Water Metro jetty in Fort Kochi at odds with heritage norms

The Indian National Trust for Art and Cultural Heritage (INTACH) Mizoram Chapter officials today called-on Chief Minister Zoramthanga to discuss about rebuilding the Aizawl Deputy Commissioner’s Office that was burnt down to ashes in the early hours of December 17, 2021. INTACH Mizoram Chapter briefed about the significance of preserving and conserving the Heritage building and discussed how it can be rebuilt to its original design. The Chief Minister conveyed to the INTACH officials that he shall discuss the same with his cabinet ministers.

Its worthy to note that on December 17, 2021 at around 3:15 AM, a massive fire broke out from Election Branch, DC Office. Fire & Emergency services personnel were alerted at 4:10 AM, who immediately rushed to the spot and commenced firefighting operations.

Despite their best efforts, the fire had already engulfed most parts of the building, including the Election Branch, Planning Branch, Arms Branch, ILP Branch, Census Branch, Establishment, Nazir, DC office chamber, 2 Addl DC & SDO (Sadar) office chambers. Disaster Management & Rehabilitation Minister Lalchamliana has also announced that the State would conduct a magisterial enquiry to look into the outbreak. The 131-year-old heritage building was reduced to rubble by the unprecedented fire, taking with it hundreds of invaluable historical documents stored within the premises.

https://www.thehindu.com/news/cities/Kochi/water-metro-jetty-in-fort-kochi-at-odds-with-heritage-norms/article38269837.ece, January 10, 2022

Workers repairing the courtyard at the Someshwara temple in Halasuru stumbled on sculptures believed to date back to the 8th century. Historians are excited about the discovery, and believe a close study of the sculpture will help them understand more about the temple. Dr S K Aruni, deputy director of Indian Council of Historical Research (ICHR), who was on the site during the excavation, says, “Almost 80% of a big sculpture is damaged but the face and shoulder are intact. Carved out of black stone, it is similar to sculptures extensively found in Begur, near Silk Board. Looking at this, we could say that the temple is at least 1,200 years old.” Halasuru got its name from the jackfruit trees in the area. When the British set up a cantonment in the 18th century, its name got anglicised to Ulsoor. Halasuru was earlier a major trade route and a Shaiva settlement. Aruni says the statue must be preserved for historians to gain more insights into the Ganga period (5th to 10th CE). The black stone it is carved from was found abundantly in and around Bengaluru. Temples dating back at least 10 centuries are found in and around Nandi Hills, and Jakkur, and a Hoysala style temple was found at Chikkajala. Stylistic elements of the sculptures are used to date them, and trace the extent of various kingdoms. The Someshwara temple is currently being documented by the Indian National Trust for Art and Cultural Heritage (INTACH). Meera Iyer, convenor of INTACH and a part of the documentation team, is thrilled with the discovery. “It could give us a peek at the early origins of the temple site,” she told Metrolife. The broken sculpture is likely to be a goddess — Chamundi or Bhairavi or Mahishasuramardini, she says. “It bears a strong resemblance to some statues currently in the government museum on Kasturba Road. The style suggests that the sculpture dates back to the 9th or 10th century. It indicates the antiquity of the Someshwara temple as a sacred site,” says Meera. The garbhagriha (sanctum sanctorum) is from the Chola period, and is believed to have been built in the 11th century or so. The temple was expanded and additions were made during Kempegowda’s rule in the 16th century. “The Kamakshi shrine is said to have been built by the Wodeyars,” she says. The INTACH team is working on architectural documentation. “We are putting together drawings and taking measurements of the temple. We are stitching together photos which will help us study whether there was any pattern to the pillars. For instance, there are panels of dancers with a panel of lions at the bottom. Does this have any resemblance to the temples in Hampi?” Epigraphist says… Eminent historian and epigraphist H S Gopala Rao confirms the style dates back to the Ganga era between the 7th and 9th centuries. “The exact dating can be done by the archaeological department,” he says. Temple renovation The flooring of the Someshwara temple is being replaced with anti-skid granite tiles. Workers found the statue when they were digging to remove the existing flooring. “Many elderly devotees visiting the temple were slipping. So we thought we should change the flooring,” says N S Sandhya, executive officer, Someshwara Group of Temples. Donors are funding the repairs, estimated to cost Rs 35 lakh. “The temple committee met recently and decided to immerse the sculptures that were broken,” she told Metrolife.

https://www.deccanherald.com/metrolife/metrolife-your-bond-with-bengaluru/sculptures-from-ganga-period-found-at-someshwara-temple-1070899.html, January 11, 2022

When a fire in 2014 destroyed a portion of the 246-year-old Humayun Mahal, which exemplifies the Indo-Saracenic architecture, there was a proposal to demolish it and construct a new structure. The Grade-I heritage structure building, which is part of the Chepauk Palace, built by Muhammad Ali Wallajah in 1768, would have vanished from Chennai’s landscape but for the efforts of the Public Works Department. After seven years and completion of 80% of the conservation work, the once-crumbling structure has emerged with its old charm. As many as 35 heritage buildings under the PWD are receiving a new lease of life after the creation of a heritage division in the PWD in 2017 for conservation and restoration.

“We have 85 registered public buildings under our maintenance. Work is in progress to restore 35 buildings, and more will be added to the list. The fund allocation for the current year is ₹150 crore,” said R. Manikandan, Executive Engineer of the division. Chennai lost many heritage buildings because of neglect and lack of awareness. While a public campaign saved the DGP House facing the Marina Beach from demolition, the Admiralty House, once the headquarters of the CB-CID, was razed. The idea of conservation gained momentum after the Madras High Court constituted a heritage committee to deal with petitions connected with conservation of buildings of historical importance. Its directions and orders saved many heritage structures, including 35 court buildings. Age is a factor that decides the heritage status of a building. It should be over 75 years old.

Its association with historical events and style of construction are also taken into consideration for the heritage statues. The heritage division, adhering to traditional conservation methods and techniques standardised by organisations such as INTACH, has made a difference in terms of quality and aesthetics. It even brought two Kangeyam bulls to grind the lime mortar in a traditional grinder for making “authentic paste” used for plastering of the walls of the Humayun Mahal. Earlier, historical buildings were repaired and altered without sensitivity. The Madras-type ceiling of the Khalas Mahal, adjacent to Humayun Mahal, was replaced with concrete. Similar blind renovation methods were adopted to the Travancore-style building of the Sethu Lakshim Bai Government Higher Secondary School in Kanniyakumari district. Here, a portion of the roof made of Mangalore tiles over teakwood frames was destroyed. Mr. Manikandan said cement had no place in traditional conservation. “We are not using M-sand either as it will not match with lime mortar used for repairing and plastering. As river sand mining is not allowed in Tamil Nadu, we are getting it from Andhra Pradesh, where some quarries are in operation. There will be two layers of plastering: base and a final cover over it.”

Quality control is strictly followed for the construction materials. The teak woods meant for roofing is sourced from Sengottai where the Forest Department sells it through auction. “The load-carrying capacity of the teak wood should be between 6,000 and 7,000 megapascal. The moisture of the wood is also checked. The advantage with the Madras-style roofing is that the building will remain cool during summer and warm in winter,” Mr. Manikandan said. But what remains a challenge to restoration is shortage of skilled masons. Just 10 masons worked for the restoration of Humayun Mahal for the last two years and it delayed the work. “We select skilled workers, depending on the nature of the work. Workers are available in Athankudi itself for laying Athankudi tiles. We get workers from Nagercoil for restoration of wooden ceiling. A lot of skilled workers are available in Virudhunagar district, particularly at Elayirampannai. There are also workers from north India,” said Rajesh, manager of Kadal Constructions, a company involved in conservation works.

https://www.thehindu.com/news/cities/chennai/heritage-structures-back-in-shape/article38269298.ece, January 11, 2022

The excellence of the arts of Kashmir is generously reflected in the decorative and ornamental elements found in the architecture of its mosques and shrines, where attention is focused on the delicate details, innovative patterns and motifs that combine to create a unique style. With the motifs a blend of geometric and floral forms sensitively used to create a sense of unity of nature and creativity, they have for centuries addressed the spiritual and devotional urge and longing of worshipers and visitors. The sacred and the secular typologies also have a deep imprint of cross-cultural influences in both form and style.

