The Art Deco style of architecture made its mark in Hyderabad 1930 onwards. We ask experts about its origin, its unique features and more. If we look long enough, we can find beauty everywhere, even in seemingly staid buildings that we pass by every day. Hyderabad has been a seat of confluence of various styles of architecture for hundreds of years, and therefore it does not come as a surprise that the Art Deco style too found a home (or homes) here. According to Britannica, Art Deco architecture is a popular style of design characterised by geometric, fashionable or a sleek stylised facade using man-made materials. Recently, Bachelors Quarters near Moazzamjahi Market, which has elements of Art Deco, was restored by its tenants. The move was appreciated on social media and threw light on the need to conserve such buildings. In this piece, we talk to architects and heritage enthusiasts to give us a snapshot about this beautiful architectural form.

Architect Praveen says: “Art Deco was a movement which started before the World Wars. Buildings with such style of architecture generally have a round profile and are decorative. Almost all components including windows, ventilators, doors or railing have some sort of art component. In India, this art style was first introduced to Mumbai. From there, it travelled to Chennai through the film industry and then to Hyderabad. They were owned mostly by the elite in the city. You can find a few of these buildings around Jeera, Padmaraonagar and Domalguda. Around 60 percent of such buildings in the city are in good condition as the owners take good care of them, but the rest are getting erased. We do not even notice them when they go missing.” Stating that conservation of these buildings need a new approach,Gsv Suryanarayana Murthy, a conservation architect, says: “We see these buildings around Secunderabad, Ranigunj, Patni and Paradise as they were inhabited by Anglo-Indians or migrant communities from Chennai.

There are many between Nampally and Afzalgunj. Even the original building of Ravindra Bharathi auditorium and State Bank of India building are extensions of Art Deco style. Both these buildings were designed by architect Fayazuddin who worked for the Nizam government. In the Goshamahal area, you will see that some timber sheds have elements of Art Deco style.” “As far as conservation of these buildings goes, the government is not doing enough. On one hand, they say that they have restored Moazzam Jahi Market, but on the other hand, they want to demolish Osmania General Hospital. Many of these buildings, which represent the character and identity of areas, must be preserved. Since RCC buildings do not last long, we might have to reconstruct some portions of these buildings. Charminar and Golconda have been standing for some 500 years because they were built with stones and mortar from inorganic material.

However, these buildings need to be revived in a different way and new policies are needed for that to happen,” he added.

Nitya Gonnakuti, who started an Instagram page called Art Deco Hyderabad in 2019, says: “My favourite Art Deco building here is a house near Ameerpet Metro Station. If you see one such building, there are surely two-three more in the area. I have faced objections while taking pictures of these structures, but once I explain the reason, most allow me to go ahead.These structures are concentrated along RP Road in Secunderabad. There is a mix of commercial and residential buildings here.

The German connection A German architect called Karl Heinz was instrumental in introducing Art Deco style to Hyderabad in the 1930s. He came as a refugee to India after he was hounded by Hitler’s government for being part of the Bauhaus Art movement in Germany. At the same time, there was a lot of cultural exchange between Hyderabad and Germany because of a group called German Circle here. There were several people from Hyderabad who were studying in Berlin. After becoming a refugee in Germany, Karl had come to Mumbai. At that time, Raja Ram Rao from Wanaparthy was looking for an architect to design a new style of house in Banjara Hills. Someone from German Circle recommended Karl and that’s how he went on to design Mount Pleasant building. It is now part of Muffakham Jah College of Engineering and Technology on Road No: 3. Thus this style took off in the city and was adopted by state building designers. Architects like Fayazuddin and Eric Marrett made immense contributions towards making this style flourish in Hyderabad.

- Anuradha Reddy, INTACH (Indian National Trust for Art and Cultural Heritage) convenor for the Hyderabad chapter.

An English perspective

If I were to pinpoint when I first acquired my liking for Art Deco architecture it would probably be December 1983 when I paid my first visit to Highbury Stadium, the iconic former home of Arsenal FC. The ground is gone but the frontage of their listed stand survives. Time working in Asmara in Eritrea and visiting Napier in New Zealand further endeared me to this style and I have taken to seeking out examples wherever I travel or live. Within the twin cities of Hyderabad and Secunderabad, there are a good number of Art Deco gems to be found, some original and others based on this popular style in more recent years. Secunderabad is perhaps most blessed with iconic landmarks like the Wet Market but in the narrower streets other gems are to be found. In Hyderabad, one should look even harder to find the gems — one of the earliest buildings that follows this style (built before it even became globally renowned) can be found in the lanes of Gunfoundry, a part of Abids. And of course somewhere between the two, the best kept buildings are perhaps the cities best kept example, the historic GVK offices. I am sure there are many more to discover once it is safe to return to my walks.

- Andrew Fleming, British Deputy High Commissioner to Andhra Pradesh & Telangana.
Common elements in Art Deco
Ornate, geometric detailing: Various motifs and ornamental details were applied to a building. Some common Art Deco motifs include chevrons, pyramids, stylized sunbursts or florals, zig-zags, and other geometric shapes. Consistent detailing: A designer or architect would include similar Art Deco elements on both the exterior and interior so that each building carried out a consistent theme. Bold use of contrasting colors: Bright, opulent colors are synonymous with the Art Deco period. Buildings incorporated stark colors like black and white or gold and silver to create contrast. Fragmented shapes: Many facades were created using vertical lines that were angular and pointed in an upward and outward direction. These triangular shapes were capped off with a series of steps that eventually came to a point. Decorative, geometric windows: Windows and doors were decorated with geometric designs. The windows could be glass blocks or a series of opaque glass inserts and were often positioned in a long, horizontal row. Modern and traditional building materials: Art Deco buildings utilized materials like stucco, terracotta, decorative glass, chrome, steel, and aluminum. — Kakoli Mukherjee [email protected] @KakoliMukherje2

https://www.newindianexpress.com/cities/hyderabad/2021/may/01/art-decothe-secret-language-of-buildings-2297031.html, May 3, 2021

Srinagar is not just a city of lakes and gardens visited by millions of tourists every year. It’s also famous as the seat of devotion and learning due to its transcendental Sufi shrines that had inspired many generations. Most of these shrines situated in the old city were built by medieval rulers after getting influenced by the Sufi masters. Historians believe that some prominent religious scholars and Sufis from Central Asia took refuge in Kashmir during the Sultanate era to escape persecution by outside rulers during the invasion and they chose Kashmir for its peaceful environment. As their followers grew every year, native rulers turned their staying places into Khanqahs or shrines. Today, centuries later, these shrines continue inspiring people of all communities and religions as they retain their age-old appeal.

Khanqah-i-Moula
One of the oldest shrines in Kashmir is located on a traditional riverfront in Zaina Kadal. The shrine was built by Sultan Sikander in 1395. Dedicated to the muslim preacher Amir-i-Kabir or Mir Syed Ali Hamdani (RA), Khanqah-i-Moula is famous for its wooden structure and beautifully painted interiors besides the delicately carved eaves and hanging bells. The antique chandeliers also give it a grandeur look. Shah Hamadan is believed to have arrived in Kashmir from the city of Hamadan in Persia in the 14th century and triggered a spark of Islam in the valley through peace and humanitarian means. M Saleem Beg, Convenor INTACH says the shrine has a great relevance and reverence in Kashmir as he brought a new faith to the region and helped people out of the economical disadvantages as he was instrumental in the introduction of art and crafts among the poor people.

