. Vestiges of Golconda’s cosmopolitan culture remain in modern Hyderabad where signs are written in four languages – Telugu, Urdu, Hindi and English.

TEven in the days before Tavernier’s death in 1689, at the ripe age of 84, he was probably still dreaming of Golconda. The heera-wallah died in Russia, on one last expedition; rumour has it he was trying to make his way back to India.

The Hindustan Times, 4th Dec 2011

The 10-odd monuments scattered inside the Delhi Golf Club are like pieces of one puzzle. To begin with they are mostly out of bounds and one needs special permission from the Club authorities to enter the premises. Of course knowing a member helps, and this also means that not just tourists, even many Delhiites are unaware of the existence of these medieval structures. Also, the golf course is perhaps the only site where one can see the remains of all the seven cities of Delhi. Most of these monuments are grand but anonymous tombs — indicating gaps in the documentation of the city’s architectural history.

The only monument where you don’t need permission is the Lal Bangla—a set of two tombs built in red sandstone right at the entrance of the Club and visible from the flyover. Built in 1779-80, these Late Mughal structures have square rooms at their centre, smaller square rooms at diagonals with oblong halls between them, and domes at the centre of square roofs. The one near the entrance seems older with a square room on a raised platform. Both have the layout of larger tombs around central chamber but are small in size. Nearby is the Late Mughal double storey gateway with a central pavilion and domed chhatris.

There’s a debate regarding who lies buried in Lal Bangla. One possibility is Lal Kunwar, the wife of Aurangzeb’s grandson Jahandar Shah who ruled between 1712 and 1713. The other is that the two graves inside are those of Lal Kunwar, the mother of Shah Alam II (1759-1806), and daughter, Begum Jahan. The mystery behind the identity of the royal lady has remained a puzzle for the last two centuries. Visible from the clubhouse is Sayyed Abid’s tomb with octagonal exterior and square interior. The person buried inside was a companion of one of Jahangir’s generals, Khan-e-Dauran Khwaja Sabir Nusrat. The tomb was built in 1626-27. Another octagonal plan tomb— an 18th century one—is also visible from the Archbishop Makarios Marg. Known as the Bagichi tomb with towers, chhatris, arches with vaults, red and crème interiors and inside dome decorated in geometric patterns, this is a unique structure where chhatris are imposed on towers. There’s also a brick masonry mosque near this tomb.

Of all the various ruins—from Tughlaq to Mughal era—the one that stands out is the Barakhamba. A Tughlaq tomb with unnamed grave, it was built in the 1450s. It is perhaps the only medieval monument that has central bay, vaulted bays with solid monolithic columns, and sloping pillars that support lofty arches.

The Indian Express, 4th Dec 2011

From the Phoenix Boat Jetty in Port Blair, a boat ferried us to Ross Island, the erstwhile administrative capital of the British in the Andaman and Nicobar Islands. The island conjured up gory visions of the dreaded kalapani punishment meted out to convicts by British rulers in pre-Independent India

A penal settlement was established on the island where hardcore criminals were thrown alongside political prisoners and freedom fighters. One could imagine the times when chained prisoners were compelled to do hard, menial labour. Some of them committed suicide due to inhuman treatment meted out by the then superintendent.

Escorting us around, our guide explained to us how convicts were left in the open, under the trees, with the surrounding dark sea and sky for company. Thus, the island was known as Kalapani or black water punishment.

The place lost some of its prominence after the Cellular Jail came up at Port Blair, but it continued to be a centre of British power until the Japanese occupied it in 1942, during the Second World War. When the Japanese forces vacated Ross Island in 1945, it was re-occupied by the British and the penal settlement was abolished. In the course of its chequered history, Ross Island suffered during the Japanese occupation and the earthquake of 1941. Currently, the island, with its gruesome history, is a distinctly eerie and rather sad place, but worth a visit.

It was once British India’s sentinel in the Bay of Bengal, originally developed under the British as the residence of the chief commissioner. It is named after Captain Daniel Ross, who was the marine surveyor of the Indian Navy from 1825 to 1840. At the entrance, I saw concrete bunkers, a legacy of the Japanese who had occupied it during the Second World War. The crumbling buildings and fast growing tropical forests are what greet visitors to Ross Island. I spotted chital (spotted deer) and peacocks gamboling amidst the foliage and a few darted across our path. They were introduced to these islands almost a century ago by forester Sir Henry Farrington.

Roaming amidst the crumbling colonial splendour of the island was a sheer delight. I was transported into a strange world of ramshackle edifices overtaken by dense tropical foliage. It was difficult to spot a single, undamaged structure on this 200 acre island. Above all, every building and wall supported a huge tree, its roots forming intricate patterns on the walls. A few small blackboards bearing cryptic signs such as ‘Printing Press’, ‘Barracks’, ‘Club’ indicated what the buildings had originally served as.

Huge boilers were lying around, rusting in the spray of the sea. The roof of the laundry had fallen in and the walls of the shop run by an Indian were covered by spreading roots of wild trees.