"In harmony with the vernacular style of construction using wood, the historic shrines and mosques of Kashmir bear characteristics of building in stone from early Hindu and Buddhist times, combining with the advent of Islamic traditions in the 14th century," says author-photographer-researcher Qamoos Bukhari, who has collaborated with the INTACH Kashmir Chapter for "Architectural Ornamentation in Shrines & Mosques of Kashmir" (Roli Books) that brings alive an enduring legacy of the past. The book came about after he met the Chapter's convenor, M. Saleem Beg, at a calligraphy exhibition at Srinagar's Jamia Masjid. "There we interacted for the first time and exchanged our thoughts about the heritage and crafts of Kashmir. For taking our conversation forward, he invited me over to his office one day. In 2016, I had published a book on Kashmiri artisans, 'Borderless: The Artisans of Kashmir'. He showed his interest in seeing the book and asked me to bring my book along to his office," Bukhari, who studied English Literature at Delhi University's Hindu College, told IANS in an interview.

"At the office, he showed me the work they were doing and asked if I can do a somewhat similar visual-arts book for the Kashmir Chapter of INTACH. So after several successive meetings, I put across my concept, which he liked, and from then on, we began working towards realizing the project," he added. Meticulous research has gone into the book. "To start with, I had to go through the technical documentation of some shrine and mosque buildings done by INTACH in 2011. Taking reference from that, I had to plan and design new surveys across the monument locations in Kashmir. That included visiting sites many times for identifying, photographing, and taking measurements for the drawings.

"Since the project focused on the decorative elements, therefore, for the book, the architects had to create a new set of drawings that did not exist in their earlier 2011 documentation. Also, to bring variety to the work, I commissioned an artist to create watercolour and pen and ink illustrations," Bukhari explained. A significant amount of effort also went into archival research, both physical and virtual. "To find the images of the shrines & mosques, sometimes for days, I had to sift through a large chunk of historical material about Kashmir, which at the end included nothing of the kind I was looking for. Having said that, apart from what I have used in the book, the archival material that I discovered at institutions, and of which I have acquired a copy for the INTACH Kashmir Chapter, will surely come in handy to someone in the future," Bukhari added. The lavishly illustrated book is divided into two chapters: "Understanding Kashmir's Islamic Religious Architecture in Continuity and Change" and "Patterns of Culture -- Understanding Craft through Mathematics" -- each with a lengthy introductory essay.

The first chapter details nine mosques and shrines: Khanqah-i-Maula, Mir Masjid, Jamia Masjid, Madin Sahab, Aali Masjid, Makhdoom Sahab, Khanqah-i Naqshband, Thag Bab Sahab, and Pathar Masjid. The second chapter details another nine mosques and shrines: Khanqah-i-Masood, Akhund Mulla Shah Masjid, Dastgeer Sahab, Imambara Hassanabad, Kreeri Aastan, Dadsar Aastan, Aishmuqam, Srigufwara, and Janbaaz Sahab. The obvious questions would be why are there no visual chapters on Hazratbal and Charar-i-Sharif. "We haven't done visual chapters because there doesn't exist anything of the past.

Both are new constructions with no or less resemblance with the early aesthetics of the buildings," Bukhari said. In the essay on chapter 1, Hakim Sameer Hamdani, Design Director at INTACH's Kashmir Chapter, explains: "Within the wide swath of land that has been associated with Islam, Kashmir occupies a marginal and somewhat remote image. Traditionally it has been seen as a provincial part of the wider Indian sub-continent, with its claim to fame based mostly on its geographical location- the abundance of bountiful water, snow clad mountains and a pleasant climate. Within the Indian context, the region is also renowned for its crafts of which the shawl making has been famed at the court of Asian as well as European kings. Yet, the architectural outpourings of the area linked with its Islamic traditions have for the most part remained unexplored.

"The traditions of Kashmir's Islamic religious architecture may be seen as the physical representation of a syncretic culture, which was based on assimilation and adaptation while also forging continuity with established building features and elements. The strength of these local traditions was strong enough to outlive the powerful image of the Imperial Mughal rule which in the 16th century brought a building style that was developed outside the confines of the valley. Historically, the period of Kashmir's Muslim Sultans (1322-1548), spanning almost two centuries, forms the formative period of Kashmir's Islamic religious architecture. Though after the fall of the Kashmiri Sultanate to Mughals, these traditions no longer formed part of the building projects executed under royal supervision, yet local patronage and preference ensured their survival. In a strange twist of fate, the mosques built by the Mughals in their Imperial traditions remained for most part abandoned. "The building traditions of the region were revived during the fall end of the 19th and early part of the 20th century, which witnessed a reawakening of the collective Muslim conscience. Most of the constructions that took part in this period were part of independent and localized projects funded by the community under the supervision of elite of the society. In some cases prominent traders financed the construction or repair work.

Members of Kashmiri Diaspora in the Indian plains were also responsible for funding major religious buildings in Kashmir. "The latter part of the 20th century saw not only the introduction of new building material and loss of traditional building knowledge but also the emergence of a new middle class spirit, which looked down upon anything old as being representative of an image that is in essence 'poor and backward'. Consequently a number of old buildings were demolished and new 'modern' structures constructed in their place, a majority of which lack any contextual connection with their surroundings as well as the required 'aesthetes'. What has emerged in the recent past is a popular image of what Islamic religious architecture showcasing the appeal of a more widely recognizable 'Islamic' building, an appeal which became more and more widespread with every passing decade.

"In this new image of Muslim religious architecture of Kashmir a sustained attempt has emerged at drawing cultural inspirations from what is seen as the traditional heartland of the Muslim world, areas of Arab and Iranian influence. This paper presents a chronological study of this architectural genre in Kashmir as well how it has been popularized in the community both through processes of continuity as well as change," Hamdani concludes. In the second essay, Fozia S. Qazi, a mathematician whose current research on patterns in the arts of Kashmir uses the mathematics of symmetry analysis to understand cultural order and interactions in the region, explains: "Throughout the history of material culture, human beings have displayed a preference for symmetries and visual regularities.

This preference manifests itself in myriad mediums and decorated forms with the earliest use of symmetry evident in tools made some 1.4 million years ago. This use of symmetry (especially that of repeated geometric patterns) can be seen as a mode of communication that conveys cultural information and preferences. "But the study of proportion, form and symmetry present in material culture, cannot provide a full understanding of cultural order unless one also understands the underlying mathematical principles involved in the creation of the symmetries present in the patterns. Mathematics provides a language to understand the pattern at its most fundamental level.

So to study the language of patterns certain mathematical tools can be used, that rely on the mathematical classification of symmetry, to systematically describe the precise nature of the patterns. "Although the mathematical classification of symmetries has been known for a while it is only recently that it has been used as a tool for cultural study. The presence or absence of certain symmetries in the material culture of a people or the frequency of their use has become an important tool in understanding cultural preferences or cross-cultural interaction," Qazi concludes.

https://www.daijiworld.com/news/newsDisplay?newsID=913539, January 12, 2022

Pingle, India's first indigenous car developed by a Hyderabad engineer in early 1950s, was found half buried in a scrapyard in the city. The low-cost car, suitable for Indian road conditions and touted as the automobile of the middle class, was first displayed at the annual Numaish in Hyderabad about 70 years ago. The Pingle family, which traced the car after decades of search, is restoring the vehicle in the best possible way. One of the three prototypes of the car was last seen in good condition at HAL campus in Bangalore in early 1970s. Thereafter, it went missing.

While its whereabouts are still not known, the two other prototypes are now found in a city automobile scrapyard 50 years later. They are in varying stages of decay. The car was named after Captain Pingle Madhusudan Reddy, who had designed and developed the vehicle while serving as the general manager, HAL. Popularly called PM Reddy, he was a pioneer aviator, flying instructor of Hyderabad state aero club, chief pilot of Nizam State Railway (NSR)-air department, and general manager of Deccan Airways Limited.