“Before his arrival, Kashmir was attacked by outside rulers including Mongols. These rulers put common people to a lot of atrocities and decimated the economy of the region. Amir-i-Kabir came as a hope for them as he propagated equality and justice for the people of all religions,” he said. He said the message of peace, justice and equality was taken whole heartedly by people and they started following him. “Subsequently, people from other religious started converting to Islam,” he said. Beg said some historic scriptures write that the Shah stayed in Kashmir for a few years and then left for Tajikistan where his final resting place is presently situated. Shah has also built a mosque at Shey (near Leh).

The Khanqah gains special significance on sixth day of Zilhaj (last month of muslim calendar) which is also the death anniversary of Mir Syed Ali Hamadni. His birth anniversary also calls for grand celebrations and people from across the valley pour in to pay their respects. The shrine was one of the first mosques to be built in Srinagar after he meditated and offered his prayers on the banks of river Jhelum, at the same spot where the shrine now stands. The Khanqah has undergone renovation many times in the past, the latest one was the construction of its spire which was destroyed due to the blaze in 2017. Despite many social and political turns in Kashmir, the shrine continues to rejuvenate faith among people.

Shrine of ‘Bulbul’ Shah
Another shrine of Srinagar which enthuses Kashmir’s rich tradition of spirituality is dedicated to Hazrat Syed Sharif-ud-Din Abdur Rehman also known as Bulbul Shah. He was the first Muslim saint from Central Asia to have arrived in Kashmir in 1324 AD during the reign of Bodh ruler Renchan Shah. The shrine is located in Bulbul Langar area of Srinagar’s downtown and has recently been renovated with the help of INTACH J&K. Historians believe that Abdur Rehman settled in Kashmir during 1324 AD and was known to have influenced prominent Hindu rulers of Kashmir through his Islamic teaching. There is a myth in Kashmir that the saint got his name ‘Bulbul’ after people witnessed him meditating in such a way that wouldn’t even disturb the songbird nightingale (Bulbul) sitting on his head.

Shrine of Naqashband sahib
Shrine of Khwaja Syed Baha-ud-Din Naqshband is also among the top places of worship and solace for people of Srinagar and other parts of Kashmir. It houses the grave of a descendant of Khwaja Naqshband (RA). This shrine resides in Nowhatta on the road also links to Jamia Masjid and Dastgir Sahib Shrine. Martyrs graveyard that has a political significance is also located in the shrine compound. The place where the Naqshaband sahib’s shrine is situated was originally a palace of native ruler Hussain Shah Chak. It was later gifted to the sufi saint by Mughal emperor Shah Jahan. The Mughal ruler built it in the 17th century as he was hugely influenced by the Khawaja although he had never visited the shrine personally. “The shrine also holds a deep religious significance in Kashmir as it is believed that it was the first site for sacred hair of Prophet Mohammed (SAW) before it was shifted to Hazratbal Mosque,” said Samir Hamdani, a senior researcher. “The saint and its descendants had started a strong Sufi mystic order in Kashmir called Naqshbandi Silsila which had influenced a large number of people including rulers and elite families,” he said. Every year a special urs and prayers ‘Khwaja Digar’ is observed in the shrine on the 3rd day of Hijri month. Hamdani said the shrine is also significant because of its architecture mainly made of wooden panels and beams. Finely carved in pinjra-kari style art work and intricate hand painted papier-mâché work also makes it stand out. The window style arcs on the walls with bold colours and golden outlines look equally magnificent. The ceiling is covered in Khatamband work and the floors are covered with carpets. In the centre there is the main shrine that is again covered with cloth with pillars at the four corners where people offer their prayers.

Makhdhoom Sahib Astaan
The shrine located on the Koh-i-Maraan hill near the famous Hari Parbat fort in Srinagar is dedicated to Hazrat Sheikh Hamza Makhdhoomi who was born to Baba Usman Raina in Tujar Shareef, a village in Kashmir, in 1494. He is revered as a great scholar and mystic Sufi saint of Kashmir. He has contributed immensely towards the spreading of religious and spiritual teachings. Hazrat Hamza had not only preached in Srinagar but in different far flung villages of Kashmir. He has also donated his ancestral land and other property for the uplift of poor people. Historian and poet, Zareef Ahmad Zareef said that the Sheikh Hamza was believed to have had divine powers as per the personal experiences of people. “The devotees who visit his shrine believe that they will never return empty-handed,” he said. “Many unbelievable recoveries in the past had increased the faith of people and their number of visits to this place,” says Zareef. He said the shrine is a structure with many pillars, which is a rare example of Mughal architecture built by Mughal emperor Akbar. There is a Mughal era wall also built around the shrine. “Later, in 1808, the present fort was built under the reign of Shuja Shah Durrani, a Pashtun of the Durrani empire,” he said.

Dastgeer Sahib
Dastgeer Sahib is a 200-year-old shrine situated in Khanyar built in memory of Sheikh Syed Abdul Qadir Jeelani, a Sufi saint. It has the old Quran written by Hazrat Abu Bakr Sidiqqi, Hazrat Ali, and the Mouia Pak, a piece of hair from Abdul Qadir. Constructed in 1806 and expanded in 1877 by Khwaja Sanaullah Shawl, the shrine is the center of the activity hub of Srinagar as it is surrounded by a large market. On the annual urs of Abdul Qadir, thousands of people from all over Kashmir go there to pray and have glimpses of the Ziyarat shareef. “The shrine is the epitome of sufi tradition and is a symbol of Kashmir’s collective faith, spirituality and cultural heritage,” said Zareef A Zareef. He said the shrine was built around 200 years ago in Kashmir as a mark of respect toward Abdul Qadir Jeelani, a saint who hailed from Gilan province of Persia. Dastgeer Sahib never visited Kashmir and is buried inside a shrine in Iraqi capital Baghdad. But, Kashmiri both Muslims and Pandits hold the shrine of Dastgeer Sahib in high esteem. The shrine was badly damaged in a fire on 25 June 2012. The relics of the saint that were located inside a fireproof vault were not damaged. Now, the shrine has been restored to its original state.

http://www.risingkashmir.com/home/news_description/375681/Kashmirs-Sufi-Shrines-Symbol-of-collective-faith-spirituality-and-cultural-heritage, May 4, 2021