A coconut palm grove occupies the once fashionable tennis court, adjacent to the ‘Club’. I saw small blackboards along the footpath indicating the invisible landmarks. I chanced upon a derelict building with an indication outside — ‘Club House’ and later on a swimming pool area, now all covered with moss, weeds and undergrowth. Above all, most of the buildings and walls supported enormous trees, its roots forming intricate patterns on the walls. You can distinctly make out the ballrooms and the swimming pools. The renovated ‘Bakery’ was once used to offer loaves, buns, cakes, croissants and many other delicacies of those times.

Strolling around the island, I discovered that even in the early 19th century, the British knew how to live life well. A winding path and steps led us to the old hospital, and the barracks, the churches, the magazines, residences, gardens, the officer’s club, and the non-commissioned officer’s mess. I could see the last glimpses of Imperial grandeur in the Italian tiled courtyard within the dilapidated chief commissioner’s residence, which was patterned on Windsor Castle.

South of it, on a hilltop, stand the crumbling remains of an Anglican church which has survived the onslaught of tropical creepers and vines. This Presbyterian Church was built of stone and the windows had frames made of Burma Teak. The glass panes behind the altar were made of beautifully etched stained glass from Italy. The quality of the wood was so superior that it survived the vagaries of the weather for over 100 years. A small structure south of the church was built to accommodate the parsonage. Some of the grave sites are still visible, haunted with memories of babies born to die in a few days.

The island is officially still under the jurisdiction of the Indian Navy. A small museum of the Indian Navy, Smritika, has a good collection of old records and brings alive the past of the hoary island. The small museum by the cafeteria has interesting old photos. The island is open from dawn to dusk, except on Wednesdays. There are ferry services from Phoenix Bay.

The Deccan Herald, 4th Dec 2011

As Delhi completes 100 years as the national capital this December 12, the art fraternity celebrates the centenary and commemorates the undying spirit of Delhi with an exhibition titled “Celebrating 100 years of Delhi” starting from December 9 at Hotel Claridges, Surajkund.

The exhibition evokes nostalgic memories and represents the cultural heritage of Delhi with intaglio prints, pen and ink drawings and paintings by artists including Aruna Vasudev, Alka Raguvanshi, Tejinder Khanda, Vikram Kalra.

“With such an extended history, Delhi can claim to be the longest serving capital in the world. The whole idea is to give a magnificent visual treat to the younger generation on how Delhi came into being,” says curator Kiran K. Mohan.

The exhibition also showcases realistic artworks of a few contemporary artists who have made Delhi their home. Basically from Amritsar, artist Tejinder Kanda shares his 22 years’ connection with the city through his paintings. “My works depict the lanes of Paharganj. I find these old lanes, havelis with Mughal style windows and doors very fascinating. It’s the real India, which has kept its old traditional values, charm and energy intact.”

Seconds artist Vikram Kalra, whose pen and ink sketches series titled, ‘Shahjahanbad — a journey through Old Delhi’, has drawings of Chandni Chowk, old monuments and life around it. “I have always been inspired by Mughal architecture. I imbibed this from my father. We used to go to old Delhi together. My artworks aim to make people aware about the city’s rich culture and heritage,” he sums up.

The exhibition is on till December 23

The Asian Age, 5th Dec 2011

Preserving the rich archaeological and cultural heritage of Dogra rulers in Jammu and Kashmir is proving to be a daunting task for the Omar Abdullah-led coalition Government.

Despite submitting detailed project reports (DPR) prepared by INTACH- the leading consultants in the field of art and cultural heritage — to the Indian Government, the State Government has nothing much to boast of in its report card.

Official sources said, “Against the projected demand of approximately Rs 300 crore required for Mubarak Mandi Heritage complex till date the Centre has released a paltry sum of Rs 3 crore against sanctioned amount of Rs 4.37 crore to carry our renovation and restoration work of High Court Complex and Army headquarter building.

Mubarak Mandi heritage complex houses Royal palaces of Dogra rulers and heritage buildings built by Maharaja Gulab Singh, Ranbir Singh,Pratap Singh and Hari Singh. The oldest building in the royal complex dates back to 1824.

After 1947 the complex was utilised by the State Government for housing Government offices, secretariat buildings and High Court complex.

The royal buildings were vacated after they were declared unsafe for public use. Since then these buildings were facing the complete neglect by the successive State Governments as none conceived a conservation project to restore its glory.

The massive earthquake on October 8, 2005 also devastated portion of the royal buildings and alarmed the State Government authorities to devise a comprehensive conservation project.

After lot of activism and public pressure the State Government had set up a Mubarak Mandi Heritage Society (MMJHS) in 2006 with the sole objective of restoring the pristine grandeur of royal buildings.

Ironically, the heritage society, located in one of the unsafe building is yet to find a safe accommodation for itself to carry out its day-to-day activities.