During World War II when spares were difficult to get, PM Reddy also gave technical support to NSR-Road Transport Department (RTD), the predecessor of modern day APSRTC and TSRTC. Pingle was star attraction in Hyderabad during 1950s .While the engine of one of the two cars is missing, the other has its chassis in a bad condition. "I came to know that two Pingle cars are lying in a scrapyard. The condition of the vehicles is very bad. They were half buried in the soil with vegetative growth all around. I have shifted the cars from the scrapyard and hope to take up restoration work soon," said INTACH city convener P Anuradha Reddy, who is also daughter-in-law of PM Reddy, adding that Pingle is part of Hyderabad's automobile heritage. She said the car was a star attraction in Hyderabad during 1950s through 1970s.

The prototype Pingle cars had plied on Hyderabad roads and one of the cars was displayed at the Numaish during 1950s. It's not clear how the cars had made their way to a scrap seller. Then Prime Minister Pandit Jawaharlal Nehru had inspected the prototypes and appreciated its engineering design. HAL was to take up mass production of the car, but it could not get the Centre's nod. The car was designed at Praga Tools Corporation at Kavadiguda in the city. Praga Tools, a PSU, was wound up about three decades ago.

https://timesofindia.indiatimes.com/city/hyderabad/indias-first-local-made-in-hyderabad-car-pingle-found-half-buried-in-a-scrapyard/articleshow/88865700.cms, January 12, 2022

The council will function as an autonomous unit under the forest and wildlife department of Delhi and receive separate funds. It will hold its first meeting on Friday. The Delhi government has created an 11-member Delhi Biodiversity Council to protect existing biodiversity parks and oversee the creation of more such facilities in the future in the Capital. Created after the National Biodiversity Authority (NBA) issued directions to have one such body in each state and Union Territory across the country, the council will function as an autonomous unit under the forest and wildlife department of Delhi and receive separate funds.

It will hold its first meeting on Friday. As per the gazette notification, the council, headed by Delhi University professor CR Babu as its chairperson, has Delhi’s chief wildlife warden as its member secretary and includes the principal chief conservator of forest, the Delhi development commissioner, the principal secretary (environment and forest) and the principal secretary (urban development) among its five ex-officio members. The body also has four expert members -- Indraprastha University professor Sumit Dookia; Vijay Dhasmana, curator at the Aravalli Biodiversity Park in Gurugram; and INTACH’s Dr Ritu Singh and Manu Bhatnagar -- each of who will have a term of three years.

“Our long-term goal is to preserve Delhi’s existing biodiversity and to rejuvenate areas which are now suffering due to the urban stress. With the funds allocated, different sections such as waterbodies, forests and the floodplains can receive individual attention,” said Babu. Nisheeth Saxena, member secretary of the council, said the chairman of the NBA will attend the first council meeting on Friday. “The NBA will guide us in the first meeting, and plans for the year 2022 will also be decided,” he said. Dookia said the council can carry out different types of census for animals and birds once funds are allocated. “Once the first meeting is held, the agenda for the year will become clearer,” he said.

https://www.hindustantimes.com/cities/delhi-news/govt-forms-11-member-council-to-protect-delhi-s-biodiversity-plan-for-its-future-101642011170320.html, January 11, 2022

The ASI has sought the help of the experts from the Indira Gandhi Centre for Atomic Research and Silk Board to assess the damage after which a suitable methodology was devised to preserve the flag. The restoration and preservation of the oldest known surviving Indian national flag, which was hoisted at Fort St George in Chennai on August 15, 1947, has begun under the supervision of an expert committee set up by its custodian--the Archaeological Survey of India (ASI). The Survey has sought the assistance of the experts from the Indira Gandhi Centre for Atomic Research (IGCAR) and Silk Board to assess the damage after which a suitable methodology was devised to preserve the tricolour. The restoration is being done by ASI's science branch.

“Conservation and preservation of the vintage national flag hoisted in Chennai commenced by the Science Branch in November. The initial examination to identify the composition of the material, thread counts, thickness measurements, and fragility with the help of microscopic and other non-destructive analytical techniques was undertaken by the team formed especially for the purpose. Our experts are also part of the team. The suitable methodology was devised by the team and the work is under progress,” said an official of the ASI. In 2017, it was reported that the flag was in a poor state and required immediate restoration intervention. The ASI expedited its efforts to conserve it in March last year when the director-general (D-G) held meetings to discuss conservation treatment.

Subsequently, Indian National Trust for Art and Cultural Heritage (INTACH) had expressed willingness to undertake the conservation of the tricolour. In a letter to ASI’s director general (DG) V Vidyavathi, the trust offered its service free saying that it (conservation task) would be a matter of ‘pride’ for it. The 12feet by 8feet pure silk flag was part of the ASI’s reserve collection for decades. It was placed for public display at the museum on Fort St George campus for the first time in January 2013. The flag has been kept in an airtight wooden-glass showcase surrounded by six bowls of silica gel to regulate humidity and absorb moisture to prevent it from deterioration. The flag was hoisted after lowering the British Union Jack on August 15 in 1947 at Fort St George.

“We are doing it departmentally with the help of experts from the science branch. The work is expected to complete before the Republic Day, after which it may be placed for public viewing again,” said an official of the ASI, privy to the restoration project.

https://www.newindianexpress.com/nation/2022/jan/09/asi-restroing-tricolour-hoisted-at-chennais-fort-st-george-on-august-15-1947-details-here-2404876.html, January 13, 2022

Richly embroidered vestments, chalices and different sacred receptacles made out of valuable metals and inlaid with treasured and semi-precious stones, carved ivory, terrific artwork and statuary, all this and greater are on show at the Museum of Christian Art. The most special component of this tremendous series is that tons of it used to be in reality created with the aid of neighbourhood artists and artisans, many of whom were traditional Hindu artists. Located as it is in the historic convent of Santa Monica, the museum is in the coronary heart of Old Goa, an area steeped in non-secular records and topped with many essential spiritual monuments. The museum’s series is tremendous and properly maintained. It is one of the few establishments of its type in Asia. The Convent of Santa Monica in Velha Goa is the current location of the Museum of Christian art in Goa. The convent building itself is of architectural importance due to its age and history. Located in North Goa, this museum is easily accessible from both Panaji and Margao.

When to Go To The Museum of Christian Art
The museum is open all the days of the week from 9.30am to 5.00pm. The crowds are at their max during the tourist season (October to March) but it is also a great way to spend an afternoon or even a full day during the rainy season (June to September) What to See

The intricately and lavishly embroidered vestments which priests would use to say mass, are some of the most popular artefacts in the museum. Along with these is a portable “mass kit” that priests could carry with them when going to say mass in the outlying villages. There is a beautiful painting of St. Ursula which once adorned the walls of the Se Cathedral, and is now a permanent part of the museum’s collection. The 17th century image of Jesus, the Good Shepherd is carved from ivory and is a well-known piece in the museum’s collection. There is curious bust of St. Margaret of Antioch which has a well-defined cavity in the chest, meant for the repose of a relic of the saint. In front of the statue is a reclining mythical creature, most probably a dragon. In addition to these well-known artefacts there are a number of other pieces on display at the museum. These include chalices and salvers made of precious metals, sculptures, paintings, carvings on wood and ivory, crucifixes and other adornments and implements used in the ritual of holy mass.

History of The Museum of Christian Art
The museum was founded in 1994, and was the first of its kind in all of Asia. INTACH (Indian National Trust for Art and Cultural Heritage) with assistance from the Calouste Gulbenkian Foundation, Portugal and under the auspices of the Archdiocese of Goa originally set up the museum at the Rachol seminary. However, when this location was found to be not central enough, the museum was shifted to the Convent of Santa Monica, one of the architectural and religious monuments of Old Goa. The purpose of the museum has been to highlight the treasures of Indo-Portuguese Christian art from churches around Goa. The age of the piece’s ranges from the 17th century to the middle of the 20th century. The museum also highlights the fact that many of its treasures were created by Hindu artists and artisans during the time of the Portuguese colonialism. The story goes that the demand for religious artwork was extremely high at the time and pieces could not be shipped from Portugal to satisfy the demand and so many Hindu artists were contracted to complete the religious artworks. Over the course of the years, the artisans came to incorporate many of their own techniques and vision into the Christian art, thus creating a unique style of art. The saints subtly became less emaciated, the facial expressions became less pained and more serene and the flourishes and enhancements became subtly more Indian.