The Director Handicrafts and Handloom Kashmir, Mahmood Ahmad Shah, today chaired a webinar discussing issues with the stakeholders related to pashmina and its future prospectus. The webinar was held in collaboration with the Indian National Trust for Art and Cultural Heritage (INTACH) Jammu and Kashmir chapter. In his opening remarks, the Director informed that the webinar has been organized with a view to deliberate on the challenges faced in the Pashmia sector that is serving a very large sector of artisans, craft persons, Handicraft exporters and women artisans. Issues and concerns from experts and stakeholders in the pashmina industry were flagged during the webinar. The participants made suggestions on the long term and short term measures that the industry and the Governmental agencies need to take to promote handspun and handmade pashmina products and to meet the challenge of machine made products that are encroaching on the livelihoods of the genuine artisans, besides robbing Kashmir of a cultural industry. The Convener of INTACH, Saleem Beg stressed that a road map be chalked for the Pashmina industry for saving this traditional industry from the onslaught of machines and other practices that have been impacting this sector. He stressed that the GI indication secured for Pashmina has to be followed up with promotional and regulatory measures so that the tagging restores the identity of pashmina and links it to the local industry. The Convenor stressed that the Department should engage in a professional exercise to establish data. The CEO of the pashmina.com, Varun Kumar stated that the export of pashmina is hampered as Nepal has been able to secure exclusive rights on pashmina exports and obtain registration and the right of import in American market. He stated that this is a trade mark linked issue and the industry has to engage in a dialogue with international trade regulating bodies so that the right of export of pashmina is restored to Kashmir. In addition, the manpower needs to be increased and the GI tagging at Pashmina Testing Quality Control Certification (PTQCC) strengthened deploying additional manpower.

http://brighterkashmir.com/dir-handi--handloom-kashmir-organises-webinar-on-pashmina-issues-and-prospects, May 5, 2021

This unique style blends two cultures such that Mary is sometimes depicted in a sari, standing on a lotus; local flora and fauna pop up in statuary; Nagas are incorporated in distinctly Christian works. The Museum of Christian Art (MoCA) sits within the 17th-century Convent of Santa Monica in the heart of Old Goa, the scenic precinct of churches, monuments and ancient monastic ruins. A church is attached to the three-storey stone structure. The museum is housed in its nave. Over the past three years, the museum has been painstakingly renovated in a project executed jointly by MoCA and the Calouste Gulbenkian Foundation, a philanthropic organisation based in Portugal, with the conservation of the over-200 artefacts carried out by INTACH (the Indian National Trust for Art and Cultural Heritage), New Delhi. The revamped museum is now spread across the ground floor, a mezzanine and a reconstructed first floor, the original having collapsed in the 19th century.

"In the new museum layout, the art objects from the collection have been showcased in specially designed display cases with appropriate lighting. The collection has been grouped according to their materials and arranged in chronological order to assist the interpretation of the evolution of the Indo-Portuguese art history,” says museum curator Natasha Fernandes. When the Portuguese arrived in India, they brought European masterpieces with them, and used those masterpieces as models when commissioning new works by India’s own highly skilled artists. As a result, from the 16th to mid-20th century, a range of artefacts was created in Portuguese colonies here that bear the stamp of both cultures.

Sometimes, a Portuguese icon will have features that look distinctly Indian; local embroidery shows up on garments worn by representations of Jesus and Mary; local flora and fauna turn up in statuary; and, in a seamless marriage of cultures, symbols of significance to the Hindu faith such as the lotus and Naga are seen in distinctly Christian artefacts. At the museum, the most intricate examples of Indo-Portuguese art include an 18th-century image of Infant Jesus as Saviour of the World featuring Nagas and a red velvet gown covered in zardozi embroidery; a 20th-century ivory representation of Mary as Nirmala Matha, rising from a lotus and dressed in a sari; a 17th-century painting of the Virgin and Child framed in paisleys and silver filigree; and a 17th-century silver-on-wood tabernacle monstrance.

The tabernacle monstrance (a tabernacle is a sacred object used to hold the consecrated wafer called the host) is nearly 5 ft high. The spherical base is made of wood covered in silver, and the monstrance (used to present the sacred host for the adoration of the faithful) takes the form of a splendid pelican. In its breast is an opening surrounded by a golden sunburst designed to show off the consecrated host. Two offspring cling to the bird, waiting to be fed. “All these features as well as the metalwork technique employed by the silversmiths, especially on the feathers, make this piece unique,” Fernandes says. Elsewhere, an intricate 17th-century ivory representation of Jesus as the Good Shepherd depicts a young boy in sheepskin with gambolling sheep at his feet, and one leaping over his left shoulder. The pedestal is made to resemble a terraced hillock. Jutting out from the upper level is a face representing the fount of life, from whose mouth the water of life gushes into a basin, from which birds of paradise drink. On the lower level is a figure of a holy penitent performing penance in a cave.

Lush green foliage symbolic of the Tree of Life would have been part of the original, but is now lost. The delicate painting of Virgin and Child shows Mary with her arms folded at her breast gazing down at the sleeping Jesus. The painting is notable also for its multiple frames — one bearing stylised leaf motifs, another with floral and animal motifs, yet another with scrolling Mughal-style paisleys and the final outermost frame worked in fine silver filigree. These and other artefacts at the renovated museum can be viewed online at museumofchristianart.com.

https://www.hindustantimes.com/lifestyle/art-culture, May 7, 2021

As part of the webinar series on Pashmina and its future prospects, the second edition of the webinar was held today in which domain experts, stakeholder, departmental representatives and INTACH, J&K joined the session. The session began with the introductory remarks of Director Handicrafts & Handloom Kashmir, Mahmood Ahmad Shah, who gave the present status of Pashmina and its future course. Highlighting that the machine intervention has lead to marginalisation of spinning and weaving activity as a result of which quality of pashmina products has gone down, he said that there is an urgent need of reviving the manual de-hairing, spinning and weaving to restore the glory of Pashmina. The department, he said, has recently launched GI promotion films, radio jingles and print & electronic campaigns to underscore the need for the promotion of genuine handmade pashmina products.

"It has become essential to bring home the point that GI testing and promotion of GI pashmina is the cornerstone of marketing,” he added. It has become critical to the Pashmina trade that the access to quality supplies from Changthang remains smooth and hassle free. Some recent articles have highlighted the issue confronting Changthang pashmina and Changpas.

To understand the perspectives in a better manner Dr Mohammed Deen, Pashmina Expert & Founder LEHO Leh, was invited as a keynote speaker to delve at length on the status of Pashmina goat rearing, its products and supply to various parts of the country, abroad and particularly to Kashmir. Speaking in the webinar Dr. Deen highlighted the various aspects involved in rearing of Pashmina goats (Capra hircus) and problems being faced in view of global warming and issues facing in light of the border flare up. He also highlighted the aspects like decrease in productivity of alpine pastures and other biotic factors.

He informed that various steps have been taken to ensure that the number of goat rearing increased and also the increase in the yield of Pashmina per Goat is also achieved . He emphasized on utilization of technology to irrigate pastures mechanically and also accomplish the genetic improvement of the goat stock .Ghulam u Din Reshi, Member KCCI elaborated upon the procurement of Pashmina from Ladakh and the process of hand spinning in Kashmir to be given fresh impetus. He also underscored the need to ensure the enhancement of the wages to the hand spinners to re-attract the women folk to the spinning process. Abrar Khan Chairman, Genuine Kashmir Cottage Handicrafts Protection Forum also emphasised the enhancement of wages of both weavers and spinners and to strengthen the pashmina raw material bank of SICOP to provide easy and quality Pashmina to spinners. The point of low wages was also highlighted by Tariq Ahmad, President Kashmir Pashmina Karigar Union and Bashir Ahmad, National Awardee Kanishawljamawar, Mubashir Shaw who is leading exporter of handicrafts appreciated the facts that the wages of the artisans need to be enhanced for survival of craft in the long run which can happen only by the promotion of GI tagged products.