The Executive Director of the Mubarak Mandi Jammu Heritage Society, AK Sharma, told The Pioneer, “After INTACH submitted its DPR we had received a sum of Rs 3 crore for High Court complex and Army headquarter building from the Centre. The Archaeological Survey of India had carried out the renovation or restoration work but at present the conservation work in the Mubarak Mandi heritage complex is completely on hold in the absence of receipt of money.”

Sharma said, soon after the receipt of next installment of money we would be able to carry out the conservation work on ground zero. He said under the circumstances we cannot fix any time line of the project.

Official sources said, we are hoping to start the work on the project before the end of the financial year. Though, the 13th Finance Commission has recommended an award of Rs 50 crore for the conservation project but the State Government is yet to receive its first installment to expedite the renovation work.

In addition, the State Government is also expected to get a lions’ share of Rs 25.42 crore from the Ministry of Tourism for its mega project consisting renovation work of four heritage buildings but is still awaiting formal sanction.

Meanwhile, strong opposition to the proposal of leasing out residential palaces of Royal families as per the Vision plan of INTACH to leading hoteliers for conservation, preservation/restoration and operation of heritage hotel has also made matters worse for the State Government as it is finding it difficult to fill the gap and arrange money for the conservation project.

Official sources said after constituting the heritage society The Indian National Trust for Art and cultural heritage (INTACH), entrusted with the responsibility of preparing a vision document, had submitted proposals to the tune of Rs 232.92 crore to renovate. After including the cost of conservation of basements and other buildings the total cost of the project was pegged at Rs 296 crore (approximately).

The Pioneer, 5th Dec 2011

While the unveiling of a memorial to Banda Singh Bahadur in Punjab garnered much attention, few people know that there is another memorial in Mehrauli to this brave soldier

On November 30 this year, the Punjab Chief Minister, Prakash Singh Badal unveiled a memorial to mark the 400th year of the victory of the Sikh forces under Banda Singh Bahadur over the Moghul Governor of Sirhind, Wazir Khan. Spread over ten acres, it cost over Rs. 12 crores. While some see the timing of the Kahnuwan Chhambh memorial to Chhota Gallughara as a run-up to the coming elections, others feel that the memorial was long overdue as it commemorates the holocaust suffered by the Sikhs during the reign of the decadent Moghuls. One however wonders why the memorial to Baba Banda Singh in Mehrauli, Delhi, was not made part of this lasting tribute to the General whose exploits have become part of 18th Century history.

As of now there is a rugged, nondescript building near a post office in Mehrauli which gives the impression of a fortress near the site where Banda Bahadur was executed. Banda was originally a yogi who was also a magician. When Guru Gobind Singh, the last of the Sikh Gurus, visited Nanded in Maharashtra, he was accosted by a yogi, who tried to prove that he was superior in performing supernatural feats. His name was Madho Das and some regarded him as a man who could perform miracles. Madho Das tried his best to overcome the guru, but all his efforts came to naught. Acknowledging defeat, he prostrated himself before Guru Gobind Singh as his banda or slave. The guru lifted him up and embraced him. Madhu Das then became a Sikh and came to be known as Banda Singh. The guru sent him all the way to Punjab where, along with other soldiers of the Panth, he fought against those who were persecuting the Sikhs.

In 1709, a year after the death of the guru, he launched his campaign, taking over from Bhai Mani Singh, the high priest. He and his Tak Khalsa of 40,000 men subdued a vast part of Punjab after defeating the Governor, Wazir Khan. Eventually, Emperor Bahadur Shah I, the successor of Aurangzeb, himself led the royal forces, mobilised in Delhi, against him and Banda had to retreat to the fort of Lohargarh, and later to the hilly tract. From there he made lightning raids on the Moghuls and repulsed all their attacks for five years. At last his valiant force was surrounded by the Moghul troops and he had to surrender in December 1715. He was brought to Delhi on the assurance that he would be treated well.

However the promise was not kept by Emperor Farrukhsiyar who put him in an iron cage. Form March next year his followers began to be executed. Within seven days hundreds of them met their death with a smile on their lips. Among them was a boy of eight, who sacrificed his life like the Sahibzadas, the sons of Guru Gobind Singh, who were martyred by the tyrannical Moghul ruler of Sirhind. This boy however was the son of Banda Bahadur.

Eventually Banda Bahadur's turn came and he was taken in a procession around the Qutab Minar. Farrukhsiyar asked him what sort of death he preferred and the brave Banda replied the type of death the emperor himself wished to die. Banda was at first tortured and then killed. More than 250 years after his martyrdom a shrine was erected in Mehrauli. Few know its history and most people just pass by taking it for another gurdwara. But the place needs better appreciation and a better memorial.

It is hoped that after the inauguration of the Baba Banda Singh Bahadur Jangi Yadgaar at Chappchiri battleground in Mohali, the Punjab government would turn its attention to the neglected Delhi shrine to the yogi-turned-saint.

The Pioneer, 5th Dec 2011