The Church of the Weeping Cross As part of the shift in venues from the old Rachol seminary to the new location at the Nunnery of Santa Monica, the building itself was given a facelift. In particular the Church of the Weeping Cross or Cross of Miracles underwent extensive repairs and renovations to restore it to its former glory. Besides superficial work like repainting, wooden altars that had decayed with age due to termites and rot were refurbished, statues and other decorative touches were painstakingly restored, and plasterwork was undertaken in keeping with the building’s heritage status. The chapel is well known because of the cross within. It is said that the statue on this cross wept tear of blood in the 17th century. After this, pilgrims from around the world visited the site to pray and be blessed and hopefully to witness a recurrence of the miracle. The museum is a slice of time, preserved for the generations to come. The history that it holds shows what can be accomplished when two cultures and religions come together harmoniously to create something of beauty and value. Please note: Photography is not allowed within the museum premises.

https://itsgoa.com/museum-of-christian-art/, January 14, 2022

A team of Spring Dale Senior School comprising two students - Nitya Singania of Class X and Gursidak Boparai of Class VIII — has entered the finals of the INTACH (Indian National Trust for Art and Cultural Heritage) quiz competition. The students contested with 60 chapters of the INTACH and brought honour to the school. Principal Rajiv Kumar Sharma said, “We believe that our students grow in a natural learning environment and the win speaks of their innate tendency to learn and the hard work the school puts in for their holistic development." TNS

https://www.tribuneindia.com/news/amritsar/students-make-it-to-intach-finals-362879, January 17, 2022

The Delhi State Wetland Authority (DSWA) is expected to release a draft notification for each water body under the Wetlands (Conservation and Management) Rules of 2017. This will ensure legal protection to the water bodies. Not a single one of Delhi’s 1,043 identified water bodies – each of which has its own unique identification number (UID) -- is currently notified as a ‘wetland’. This, however, could soon change, with the Capital expected to notify 10 major lakes and water bodies as wetlands by the end of March, according to senior officials aware of the matter.

The Delhi State Wetland Authority (DSWA) is expected to release a draft notification for each water body under the Wetlands (Conservation and Management) Rules of 2017. Not only will this ensure legal protection to the water bodies, but each of the notified wetlands will see Integrated Management Plans (IMP) prepared, allowing DSWA to get funds from the Centre to protect and rejuvenate them. The water bodies identified in the first phase include Sanjay Lake, Hauz Khas Lake, Bhalswa Lake, Najafgarh Jheel, Welcome Jheel, Smriti Van (Vasant Kunj), Smriti Van (Kondli), Pooth Kalan, Sultanpar Dabas and Daryapur Kalan.

Another 50 water bodies will be notified in the second phase of the programme. The Delhi SWA was constituted in April 2019, as part of the Wetlands Rules of 2017, and officials said that they began work on notification of wetlands by the end of 2019. KS Jayachandran, member secretary, DSWA, said a draft notification for each water body will soon be released to the public, with a 60-day window for feedback and comments, before they are notified. The notification will detail the geo-coordinates of each water body demarcated as a wetland and the area over which it is spread. These, officials said, will ensure the water body is not encroached in the future. “In the first phase, 10 major water bodies were identified, but we are already working on the second phase, for which Khasra numbers (land survey number that is assigned to a specific plot or property) for 50 more wetlands are being identified.

If a water body is notified as a wetland, the wetland conservation rules allow for an IMP to be prepared, which is a long-term action plan. We will also be applying for funding from the Centre for each of these wetlands,” said Jayachandran. While nine water bodies are currently being considered for notification through the Delhi government, SWA officials say Najafgarh Jheel could be notified as a wetland by the Centre, as it forms part of a National Green Tribunal (NGT) judgment. In September 2020, the NGT asked the Delhi and Haryana governments to jointly prepare an environment action plan for the lake, which falls in both the states. In their report, the two states said that it will be notified as a trans-boundary wetland by the Centre as it requires management from both the states.

HT has seen a copy of the draft notifications, which mention a zone of influence for each wetland, including its buffer zone, where recreational activities like cycling and walking are permitted, while commercial activities, including grazing, are not. Suresh Kumar Rohilla, senior director, Urban Water programme at the Centre for Science and Environment (CSE), who is part of a technical committee formed by the Delhi SWA to notify wetlands, said the long-term plans for each water body will be detailed and can plug existing problems such as sewage in-flow and poor maintenance. “Currently, for most water body projects, STPs are being used to provide cleaner water, but there are no action plans on how the water body will be revived and then maintained over a period of time. The IMPs will help do that and also ensure there is legal sanctity for the wetland,” he says. Rohilla also said the Tikri Khurd lake was also being considered for notification in the first phase, with the NGT asking for clarity on its wetland status in 2019. A major chunk of Delhi’s 1,043 water bodies currently fall under the Delhi Development Authority (DDA) and the Block Development Office (BDO).

Data with the Delhi Parks and Gardens Society (DGPS), which has mapped these water bodies, said 836 water bodies in the city fall under DDA’s jurisdiction, followed by 131 under BDO. The forest department has 18 water bodies, while the Archaeological Survey of India (ASI) has 15 water bodies under them. Manu Bhatnagar from Indian National Trust for Art and Cultural Heritage (INTACH), who is also part of the Delhi SWA, states most water bodies that are set to be notified as wetlands in Delhi are currently without an adequate catchment area, or a source of water supply, a problem that will be addressed once they are notified. “The Bhalswa lake, which was once comparable to the Naini Lake in Nainital, now suffers from excess sewage dumping. Each water body has specific problems that will need a specific solution. We will look at plans for each of them,” he said.

Diwan Singh, an environmentalist and convener of the Natural Heritage First, said while mapping 1,043 water bodies was an important step for Delhi, the next will be to make these individual plans work. “Funding is often not an issue for the smaller water bodies, but once we know exactly how many there are, they can be systematically tracked and revived. Most require efforts where they can be connected to a stormwater drain or a source of water that sustains them through the year," he says.

https://www.hindustantimes.com/cities/delhi-news/10-water-bodies-may-be-labelled-delhi-s-first-wetlands-this-march-101642362031657.html, January 18, 2022

In addition to adding light and beauty to festive celebrations, the chandeliers of the Mecca Masjid are truly representative of the history and culture of historic Hyderabad and its heritage. The Mecca Masjid is one of Hyderabad’s most historic buildings. Begun in 1617 during the reign of the sixth Qutb Shahi ruler, Sultan Muhammad, it was completed 76 years later, in 1693, when Hyderabad was under the rule of the Mughals under Aurangzeb.

As the rule of Hyderabad passed on to the Nizams, the Mecca Masjid was the kingdom’s principal mosque. Today, a quintessential part of the Mecca Masjid is its set of 15 chandeliers, all of them white, which are suspended from the 75-foot-high ceiling. The first set of chandeliers was a gift from Muhammad Ali Khan Wallajah, the Nawab of Arcot (who reigned from 1749 to 1795), who was a military ally with Nasir Jung, the second Nizam (who reigned from 1748 to 1750), and Mir Nizam Ali Khan, the fifth Nizam (who reigned from 1762 to 1803).