Babar Pashmina expert highlighted the role of PR platform to provide a greater visibility to the genuine handicrafts products to fetch better prices for the artisans and weavers. He also underscored the need to come out with a brand building exercise for Kashmir handicrafts products. Yash Veer Bhatnagar, Scientist Nature Conservation Foundation, Mysore gave a conservationist angle of the Changthang ecosystem and the need to conserve the biodiversity of this unique natural landscape.

He suggested ways and means of increasing the nutritive value of grasses and eco-friendly intervention to ensure optimal yields of the pashmina goats. He also alluded to the idea of introducing semi captivity measures to harness the fleece of Chiru. Mushtaq A Shah, Handicraft expert & Ex- Assistant Director Export Promotion, suggested that if some type of genetic engineering methods are employed to extract the wool from other goats of the same nature as that of pashmina goat ,an interesting facet to be explored. He cited the example of genetically engineered pashmina goat, "Noori '' breed by SKUAST-K team. Saleem Beg, Convener INTACH, J&K Chapter who was coordinating the programme also put forth his expertise and views on the topic and emphasised upon the participants about the importance of these types of webinars. Future discourses on the topic are being held in coming days to draw up a comprehensive road map for the promotion of the pashmina craft.

https://www.greaterkashmir.com/news/business/webinar-on-pashmina-experts-present-their-views-on-issues-prospects/, May 10, 2021

Jigarthanda is synonymous to Madurai despite the fact that it may not have been born here. Shopping in Madurai’s Vilakuthoon area is incomplete without a swig of this drink. After spending hours jostling for some time and space in one of Madurai’s many textile and readymade shops on a dry, scorching day in the middle of July, your mouth and eyes would naturally seek out the ‘Famous’ jigarthanda shop nearby. A spoonful of this drink with the chewy jelly-like ingredient often marked the completion of the ‘Aadi’ discount sale shopping ritual for many who grew up in and around the temple city. Jigarthanda is a cold drink made of milk, almond pisin (gum derived from the bark of sweet almond tree), khoya, sarsaparilla root syrup (nannari sarbat syrup) with alternatives of basundi and milk ice cream as toppings. A drink that was seemingly born in the kadai veedhis of Madurai is now accepted as the city’s own drink far and wide, with many restaurants and bakeries now selling ‘Madurai’s’ jigarthanda at their counters. However, anybody who is familiar with Tamil can spot that the name ‘jigarthanda’ is not Tamil enough to be born in Madurai.

So, where did jigarthanda come from? “The influence for this dish comes from the north,” says Sheik Mohideen, Brand Chef, Savya Rasa. “The concept for jigarthanda and falooda are essentially the same. Just that in falooda they use rooh afza, semiya, sabja seeds and almond pisin, while for jigarthanda, they use milk, milk ice cream, basundi, nannari sharbat and almond pisin,” he adds. This is, of course, just one of the many theories tracing the drink’s origin. Madurai’s ‘Famous’ jigarthanda had humble beginnings in the 1970s, when Sheikh Abdul Kadhar, its founder, joined his family business which was run from a pushcart in Madurai. This became a small shop near Vilakkuthoon in Madurai city in 1977, which like its location, stands the test of time. The shop enjoys the loyal patronage of thousands of customers and sells at least a thousand glasses of the rich, creamy, refreshing drink every day. There are several theories about its origin and ingredients, including a possible mention in the Ain-i-Akbari, but scholars have refuted this. Salma Yusuf Husain, a Persian scholar and the author of the book The Mughal Feast categorically denies the possibility of a drink similar to falooda or jigarthanda being mentioned in the Ain-i-Akbari. “The prominent languages during that period (Akbar’s period) were Persian and Turkish,” she explains, pointing out that jigarthanda is an Urdu name. “There is no chance this drink would have come from that period.” She adds however that sherbet as a concept originated in the time of Akbar’s son Jahangir, whose mother is said to have concocted the earliest versions of the beverages we call sherbet today.

"The concept of falooda also came around that time. There is no mention of sherbet or falooda in Ain-i-Akbari, so it is safe to presume that this might not have existed before Jahangir’s time,” she explains. The drink that ‘Famous’ Jigarthanda serves to its customers has condensed and chilled cow’s milk, fresh milk, cream, almond pisin, sugar syrup, nannari sherbet syrup, basundi and milk ice cream, depending on the version demanded by the customers (ordinary jigarthanda, special jigarthanda or jigarthanda ice cream). It is usually served in glass tumblers and is known to be a body coolant, true to its name. It is perhaps this cooling nature of the drink that made Madurai embrace it as its own.

A mention-worthy aside to this story is also that jigarthanda is said to be an aphrodisiac and hence is served to newly-weds in some Muslim families in the region. Vani C Chenguttuwan, a historian and the co-convener of Indian National Trust for Art and Cultural Heritage’s (INTACH) Madurai chapter, says that the influence for jigarthanda could have come from the coastal region between Pudukkottai and Ramanathapuram. “As far as Tamil Nadu is considered, more so in Madurai, the cultural impact in food is majorly from southeast Asia. We are most coast-bound – the coast stretches between Pudukkottai and Ramanathapuram. Our main navigation channels and points have been the Vaigai river, Kayalpattinam (Thoothukudi district), and Azhagankulam (Ramanathapuram district). As far as Madurai is considered, sea route connection is more important. So, I don't think the influence for jigarthanda would have come from say Lucknow or Hyderabad," she says.

She also points out that the almond pisin that is currently an important ingredient in jigarthanda could have been seaweed or agar-agar in early times, which points to an obvious sea connection. Tamil Muslims’ sea connection dates back to as early as the 13th century when trade links were thriving between the kingdoms of Tamil Nadu and southeast Asia. One of the theories for the origin of jigarthanda is that it was the seafarers who conceptualised the earlier versions of the drink because they needed protein in their food and seaweed was an easy source. Chef Sheik Mohideen affirms this.

"The makers of jigarthanda in Madurai still call it ‘kadarpasi’ (seaweed in Tamil), but it is in fact almond pisin these days,” he says. It is understood that the substitution came into picture mostly as a taste enhancer, he adds. Vani also counters the claim that the influence for jigarthanda might have come in from the Muslim communities and royal courts of Lucknow or Hyderabad.

"The influence of Hyderabadi cuisine is little to non-existent in the southern parts of Tamil Nadu. The Hyderabadi Nizam's influence ended with the areas ruled by the nawabs in Arcot. It is not possible that it would have extended to places as far as Madurai or Ramanathapuram.” She points out that agar-agar is an important and inevitable ingredient in a Tamil Muslim kitchen similar to how non-Muslims have cashews or raisins to put in their sweet dishes. “Their food is not complete without agar-agar," she reiterates to prove her point. Much like its cultural influence, jigarthanda is now on its way to cater to the taste buds of those abroad – a batch was even flown to Singapore for the first time right before the COVID-19 pandemic. While its origin can be debated, the drink has a loyal fan base that is up and growing.

https://www.thenewsminute.com/article/madurai-s-jigarthanda-confluence-taste-and-cultures-glass-tumbler-148463, May 11, 2021

While 'Studies in Thought, Polity and Economy of Medieval India 1000-1500' covers themes on Delhi Sultanate era, 'Researches in Medieval Archaeology' talks about various constructions carried during Sultan Muhammad bin Tughlaq era. Iqtidar Alam Khan’s first slim book, a biography of Humayun’s brother Mirza Kamran was published in 1964; his latest book, slightly bulkier than the first, has been published in early 2021 when he is nearing 90, with nearly a dozen authored and edited volumes in-between. Quite an emphatic comment on how prolific he has been in his distinguished career as a historian of medieval India! Add a very distinct quality of the huge range of themes and the empirical solidity of his researches and one begins to appreciate the indelible imprint on the study of medieval Indian history he has left for his own and future students. Professor Iqtidar Alam Khan was an alumnus and later faculty of the department of history at Aligarh Muslim University when it shone like the pole star in the study of medieval Indian history under the leadership of frontline scholars like Professors Mohammad Habib, Nurul Hasan, K. A. Nizami and Irfan Habib; he himself added to its lustre, evident in his extensive explorations of different facets of his discipline.

This, when he always avoided drawing attention to himself. The range of his explorations is amazing: biographies of two Mughal nobles, “Turko-Mongol theory of kingship” which had a decisive influence on Mughal notion of sovereignty, the system of revenue assignment of Akbar. The classic essay on “Akbar’s nobility and the evolution of his religious policy”, which was a sort of watershed intervention in 1968 in that it set new terms for the study of the Mughal “religious policy” and has stood the test of time, some feeble recent challenges notwithstanding, the pioneering studies of gunpowder, guns and artillery and not least the bringing to attention some Persian language texts.

However, all this work pertained to the Mughal period of Indian history. This current year has, however, revealed two hitherto unknown facets of his scholarship with the publication of two books in quick succession, both by the venerable publishers, Primus: Studies in Thought, Polity and Economy of Medieval India 1000-1500 and, hard to believe, Researches in Medieval Archaeology.The first brings to us his mastery of various themes from the Delhi Sultanate era with the same eye for empirical soundness of every detail as his works on the Mughal period, though still tied to the Court and its outliers except for a revisit to Alberuni’s ‘concept of India’. It is the second work that takes us literally to the ground level, taking us through the dust and grime of small buildings, remains of centuries-old Sarais (inns), waterworks, indigo vats, dykes and fascinatingly the ‘city’ built by Sultan Muhammad bin Tughlaq which he had named Swargduari, Gateway to Heaven, in district Etah in present day Uttar Pradesh. Traveling in ramshackle vehicles for nearly two decades, Professor Khan along with his team, dedicated himself to recovering and recording the remains of small, virtually forgotten buildings of various kinds – calling them monuments would be grandiose – in every little detail of location, dimensions, recoverable history from texts and from folklore.

It was a remarkable labour of love where his age and family’s pleas could not hold him back. The introduction, besides bringing the reader up to date on the theoretical backdrop of archeological study, makes the valuable plea that one should embark on field exploration only after running through all the relevant textual material available for imparting completeness to the exploration. While for all the sites studied included in the book almost every kind of technical detail have been recorded, the last and longest chapter, dealing with Sarais, is the most fascinating in that it opens up a number of windows to the social history of the period. It reveals that the state took upon itself the task of promoting travel as well trade, and at a certain stage postal service, by constructing inns and rest houses all along the trade routes. The task of constructing inns starts as early as Asoka’s time, for it is mentioned in one of his edicts, but later history on the theme is obscure. In medieval India, references to these, along with milestones, kos minars resume from Sher Shah’s time and continue into the 18th century. The title Sarai is scattered all over the land with prefixes like Ber Sarai, Arab ki Sarai, Katwaria Sarai, Sarai Kale Khan and numerous others in Delhi itself, not to forget the Mughal Sarai, its history now erased through political diktat. The very spread of these is suggestive of both the extent of travel and trade and state’s assumption of responsibility for providing security and patronage for it. The lodging and boarding at Sarais were often complementary and at times chargeable.

Luckily for the historian, the travelers at times left some graffiti on the walls noting their identity, several of which have been copied in the book. Where boarding was provided, separate kitchens were run for the Hindu and the Muslim travelers, suggesting that they came from both communities and shared the space but maintained differences in food, which was recognised and accepted by the state. It also suggests that the difference did not turn into hostility.

The book reproduces one graffiti in Devnagari on the wall of a mosque by one Kishan Das wald (son of) Maha Nand Kambu of Agra; he had obviously found shelter at least for a night at the mosque which he appears to have gratefully recorded; this reminds Professor Khan of Goswami Tulsi Das’ reference to “sleeping at a mosque”! These two books, the second one, in particular, is a delightful revelation of an attractive aspect of an extremely reticent scholar of great eminence: dedication without seeking recompense in the form of the fanfare of recognition, but pure dedication to the unearthing of history’s hidden secrets without a trace of prejudice or preference. Dedication that cuts across compartmentalisation of Delhi Sultanate versus Mughal Empire, economic history versus political history, archeology versus textual narratives and so forth. A dedication that does not tire with age.

We are grateful to Professor Ali Nadeem Rezavi, who as head of the department of history and in-charge of its section of archeology persisted with Iqtidar Alam Khan to collect all his scattered data and reproductions of photographs of remains and graphs prepared to put together in a book; we owe a big debt to him for succeeding in the effort. Harbans Mukhia taught medieval history at JNU.

https://thewire.in/history/iqtidar-alam-khans-latest-books-on-indias-medieval-history-unearth-hidden-secrets, May 14, 2021

INTACH, the Indian National Trust for Art and Cultural Heritage, will take up the restoration of the Devi Kothi temple, tehsil Churah in district Chamba in collaboration with the district administration of Chamba. This was disclosed today by the State Convenor of INTACH, Maalvika Pathania. For the restoration of the temple, expertise will be provided by INTACH free of charge. A sum of Rs 2 lakh has also been sanctioned by Chairman, INTACH for restoration. She said that an MoU regarding the preservation of heritage in Himachal has already been signed between the government of Himachal and INTACH. Deputy Commissioner Chamba, DC Rana said he was grateful to LK Gupta, chairman of INTACH, for granting funds and for sanctioning free expert consultancy for Devi Kothi temple for its conservation. As reported in The Tribune, art lovers were enraged at the destruction of heritage in Chamunda temple in Devi Kothi village in Churah sub division of Chamba district. About two-century-old temple was being re-constructed by petty contractors without any advice from experts.

https://www.tribuneindia.com/news/himachal/intach-to-take-up-chamba-temple-conservation-258443, May 26, 2021

The Museum of Christianity (MoCA) is located in the 17th-century Santa Monica Monastery in the heart of Old Goa, a beautiful district of churches, monuments and ancient monastery ruins. The church is attached to a three-story stone building. The museum is in the strait. Over the past three years, the museum has been carefully refurbished in a project jointly carried out by MoCA and the Calouste Gulbenkian Foundation, a charitable body based in Portugal, and more than 200 crafts carried out by INTACH (National Trust of India). Is protected. (For arts and cultural heritage), New Delhi. The refurbished museum now spans the first, mezzanine and reconstructed ground floors, and the original museum collapsed in the 19th century.