While the Nawab of Arcot was the Subedar of the Carnatic, the Nizams were the Subedars of the Deccan, both deriving their power from their allegiance to the Mughal monarchy. Both fought side by side with the British in the Carnatic Wars, cementing their friendship. It’s hardly surprising then that the Nawab of Arcot would have given a grand gift of fancy chandeliers to his friend and ally, the Nizam. The first set of chandeliers was a gift from Muhammad Ali Khan Wallajah, the Nawab of Arcot (who reigned from 1749 to 1795), who was a military ally with Nasir Jung, the second Nizam (who reigned from 1748 to 1750), and Mir Nizam Ali Khan, the fifth Nizam (who reigned from 1762 to 1803). While the Nawab of Arcot was the Subedar of the Carnatic, the Nizams were the Subedars of the Deccan, both deriving their power from their allegiance to the Mughal monarchy. Both fought side by side with the British in the Carnatic Wars, cementing their friendship. It’s hardly surprising then that the Nawab of Arcot would have given a grand gift of fancy chandeliers to his friend and ally, the Nizam. Talking about the chandeliers to TNM, the Superintendent of Mecca Masjid, Abdul Qadeer Siddiqui, says, “The mosque has 15 chandeliers which are switched on during the sacred and sanctified nights of Shab e Miraj, Shab e Barat and Shab e Qadr.

Recently, apart from illuminating them on these three sacred nights, we have started opening them and illuminating them during the entire month of Milad un Nabi and Ramadan as well.” During non-festival times, the chandeliers are kept wrapped up in cloth to keep them safe. Muezzin of the mosque, Hafez Shaikh Mohammed Ali, says, “These chandeliers have also become a part of the mosque’s heritage. Apart from people who come for prayers, a large number of visitors, including people from across the state, visit the mosque to catch sight of the chandeliers during sacred nights.” Convenor of INTACH, Anuradha Reddy, says, “Hyderabad has a history of chandeliers, most of them were set up during the Asaf Jahi era when there was no electricity. At that time, candles were used to illuminate them.” “All the Deodis, Havelis, Kothis, Mahals, Mansions and palaces of the nobles and elites including the Nawabs have a good collection of chandeliers. Initially Irish, British and French made chandeliers were introduced in Hyderabad. Later chandelier making units were set up in Bombay and Calcutta,” she adds. Historian Mohammad Safi Ullah, while highlighting their beauty, says, “These types of chandeliers can also be seen in Chowmahalla Palace.

After the introduction of electricity in Hyderabad State in 1910, the candles in the chandeliers in Mecca Masjid were replaced with electric bulbs.” Mohammad Khaleel, an electrician who is in charge of maintaining the chandeliers of the mosque, says they are of different types. “All chandeliers are of different kinds of models and are in pairs. However, one Belgium-made chandelier is the most beautiful of them. Its weight is about 200 kg. The repair works of these chandeliers were last done about 20 years ago by experts from Rajasthan.” Talking about the cleaning process, he says, “The chandeliers are suspended about 10 feet from the ground and cannot be lowered. My assistant and I have to get up on a high pedestal to clean them. The old chandeliers are very different from the ones currently available in the market. We have to clean them, especially the glass parts, very carefully with a wet cloth.” He further says that while the chandeliers seen in the first row of the mosque have a capacity of 25 bulbs each, the Belgium-made chandelier in the centre holds about 100 bulbs. Other chandeliers vary in capacity ranging from 20 to 30 bulbs. With the change in technology, the bulbs too have been updated. “Earlier, 15-watt bulbs were used but for the last five to six years, we have been using LED bulbs to reduce our electricity consumption,” he adds. Talking about the herculean task of wrapping and unwrapping them and setting them up, he says, “It’s a difficult process. The chandeliers are wrapped in a huge cloth. The process of unwrapping and cleaning goes on for two to three days. The cleaning process of the largest two chandeliers alone goes on for one whole day and they are wrapped up again, one day after the occasion.” The historic chandeliers are nonetheless victim to the forces of nature. “Strong winds were witnessed in the mosque earlier, which led to fears of collision of the chandeliers with each other. That’s the reason the chandeliers were suspended with pipes instead of chains like earlier. Some of the chandeliers have been broken and damaged. We have kept the pieces that have fallen, and are awaiting funds to have them repaired,” the Superintendent of Mecca Masjid says.

https://www.thenewsminute.com/article/opulent-chandeliers-hyderabad-s-mecca-masjid-159951, January 21, 2022

A centuries old sandstone sculpture of the reclining Lord Vishnu in Bandhavgarh National Park has been restored by Indian National Trust for Art and Culture Heritage or INTACH. Popularly known as Shesh Shaiyya, the sculpture belongs to the Kalchuri period and has immense archaeological and heritage value. The sandstone sculpture was covered with moss and algae for years. This is the first conservation and restoration project undertaken by INTACH in Madhya Pradesh, Madan Mohan Upadhyay, state convenor of the organisation told TOI. After the state government’s consent, the project began last year. Situated at the Tala zone of the famous tiger reserve, the 1,000-year-old sculpture is 40 feet in length. For about two months, this tourist zone was closed for the visitors. Major General Lalit Gupta (retd), chairman of INTACH, visited the park three months ago and it was decided that this unique sculpture would be conserved and restored by the trust.

Upadhyay said that an expert team of conservators and professionals was deputed for a thorough study of the stone out of which this sculpture was carved out. The team also studied the nature of the algae and fungus that had accumulated on it for years.

Besides, minor floral vegetative growth around it was also studied. "Looking at the archeological significance of the sculpture, utmost care was taken and the steam-cleaning method was used to remove algae and moss. The moss that was covering it has now been completely cleaned," Upadhyay said . Besides the restoration of the Vishnu temple, an idol of Brahma and a Shivalinga situated close by the reclining Vishnu were also restored. During the conservation operations, the team found an inscription dating back to the Kalchuri period. Pictures of it have been sent to experts to decipher. Basavraj S Annigeri, field director of Bandhavgarh National Park said, “After the restoration work, the tourist zone of Tala has now again been opened for the tourists. The cleaning and conservation operation has enhanced the life of the sculpture."

https://timesofindia.indiatimes.com/city/bhopal/1k-yr-old-vishnu-sculpture-restored/articleshow/89081749.cms, January 24, 2022

The 120-metre-long Synagogue Lane at Jew Town in Mattancherry – home to the 450-year-old Paradesi Synagogue which is the second popular heritage tourism attraction in Kochi after the Chinese fishing nets — is set to be restored to its past glory by mid-February. The added attractions which further the lane’s heritage value would include street lights designed like the Star of David and part covering of the historic lane with shreds of roof tiles that are said to date back to 400 years. They were unearthed a year ago when the surface of the lane was scooped out as part of the restoration/upgradation work which also included laying of a utility duct through its centre. Cochin Smart Mission Limited (CSML), which was tasked with a project to upgrade roads and drains in Mattancherry and Fort Kochi heritage towns, heeded to the demand from heritage enthusiasts and took up the Synagogue Lane work as well.

A 45-ft clock tower at the far end near the synagogue is yet another attraction on the street, which still has houses where a handful of Jews reside. Arriving at a decision on the design of street lights and the laying of underground cables alone took multiple stakeholder consultations. A plan to install lights on the exterior of heritage buildings and shops that dot the narrow lane, in order to do away with the need for lamp posts on the narrow lane, was given up following a few concerns and a decision was taken to have lights designed like the Star of David fixed atop cast iron lamp posts, official sources said. Stakeholder consultations and negotiations on these aspects, the pandemic and a revisit of the utility duct in view of the high groundwater table delayed the lane’s restoration by a few months, they added. Semi-polished cobble stones have been laid on the street for guests who walk to the synagogue and the clock tower, while polished cobble stones have been laid on one side for wheelchair access. “Our team has suggested that two feeder pillars (also called power box, which controls power supply to nearby buildings) which were installed a few months ago and which block a view of the street and buildings on either side, be relocated to a vacant space that is available at the entry to the lane,” said Biley Menon, co-convenor of INTACH, Kochi Chapter, who was among those who convened stakeholder meetings in connection with the work on the heritage lane.