"In the new museum layout, the art objects of the collection are displayed in a specially designed display case with proper lighting. The collection is grouped by material, chronologically arranged, with India. We support the interpretation of the evolution of Portuguese art history, “says museum curator Natasha Fernandez. When the Portuguese arrived in India, they brought European masterpieces and used them as models when requesting new works by India’s own highly skilled artists. As a result, various relics were created in the Portuguese colonies between the 16th and mid-20th centuries, marking both cultures. Portuguese icons may have features that clearly look Indian. Local embroidery appears in the clothes worn by the expressions of Jesus and Mary. Local flora and fauna appear in the statue. And in a seamless cultural marriage, important symbols for Hindu beliefs, such as lotus and naga, are clearly found in Christian relics. Intricate metalwork covers the monstrance of the 17th-century Tabernacle.

(Image courtesy of MoCA) At the museum, the most complex example of Indian and Portuguese art is the 18th-century image of Christ Child, the savior of the world, featuring a red velvet gown covered with Naga and Zardoji embroidery. Mary’s 20th century ivory-colored representation as Nirmalamasa, standing up from a lotus and dressed in a sari. A 17th-century painting of the Virgin and Child bordered by paisley and silver filigree. The monstrance of the 17th century silver-on-wood tabernacle. The tabernacle’s monstrance (the tabernacle is a sacred object used to hold consecrated wafers called hosts) is about 5 feet high. The spherical base is made of silver-covered wood, and the monstrance (used to represent the sacred host for worshiping believers) has the shape of a wonderful pelican. Its chest has an opening surrounded by a golden sunburst designed to show off the consecrated host.

Two offspring are clinging to the bird and waiting to be fed. “All these features, and especially the metalworking techniques used by silversmiths on the feathers, make this piece unique,” says Fernandez. Elsewhere, Jesus’ intricate 17th-century ivory representation as a good shepherd depicts a boy in sheepskin. The pedestal is made to resemble a tiered hillock. Protruding from the upper floors is the face that represents the fountain of life, from which the water of life spouts into the basin, from which the bird’s paradise drinks. Downstairs is the holy regret of penance in the cave. The lush foliage, which symbolizes the tree of life, was part of the original, but is now lost. A delicate picture of the Virgin and Child shows Mary with her arms crossed on her chest overlooking the sleeping

https://illinoisnewstoday.com/goas-christian-museum-a-mountain-of-relics-from-india-and-portugal/218101/, May 28, 2021

It was the hara pathak, a green wooden gate to a 22-room mini-devdi in which lives K Venkateshwarlu and nine of his family members. Nearly three months ago, an earthmover made its way through the narrow Hussaini Alam Road. Manned by the workers of the Greater Hyderabad Municipal Corporation (GHMC), it was set out to make way for an ‘swanky’ road development plan. With one powerful blow after the other, it reduced a decades old landmark to scrap. A landmark which was a compass for many generations and a family’s identity. It was the hara pathak, a green wooden gate to a 22-room mini-devdi in which lives K Venkateshwarlu and nine of his family members.

The family also lost their front yard and garage to the road widening project. The GHMC is widening a half-km stretch from Hussaini Alam to Wazir Ali mosque from 30 feet to 60 feet for seamless flow of vehicular traffic. For this, it has acquired 70 properties, 28 are being demolished and 94 are soon going to bite the dust. Cut to April 27, another round of demolition took place in the area and Venkateshwarlu lost six spacious rooms at the rear of his house. This house that we are talking about is not your usual concrete building on the corporation’s land acquisition list. It is a slice of Hyderabad’s rich heritage which was passed down to him and his siblings by his father, who had bought it in the 1940s from Sahibzadi Zahurunissa Begum of a Jagirdar family. Its glass-clad exterior, Tuscan pillars, Madras terrace roof and a sophisticated underground cabling system are architectural concepts which are a rare find today.

Any day, he is set to lose the front yard to the Mardaana portion of his house as the widened road will cut through his home and many other old structures in its way. “Heritage is not limited to Charminar or Moazzam Jahi Market. We have to protect houses like these, shops, and the streetscape. These are samples of our heritage and add character to the city.

My question is when the owner of the house wants to protect such a rare structure, why is the government not supporting him?”he says. There are many other houses on the stretch which are over a century old and boast of the Indo-European architecture style. Most of these, however, have tenants living in them for decades and the owners would not mind razing these to the ground in exchange for a hefty compensation. That’s because they barely earn a few hundreds from the rent. “What is painful is that there is no sense of belonging.

Hussaini Alam is over 400 years old and has so much value in Hyderabad’s history. Do the roads in this area really need to be widened? By such haphazard urban development, you are not only destroying heritage but also destroying an economic asset of the area,” Venkateshwarlu, who is hanging on to his ancestral home by his fingernails, says. INTACH Hyderabad convener Anuradha Reddy is furious as to why such houses are not being protected and used as homestays. She cites the example of Pushkar in Rajasthan where the local families host tourists during the Pushkar Mela, with the support of the government.

"The families cook for them, spend time with them and also earn their living through this homestay model. The tourists too go back happy as they get a glimpse of the culture. This is how heritage is protected. Why can’t something like this be done here?” she wonders. Another historic building which is bearing the brunt of urbanisation is the Deccan Button Factory. Established by the sixth Nizam, Mir Mahboob Ali Khan, in 1916 and run by the late Mohd. Ghouse Uddin, it was famous in the country for its gold and silver buttons which were worn by the Nizam, apart from military and police officers. In 2018, the factory’s office was demolished and the GHMC acquired 250 sq yards for the road. Ghouse Uddin’s grandson Najam Uddin, who is keen on getting the factory up and running, had put in a request to the government to stop the works. “Let’s see what happens now. If the road is widened, the front portion of the factory would have to be demolished,” he says but also wants wide roads. “The traffic is too much and a wider road will definitely help ease it. It’s difficult for even a car to ply on this stretch.” Well, he can’t have his cake and eat it too. This is exactly what the debate is about - does an executing development project for the larger public good trump conserving centuries of heritage? “We are not touching any building which is notified as a heritage structure. We are only demolishing the old ones which are dilapidated,” says Devendar Reddy, the Chief City Planner at the GHMC’s Town Planning Wing. But neither the button factory nor the mini-devdi, which sits on a natural spring, are dilapidated. Also, just because these buildings are not notified as heritage sites does not mean they are not heritage. This debate assumes significance at a time when the State government is trying its level best to bag the UNESCO Heritage Tag for Hyderabad. “It’s a delicate balance between catering to the ever increasing traffic and conserving our heritage.

We have formed a committee comprising the chief town planner and two other officers who will study these buildings and decide on the setback relaxations to be given,” says Municipal Administration and Urban Development Principal Secretary Arvind Kumar. Like Anuradha Reddy says, we as the people living in Hyderabad are the owners of the city’s heritage and the onus of protecting it falls on us. The sooner we realise this the better, or else we will end up losing these jewels -- just like we’ve lost Doodh Bowli. No one has seen it, and those who have are no more alive. We have only heard of it and read about it.