He had earlier suggested ‘walkover street lights’ that were buried on ground. They would be safe even if vehicles drove over them. “It would also be ideal if the facade of buildings that dot either side of the lane and their roofing adopt a uniform style and colour, in order to become a model heritage street. This is an opportunity to adopt a unified pattern for public infrastructure in such heritage zones,” he said.

https://www.thehindu.com/news/cities/Kochi/synagogue-lane-at-jew-town-to-be-restored-by-mid-february/article38326297.ece, January 24, 2022

A huge oil painting, said to be the second largest in the world, is currently on display in the Royal Gallery of Kolkata’s Victoria Memorial Hall (VMH). Titled Jaipur Procession, this painting from 1876 by Russian painter Vasily Vereshchagin freezes a moment in the Prince of Wales’ tour of the Indian subcontinent. The pomp of the royal visit — the painting shows the prince seated on a bedizened elephant, followed by a large retinue — is as evident today as it was when the canvas was painted. And the credit for this goes to the VMH staff, who have painstakingly restored the painting over months. In Kolkata, VMH is possibly the only institution where one can learn the ropes of art conservation and restoration.

Yet art restoration is in vogue, with a high demand for experts. So, Anamika Kala Sangam Trust (AKST) organised a three-month training course on conservation of oil paintings at the Kolkata Institute of Art Conservation (KIAC) from September to December 2021. Supported by the Tata Trusts Art Conservation Initiative, the course was mentored by Sanjay Dhar, a leading art conservator-restorer. With the programme’s focus on current thinking on conservation of canvas paintings, the interns were oriented with the science, art and ethics of conservation. The stress was on “critical thinking, on problem-solving, on figuring out what can be done safely given certain limitations,” says Dhar.

The trainees were encouraged to look for answers in different places. Investigations don’t always require heavy equipment or expenses, and a lot of time was devoted to showing how a microscope and ultraviolet or infra red imaging can be just as helpful. Or how the expensive cold-lining process can be replaced by innovative use of easily available material. “Around the world, conservators generally do the retouching. In India, artists do it. We taught the trainees various retouching techniques such as chromatic selection, where pure colours are applied in layers. In this technique, colours remain fresh,” says Dhar. In a paper on the history of conservation in the subcontinent, Dhar writes that Hindu, Jain and Buddhist religious and cultural material has survived for ages because there are elaborate instructions on their upkeep in religious texts.

The Archaeological Survey of India (ASI) and the Public Works Department laid the foundation of scientific conservation in the 19th century, stressing the need for a separate wing for the care of monuments and antiquities. The ASI set up its first chemical branch at Kolkata’s Indian Museum in 1917, later shifting it to Dehradun and establishing other centres under archaeologist Brij Basi Lal.

Inadequate outcome
After Independence, when the government sought help from international experts and UNESCO, the ASI provided human resources and technical advice to the many museums being built all over India. A conservation laboratory under T.R. Gairola was created by National Museum in 1958. The first long-term course in conservation was also introduced around this time when the National Gallery of Modern Art set up a laboratory under conservator and painter Sukanta Basu. In 1985, Indian National Trust for Art & Cultural Heritage (Intach) established a conservation laboratory in Delhi under Basu, who trained an entire brigade of experts, including Dhar.

However, as Dhar points out, in spite of the introduction of courses all over the country, “the outcome is inadequate and good conservation is the exception rather than the rule." Conservation began to be taken seriously only when the Calcutta Tercentenary Trust, created in 1989 and chaired by British high commissioners in India, assembled a project team of the best restorers from Victoria & Albert Museum, British Museum, the National Gallery, and several other institutions in the U.K. to train the VMH staff. The results show in the restored Jaipur Procession, to cite just one example. The Chhatrapati Shivaji Maharaj Vastu Sangrahalaya Museum Art Conservation Centre, Mumbai, is also being acknowledged globally as an upcoming premier facility for heritage conservation, research and training. It offers its services to various museums, cultural institutions and private collectors.

Explained lucidly
One of the most remarkable projects of successful restoration in recent times is that of Zoffany’s Last Supper (1787), which hangs in St. John’s Church, Kolkata. It was restored in the church over five months in 2010 by a team of conservators from Intach headed by Renate Kant, a Singapore-based German conservator. Kant says the “vandalised” painting was "hanging and sagging”, with numerous gashes at the bottom, when they started. But now everything is "consolidated and structurally stabilised” — the restored painting is a treat for conservators and lay persons alike. The Tata Trusts Art Conservation Initiative proposes to establish, develop and strengthen art conservation centres across India, and to create a cohort of trained art conservators. KIAC was selected as the zonal centre of the eastern region for the project, with an outreach in West Bengal, Odisha, Jharkhand, Chhattisgarh and the Northeast. A small exhibition was held as part of the training course.

Conservation work on oil paintings done by five trainees — Kartik Kayal, Glen Fernandes, Upasya Ghosh, Arpita Das, and Shreya Chakraborty — was presented for evaluation. It was instructive to look at the before-after images, which came with detailed texts and graphics. Kayal, Fernandes and Ghosh, along with Sumanta Biswas, laboratory technician at KIAC, explained the complicated processes and techniques in lucid, comprehensible terms. The case studies were oil and mixed-media paintings damaged in different ways. The participants were taught the processes of extending canvas edges by using suitable material, mending tears and holes, as well as filling, texturing and visual reintegration. The writer focuses on Kolkata’s vanishing heritage and culture.

https://www.thehindu.com/society/repaired-retouched-reborn-art-restoration-is-finally-getting-its-due-in-india/article38302011.ece, January 25, 2022

Apeejay College of Fine Arts organised a webinar on Heritage Awareness by INTACH. The resource person of the day was Purnima Datt, principal director, Heritage Education and Communication Services, INTACH, New Delhi. Principal Dr Neerja Dhingra warmly welcomed Purnima Datt, Abhishek Das, Senior Programme Coordinator, INTACH, Smriti Malhotra, Programme Coordinator and HECS representative, Maj Gen Balwinder Singh, Convener, Jalandhar Chapter, INTACH, Laveena Rajput, Principal, Army Public School, Beas and other distinguished guests.

Talking of the history of INTACH, she put forth that Indian National Trust for Art and Cultural Heritage is a non- profitable institution established in 1984 which preserves and maintains the natural, constructed and cultural heritage of India. There are various centres of it in 215 cities of India.

https://www.tribuneindia.com/news/jalandhar/webinar-on-mohenjodaro-art-363391, January 25, 2022

"It's a great feeling and honour for all the artisans from the Sandur Kendra as our artwork has been recognised," said a woman artisan from the Kendra The art and embroidery work of the Lambani women of Sandur will be showcased in the upcoming Republic Day parade at New Delhi. The artisans in the hill town in Ballari district are thrilled by the announcement.

The Lambani women's fine embroidery work on clothes, sarees and stoles has a unique market globally thanks to the efforts of late M Y Ghorpade, politician and member of the Sandur royal family, who encouraged the setting up of the Sandur Kushala Kala Kendra, a noted self-help group of women artisans. "It's a great feeling and honour for all the artisans from the Sandur Kendra as our artwork has been recognised. We will have a special event and celebration and also make arrangements to view the Republic Day parade," said a woman artisan from the Kendra.

"I have been working in the Kendra for more than a decade. We train Lambani women to create embroidery on clothes which are in good demand. The Kendra staff strive hard to create designs as well as new markets for the artisans. It's a proud movement for us to share our art with different artworks from other parts of the state as well," said another artisan. Besides the embroidery work and bamboo carving from Sandur, toys from Channapatna in Ramanagara and Kinnal in Koppal, jhamkhanas from Navalgund in Gadag and traditional sarees from Bagalkote will be showcased in the parade. The Karnataka tableau will be led by a replica of an elephant carved in sandalwood. Shama Pawar, artist and head of INTACH Anegundi chapter, said it's a proud moment for artisans from North Karnataka to be showcased in the Republic Day parade. "For generations, these artisans have preserved their artform. They need all the support that the government can provide," she noted.

https://www.newindianexpress.com/good-news/2022/jan/24/lambani-women-of-sandur-elated-as-embroidery-to-feature-in-republic-day-parade-tableau-2410764.html, January 25, 2022

As part of its Republic Day celebrations, 12 tableaux of various states and Union Territories and nine of ministries rolled down Rajpath showcasing India's diversity After displaying its military prowess, the tableau of different states and ministries rolled down Rajpath as part of the 73rd Republic Day celebrations. A total of 21 tableaux, 12 of various states and Union Territories, nine of ministries were showcased at the Republic Day Parade this year at the majestic Rajpath. Earlier, a row had broken out when West Bengal chief minister Mamata Banerjee and Tamil Nadu chief minister MK Stalin had written letters to Prime Minister Narendra Modi, urging him to reconsider the decision of rejecting their states’ tableau. We take a look at some of the displays that left a mark on us during the Republic Day parade.