Ancient trade route
Hussaini Alam falls on the ancient Golconda trade route which goes up to Machilipatnam. The area, which holds strong ties with Hyderabad’s rich heritage, is home to some rare Indo-European architecture, mosques, temples and the Deccan Button Factory. (R) the Hussaini Alam Kaman which is parallel to the Doodh Bowli stretch

In the line of demolition
K Venkateshwarlu’s house is a slice of Hyderabad’s rich heritage which was passed down to him and his siblings by his father, who had bought it in the 1940s from Sahibzadi Zahurunissa Begum of a Jagirdar family. Its glass-clad exterior, Tuscan pillars, Madras terrace roof and a sophisticated underground cabling system are architectural concepts which are a rare find today. Any day, he is set to lose the front yard to the Mardaana portion of his house as the widened road will cut through his home and many other old structures in its way

ASHOORKHANA DATES BACK 400 YEARS
The Hussaini Alam Ashoorkhana is an ancient landmark in the area, which dates back to Hyderabad’s founder Mohammad Quli Qutub Shah’s period. The Langar here is famous till date and continues to draw crowds every year. The Ashoorkhana houses a double-edged sword which belonged to Imam Jafar Al Sadiq, a member of Prophet Hussain’s family

Bearing the brunt of urbanisation
Another historic building which is bearing the brunt of urbanisation is the Deccan Button Factory. Established by the sixth Nizam, Mir Mahboob Ali Khan, in 1916 and run by the late Mohd. Ghouse Uddin, it was famous for its gold and silver buttons which were worn by the Nizam, apart from military and police officers. In 2018, the factory’s office was demolished and the GHMC acquired 250 sq yards for the road. (L) The Hussaini Alam-Wazir Ali mosque stretch, which is being widened, has not undergone a traffic study As the GHMC’s road development plan pushes the heritage of 400-year-old Hussaini Alam towards the brink of collapse, we attempt to capture the area’s Deccani charm before it bites the dust. We also ask the locals, experts and officials if development trumps conserving centuries of heritage?

https://www.newindianexpress.com/cities/hyderabad/2021/may/26/heritage-on-road-to-oblivion-2307530.html, May 26, 2021

FOR: RAM MADHAV Vista project is both a matter of pride and necessity. It won’t hit Covid work The overnight transformation of Nehru-Gandhi parivar bhakts into Lutyens’ bhakts is quite intriguing. Their opposition to the on the facile grounds that many ‘heritage’ buildings in the Lutyens’ Bungalow Zone (LBZ) are being destroyed is totally misplaced. The Lutyens’ Bungalow Zone that houses government offices including Rashtrapati Bhavan was developed by Edward Lutyens over a decade in 1921-31. Lutyens, a lesser-known architect in London, became famous in India because of the opportunity to build a few important structures like the Rashtrapati Bhavan, Parliament House, India Gate and North and South Blocks in Delhi. Contrary to the Opposition’s propaganda, none of these heritage structures is being demolished under the Central Vista project.

Historical records suggest that all other buildings in the LBZ were built with a paucity of time and resources and do not carry any real heritage value. Renowned hotelier and architectural restorer Aman Nath described the buildings in LBZ as a “design compromise” to “overcome a diminished budget and yet cover the maximum land area.” Incidentally, it was during the UPA 2 government in 2012 that the proposal for constructing a new Parliament House was envisaged initially. Lok Sabha Speaker Meira Kumar had recommended constituting a high-powered committee to suggest an alternative complex for the Parliament citing increased footfall, insufficient space and challenges of structural stability as the reasons.

Those concerns were genuine. The present Parliament was built in 1921-27 to host the Imperial Legislative Council and Central Legislative Assembly during British rule. The Constituent Assembly had held its meetings in it during 1946-49. The building has been serving as the Parliament House since 1950, housing both the Lok Sabha and Rajya Sabha. India’s population and political activity have grown manifold in the last seven decades. After the delimitation in 2026, a substantial increase in the strength of both Houses is also anticipated. The present structure will thus be insufficient to cater to the growing needs of the Indian democracy. The other bungalows in the LBZ have also become grossly inadequate for the functioning of government ministries. Successive regimes, including those of the Congress, had to make many structural modifications to them prompting the London-based Lutyens’ Trust to rush to Delhi in 2008 to discuss their preservation. Currently, 39 out of 51 ministries are partly or fully housed in the LBZ area.

Many ministries have rented office spaces outside the area incurring annual expenditure of over Rs 1,000 crore. These factors led PM Modi to set the ball in motion for the construction of the Central Vista project in 2019. It involves construction of a new People’s Parliament, a Central Vista from India Gate to Rashtrapati Bhavan, a new complex for the Vice President and a new house for the PM. First part of the five-year project, which includes a new Parliament building and the new Central Vista, is expected to be completed by 2022 when India celebrates 75 years of its independence. It will naturally be a matter of pride for every Indian. The government has put criticism to rest by assuring that all the significant heritage and cultural artefacts, presently housed at the National Museum, National Archives and Indira Gandhi National Centre for the Arts (IGNCA), will be carefully preserved. The National Museum will be relocated to the North and South Blocks, and is expected to have 3.5 times more space - from the current 25,500 sqm to approximately 80,000 sqm. The entire Central Vista project is expected to be completed by 2024. Necessary budgetary allocation for the project cost of about Rs 13,500 crore has been made in 2019 itself.

That brings annual expenditure to just around Rs 2,700 crore. No additional spending is happening beyond the previously sanctioned budget. Covid relief activity is not getting hampered in any way. The government has already allocated over Rs 35,000 crore for the vaccination drive in the country. Construction projects have been exempted from Covid restrictions in all states. In fact, many major infrastructure projects have been in progress in the country.

The cash starved Maharashtra government has issued tenders for a 900-crore redevelopment of the MLA hostel at Nariman Point in Mumbai recently. The Chhattisgarh government stalled construction work of the new Raj Bhavan, Assembly and CM House only after BJP president J P Nadda pointed out the duplicity of the Congress few days ago. Congress’ opposition to the project appears more about legacy than about the pandemic. Having named hundreds of institutions after one family, they seem worried that the NehruGandhi legacy of institution-building was being usurped by Modi’s men. They are ridiculing the new PM House as ‘Modi ka ghar’. But it was they who slyly converted the actual PM House at Teen Murti into the Nehru Memorial Museum after Jawaharlal Nehru’s demise in 1964.

The new Central Vista is not going to be the legacy of any individual or party. It is the need of the hour and a matter of pride for an Atma Nirbhar nation. Ram Madhav is member of the national executive of the RSS AGAINST: NARAYANI GUPTA The staging ground of our democracy is being bulldozed without debate The Central Vista Redevelopment Project, since mid-2019, has been a race between a nimble hare clearing the fences of ‘permissions’, and a motley group of tortoises. Even as the tortoises carefully listed the faults in the selection process, the hare had skipped away to the bhoomi puja for the new Parliament building. As the tortoises got down to scrutinising this new proposal, the hare nibbled the grass on the Rajpath lawns and put up a board reading “government land”. While the tortoises were dismayed at the prospect of the National Museum being relocated, the hare was giving brisk orders to the staff of IGNCA to parcel their documents and move to Janpath Hotel. When the tortoises reached the Vista, they found stern notices prohibiting entry. When the smallest tortoise started to write down the details that puzzled her, the hare looked over the barricade and mocked her: “But I told you the plan would be an evolving one!” The bulldozers, physical and verbal, grind slowly, and they grind exceeding fine.