Meghalaya
The tableau of Meghalaya was the first to make its way down Rajpath, displaying bamboo and cane handicrafts as well as Lakadong turmeric. The tableau is meant to celebrate 50 years of statehood as well as the state's women-led cooperative societies and SHGs.

Gujarat
A century-old, long-forgotten uprising in Bhil dominated Sabarkantha that was quelled by the British after the horrific massacre of 1,200 tribals was showcased by Gujarat in the Republic Day parade. The tableau of the Gujarat government depicted scenes of the congregation of tribals in Pal-Dadhvaav villages to protest against high taxation (lagaan) and forced labour imposed by the British and the subsequent indiscriminate firing by the British Army. The horrific incident had taken place on 7 March, 1922, just three years after the Jallianwalla Bagh massacre, but had gone into oblivion. The front part of the tableau showcased statues of tribal freedom fighters carrying torches as symbols of revolution and two horses on either side showcasing tribal rituals. The two wells named Dhekhadiya and Dudhiya, said to be the graveyards of the martyrs, were part of the tableau.

Goa
Dancers from the Kunbi community, the original inhabitants of Goa, and glimpses from the liberation struggle were the highlight of the tableau of the coastal state that rolled down Rajpath during the Republic Day parade on Wednesday. The front portion of the tableau showed the majestic Fort Aguada overlooking the Arabian Sea, and is considered as the defining symbol of Goan heritage. The fort was built by the Portuguese in 1612 to defend against possible Dutch invasions. During the Goan liberation struggle, the fort served as a jail where freedom fighters were imprisoned before being deported to Lisbon for longer sentences. The tableau, designed by Sushant Khedekar, also showcases the Martyrs' Memorial at Azad Maidan, Panaji, which is a symbol of selfless sacrifice made by hundreds of freedom fighters for the liberation of Goa. The lotus placed at the top of the memorial symbolises universal brotherhood. The rear portion of the tableau showcased the rocky headland of Dona Paula that stretches into the Arabian sea with dancers from the Kunbi community celebrating the spring festival of Shigmo.

Jammu and Kashmir
The tableau of Jammu and Kashmir at the Republic Day parade depicted the changing face of the Union Territory in terms of the development scenario. The front portion of the tableau showcased the world-famous Mata Vaishno Devi Bhawan located at Katra in the Trikuta Mountains of Jammu Division. The rear portion depicted the Indian Institute of Management, Indian Institute of Technology, AIIMS and International Airport being established. The highlight of the tableau was the recently constructed Banihal Qazigund highway tunnel which was thrown open to the traffic last year. It is one of the longest tunnels in India, with a length of 8.45 km.

Haryana
The tableau of Haryana displayed the proactive policies of the state government to promote the culture of sports. In the first part of the tableau, the conch of Lord Krishna was shown; the wrestlers in the arena above the middle tableau reflected the affection towards sports in the state. At the back, participants and winners of national and international sports competitions stood. Education Ministry tableau The tableau of the Ministry of Education and Skill Development showcased key aspects of the new National Education Policy (NEP) through the theme "Vedas to Metaverse" during the 73rd Republic Day parade. The front portion of the tableau depicted the rich tradition and glorious past of the country in the area of education since ancient times starting from the Vedas followed by the Gurukul education system, then the universities like Nalanda where thousands of students used to come from all over the world. The first part of the rear portion shows a glowing brain-like "bulb" symbolising innovation and creativity aspects. The procession of students of different age groups depicted skill development, joyful learning, emphasising the latest technologies like augmented reality and virtual reality. The image of educationists and scientists from ancient times to the modern age could be seen on both sides of the tableau.

Lok Adalat tableau debuts In a first, a tableau depicting Lok Adalat took part in the Republic Day parade on Rajpath here on Wednesday. The theme of the float by the National Legal Services Authority was "Ek Mutthi Aasman (Inclusive Legal System): Lok Adalat". The front part of the tableau showcased 'Nyay Sbke Liye', a hand gesture of fearlessness, guarantee and protection. On the rear of the float, a hand could be seen opening its five fingers one by one, depicting five guiding principles of Lok Adalats -- accessible, definitive, affordable, equitable, and timely justice for all. First, people can be part of the Republic Day celebration by voting for their favourite tableaux. People can register and vote at http://mygov.in/rd2022 and express yourself in the Republic Day Parade. People can register on mygov open forum in the URL mygov.in/rd2022. So, what are you waiting for? Go and cast your vote! With inputs from PTI

https://www.firstpost.com/india/republic-day-parade-2022-indias-rich-cultural-heritage-shines-through-21-tableaux-10321661.html, January 26, 2022

Chief Postmaster General S. Rajendra Kumar on Tuesday, also celebrated as National Tourism Day, released a “Prestige Booklet” on UNESCO World Heritage Sites in India. According to officials of the Department of Posts, the idea behind the move is to encourage identification, protection and preservation of natural and cultural heritage.

The Prestige Booklet contains information on stamps released on three types of sites: World Heritage Sites - I, which pertains to hill forts of Rajasthan, UNESCO World Heritage Sites - II, which has information on natural heritage sites, and UNESCO World Heritage Sites - III, which contains cultural heritage sites and three original miniature sheets. The booklet will be available for sale at ₹800 from January 27 by means of the Philatelic Bureau, Hyderabad GPO. It will also be available on https://eshop.tsposts.in. Speaking on the occasion, Mr. Kumar said that the idea of releasing a Prestige Booklet was introduced in 1995.

While the Stamp Booklet has original stamps, the Prestige Booklet contains information about the subject, as well as original stamps. The Department of Posts said that India has 40 world heritage sites, of which 32 are cultural heritage sites, seven are natural heritage sites and one is a mixed-criteria site.

https://www.thehindu.com/news/national/telangana/dept-of-posts-releases-booklet-on-world-heritage-sites/article38325086.ece, January 27, 2022

On Republic Day, here’s a list of 20 inspiring Indian villages that are showing the way forward in education, waste management, renewable energy, women empowerment and more. India continues to be one of the fastest developing countries in the world, despite the challenges faced in the past few years due to the pandemic. While urban development projects like the High-Speed Bullet train or Smart City Mission are reflective of this development, the true progress of this country lies in the development of rural areas. In a country where more than 65 percent of its total population resides in rural areas, the measure of true prosperity is in the state of villages. Echoing Gandhi’s words that are relevant to this day, India’s survival truly is synonymous with the well-being of its villages. Decades ago, he had envisioned self-sufficient ‘village republics’ through Gram Swaraj. But that could be achieved only after battling the numerous issues like lack of adequate sanitation, gender-based discrimination, livelihood opportunities, water pollution, soil erosion, deforestation, etc. plaguing rural India. However daunting these issues may sound, several villages across the folds of this country have been able to overcome these and grow into model examples. On this 73rd Republic Day, we celebrate the making of his vision into reality. Here are 20 such idyllic villages that mirror his vision of prosperity with positive growth in various sectors like agriculture, education, tourism, waste management, etc.

1. Khonoma, Nagaland
Once a cradle of freedom struggle and resistance against British colonial rule, Nagaland’s Khonoma village today has a different identity, one that is equally pride-worthy. Enveloped within pristine terrace farms, this self-sustaining village of Nagaland is home to a 700-year-old Angami settlement and is considered to be India’s first green village. While managing to preserve its cultural heritage and ancestral roots, Khonoma’s community is focused on the conservation of its natural habitat, a cause that has led to the ban of all hunting activities in the village. Taking ownership of its ecosystem, the community here follows its own eco-friendly version of farming called Jhum agriculture, which is known to enrich the soil from within.

2. Jamola, Jammu & Kashmir
Surrounded by glaciers, the Rajouri district in Jammu & Kashmir has struggled for decades with the problem of water shortage. But initiatives to tackle these water woes, especially in a small village called Jamola has stood out to be a model example for the rest of the region. From construction of concrete water harvesting tanks, check dams, groundwater recharging units to installation of rainwater harvesting structures and revival of water bodies like bowlies (natural springs), in addition to community awareness programs, Jamola Panchayat’s efforts to overcome adversity won national recognition in 2020 during the third National Water Awards. It bagged the second position for water conservation and management during the award ceremony and the panchayat was felicitated by the Union Minister of Jal Shakti, Gajendra Singh Shekhawat. In the same year, Jamola village was also awarded the child-friendly Gram Panchayat Award for adopting practices that ensure improved retention of teachers in schools, reduction of dropout rates, timely vaccination of children, adequate drinking water facilities and open defecation free status.

3. Piplantri, Rajasthan
Every time a girl is born in this village, it calls for a celebration. And, to celebrate, the villagers plant a total of 111 trees in her honour. As she grows, the trees planted in her name are nurtured by the villagers to reach fruition. A symbolically rich gesture to overturn the gender-based discrimination and violence plaguing the state has now evolved into a positive wave in the last few years helping Piplantri village save girl children while improving its green cover. To further support this cause, on the birth of a girl child, the panchayat sets up a fixed deposit for them while making their parents sign a legal affidavit to pledge to provide education for them. In the last 14 years, the villagers have planted almost a million trees on the common grazing land. Like each girl who is nurtured and supported, the community is also striving to help these trees survive and so to protect them from pests like termites, the villagers have also planted over 2.5 million aloe vera plants around the trees. These afforestation efforts have also helped boost livelihood for the village residents. 4. Punsari, Gujarat

About 100 km away from Ahmedabad, Gujarat’s Punsari village has the exterior of a city with a heart of a humble village. This was pointed out by a former sarpanch Himanshu Patel who transformed the village into an ‘Adarsh Gram’ after taking charge in 2006. From Anganwadi centres with advanced infrastructure, air-conditioned schools, biometric machines, WiFi, litter-free and clean roads, closed-circuit cameras, biogas plants, water purifying plants, this village has it all and can easily compete with the facilities in a metropolitan city. But what makes it even more praiseworthy is that Himanshu managed to accomplish all of it in just eight years, with a budget of Rs 16 crore. Today, this Adarsh Gram is a model example of sustainable rural development.

5. Odanthurai, Tamil Nadu
Located in Tamil Nadu’s Coimbatore district, Mettupalayam taluk, Odanthurai village is synonymous with self-sustainability for over a decade. Not only does this village generate electricity for its use, but it also sells power to the Tamil Nadu Electricity Board. Having attained acclaim in this regard they launched another project worth Rs 5 crore to install wind and solar energy farms. This project, among its several other welfare and energy independence initiatives, is helping over 8,000 residents live prosperous lives.

6. Baghuvar, Madhya Pradesh

What makes Baghuvar village in Madhya Pradesh stand out is its unique sense of community that has helped the village drive transformational change without a leader to oversee. In other words, this village is the only one of its kind as it has functioned without a sarpanch since independence. Here, every community member is a leader in their own right and takes ownership of efficiently improving the village infrastructure. Thanks to this unique model, today the village boasts an exemplary sanitation infrastructure, with almost every house having its own toilet, a common toilet complex for social gatherings, underground sewage lines and a substantial number of biogas plants. With the help of these facilities, they produce their cooking fuel and also manage to generate power to light up the entire village.

7. Hiware Bazaar, Maharashtra
The state of Maharashtra historically has been known to house regions with acute drought affinity, and Hiware Bazaar could have been one of them. Yet it is not. Surprisingly, since 1995, this village has managed to survive without the need to depend on a single water tanker. A village that once experienced an acute water crisis with negligible annual rainfall, decided to take a stand to change its course. Back in 1995, the villages decided to give up farming water-intensive crops and instead focused on horticulture and dairy farming. This decision in conjunction with many water conservation efforts helped raise the groundwater levels and ensured prosperity. With almost 300 open wells brimming with water, the village is home to 60 millionaires and the highest per capita income in the country, all reflective of the prosperity they have managed to achieve.

8. Lana Bhalta, Himachal Pradesh
Nestled amid the mountainous terrain of Himachal Pradesh, this small village called Lana Bhalta is a canon for waste management in rural India. Almost 50 km away from Shimla, Lana Bhalta is using a unique method to transform plastic waste into bricks, bases and interlocking tiles. Initiated by the village Panchayat, this project has not only helped the community deal with their waste but also aided in adopting sustainable construction practices. All the plastic and polythene collected from the district is recycled and used for various construction projects across the Panchayats.

9. Kokrebellur, Karnataka
In villages that are situated close to the forest harbouring endangered wildlife, the human-animal conflict is often a point of contention. The responsibility to maintain the balance and help the community coexist harmoniously eventually falls on the shoulders of the forest department. However, in Kokrebellur village of Karnataka, things are slightly different. Home to India’s rarest species of birds, the Painted storks, also known as Kokkare in Kannada, this village has set a positive example of environmental conservation and harmonious coexistence for the rest of the country. Although it is not a reserved bird sanctuary, villagers here have taken the ownership of protecting these birds as family, and have also created designated spaces for wounded birds to rest. On a visit to Kokrebellur, one can easily spot the rare birds in some villager’s backyard, friendly and unafraid.

10. Buchkewadi, Maharashtra
Usually, when there are zero harvests and no alternative opportunity for employment, families tend to migrate to urban cities from rural areas. In Buchkewadi, however, this trend is reversed despite the problem of land leaching bothering the villagers for years. Located in the Western Ghats, this Maharashtra village suffered from heavy rainfall for years until they figured out a way to use it to their advantage. As a solution, they built terraces on the mountain slopes to stem the flow of water and keep the topsoil intact. Now their wells are brimming all year round and their harvest is bountiful. Coming together as a community they have also established a fund to support 317 families in case of any emergency.

11. Chizami, Nagaland
From environmental conservation to socio-economic reforms, the Chizami village situated in Nagaland’s Phek district has a decade-long history of inspiring transformation. This was made possible thanks to the unique Chizami model of development that empowered marginalised women from the Naga society to be the changemakers. Led by Monisha Behal, a women’s rights activist and founder of North East Network (NEN), back in 1994, the collective of Naga women was created to improve health and sanitation facilities in the village. This was the beginning and since then, women have been leading every transformational initiative in the village, leading up to the foundation of Chizami Weaves, a decentralized livelihood project that creates sustainable livelihood opportunities for marginalised women while preserving the unique textile heritage of the state.

https://www.thebetterindia.com/274165/top-inspiring-indian-villages-sustainable-development/, January 28, 2022

Pallavi Model School, Boduppal organised a special assembly for the students of classes III, IV and V on Saturday with great zeal and enthusiasm. The event revolved around the theme ‘Atharv – a journey of legacy’ which included a series of spectacular performances by students depicting the essence of Navarasas, traditional folk dance forms of India and Europe, the school said in a statement. The event was graced by INTACH member P Anuradha Reddy, school chairman M Komaraiah, academic director Dr. T Sudha, director A Suheel Kumar and other members of the management. Principal T Tanuja, vice-principal D Kiranmai and headmistress BV Sunanda extended a warm welcome to all the dignitaries. The event held the audience in awe and made them travel through the journey of legacy.

The journey began with students of Grade III showcasing Navarasas through energetic dance performances followed by class IV students depicting the Indian tradition and culture with folk dance forms. The spectacular European folk dances performed by the students of class V left the audience enthralled in a magical world. The event concluded with a grand fashion show. Chief guest P Anuradha Reddy congratulated the team for an amazing event which was a feast to the eyes. The event saw students’ performances enriched with rich music, costumes, dance and spectacular virtual backgrounds and effects which made this event a big hit, the school said.

https://telanganatoday.com/students-of-pallavi-model-school-explore-essence-of-navarasas, January 31, 2022