There have been no debates. There have been questions and criticism. These are sometimes answered, sometimes not. Here are some questions for the hare in a hurry: In 2019, didn’t the ministry promise a website for the project? Where is it? Axonometric drawings and models to scale are needed to get a sense of relative distances and heights. So far, all we have been shown is a sketch of brown rectangles on a green ground. The number of blocks and their positions kept changing over the months (the plan, in the architect’s signature phrase, keeps ‘evolving’). This week, his firm’s website uploaded a plan showing five towers north of Rajpath, with four towers and a convention centre on the south. Is that final or is it still evolving? Even in 1912-13, there were lively debates about design, style, locations. This time, government officials — who are doing most of the speaking — tell us that the ensemble will be representative of the ‘New India’, that it is ‘state-of-the-art’ and ‘world-class’. Today’s state-of-the-art, we all know, is tomorrow’s obsolete. As to ‘world-class’ — which world? There is a complete lack of clarity on heritage — its content, its relevance. It doesn’t help that heritage has become the prerogative of the Ministry of Urban Development, the DDA and the CPWD. The Ministry of Culture, the ASI and INTACH have been silent. In 1985, the citizens of Delhi viewed and discussed the models submitted by competitors for the IGNCA project. Why has there been no public conversation around the current project ? We, the people of India, are now forbidden entry to the Central Vista. We lost all 80-plus acres of our public space in March 2020 in violation of the 2021 master plan of Delhi. The officials who concocted the plan and the by-laws are impassive when they are bypassed. The CPWD both submits and approves plans ( “I’ll be judge I’ll be jury/ said cunning old Fury”). Much work is going on below the surface - the moles helping the hare — to lay out a tunnel for the Prime Minister to move from his new home to the new Parliament House. It is argued that performance will be improved by consolidation, by herding central government employees scattered elsewhere into nine towers. I wonder who thought that one up, when the country is being catapulted into digital connectivity? Does the humongous allocation for new buildings include that of demolishing 4,60,000 sqm of structures, that of transit accommodation for officials in Kasturba Gandhi Marg and Africa Avenue, or the interior of Janpath Hotel, repurposed for IGNCA? Whoever suffers losses in this annus horribilis, it certainly will not be contractors and builders. News reports announce in a matter-of-fact way that ‘three iconic buildings’ are to be demolished — the IGNCA, the National Archives Annexe, and the National Museum. These are not just bricks and mortar, they have been venues for the meeting of minds: will people remember Dr Sivaramamurti, Dr Sourin Roy, and Dr Kapila Vatsyayan? They were built up by the work of dozens of anonymous curators. The IGNCA was warned about its fate some months ahead, but the Museum was given notice only a few days ago; it takes months to prepare inventories, to pack with care, to plan new homes in North and South Blocks. Apparently one is to house objects and documents till 1857, while the other will focus on the two centuries after 1857.

Which art historian in his/her right mind suggested that? A sub-project of ‘beautification’ is being carried out on the verges along Rajpath for Republic Day 2022. Perhaps they will set up barricades to hide the ruins on either side, as has been done in the past to hide our urban poor. Celebrate Republic Day? The War Memorial Arch, which we call India Gate, honours the war dead. For January 26, 2022 we need another memorial, another moment of silence — for those we have lost in the pandemic, who will never see the triumphal parade on the ‘beautified’ avenue. As for those who remain — will they be allowed to eat ice cream at India Gate again? The writer is an urban historian and conservationist.

https://timesofindia.indiatimes.com/india/times-face-off-is-central-vista-an-ill-timed-vanity-project-or-a-much-needed-makeover/articleshow/83016274.cms, May 28, 2021

Though quite a few of them have been ravaged by time, their marks still remain, having withstood the tests of weather over the decades. Here are some amazing facts of the forts that mark the city’s glorious past. Mumbai was once a group of several islands collectively called Bombay. From the Marathas to the Mughals, British and even Portuguese, reigned over it at different points in time. Few know that Bombay was fortified to withstand enemy attack and several forts were built for this purpose. Though quite a few of them have been ravaged by time, their marks still remain, having withstood the tests of weather over the decades. Here are some amazing facts of the forts that mark the city’s glorious past. Built by the Portuguese in 1536 and spread over 110 acres, the Bassein Fort aka Vasai Fort is one of the best specimens of Indo-European defensive architecture. This giant fort had three convents, six churches, one cathedral in addition to numerous public and private buildings including the original St. Sebastian Fort, Misericordia, senate house, town hall, factory, hospital, college, library, coin mint and a buzzing marketplace. This commercial, political and military base of the Portuguese for nearly 300 years, was home to 2400 soldiers, 300 residents, nobles and artisans.

In 1739, the Marathas, under the leadership of Chimaji Appa, the younger brother of Peshwa Bajirao I, took control of the fort and placed many victory symbols in the premises, including a temple and a statue. In 1802, the British took away the territory from the Marathas after the Treaty of Bassein. Interestingly, the court door of the Bassein Fort is still preserved carefully at the Remedy Church in Vasai. Though large parts of this historic fort-city have fallen to ruin, several watch-towers, with safe staircases leading up, still stand. The fort is a popular shooting location for Bollywood films and songs. Sion Fort

Built on a hillock by the British under the East India Company between 1669 and 1677, the Sion Fort marked the boundary between the Parel Island held by them and the Portuguese-controlled Salsette Island, north across the creek. Offering a panoramic view of the eastern coast, the Sion Fort has a series of beautiful pathways, a couple of ruined rooms and an old cannon at the top. At the base, is a garden named after Pt. Jawaharlal Nehru. From one side of the fort, one can enjoy a striking view of the distant salt pans in the Thane Creek. Restoration of the Sion Fort, which was notified as a Grade I Heritage Structure, had begun in 2009, but was stopped due to paucity of funds.

Belapur Fort

The Belapur Fort was built by the Siddis of Janjira in 1560-1570 after they wrested control of the area from the Portuguese. Located atop a hillock near the mouth of the Panvel Creek, it was recaptured by the Portuguese in 1682, after they annexed the nearby regions controlled by the Siddis. In 1737, it came under the control of the Marathas, led by Chimaji Appa, who vowed that if they’d successfully capture the fort from the Portuguese, he would place a garland of beli leaves in the nearby Amruthaishwar temple. Post the Marathas’ victory, it was renamed Belapur Fort. In June 1817, the British East India Company army captured and partially destroyed it under the policy of razing any Maratha stronghold in the region. A tunnel is also said to exist in the fort, which several locals believe connects the fort to Gharapuri Island, where Elephanta Caves are located. Sadly, not much has been done for the restoration of this once strategic fort. It is an unprotected monument, at present with C.I.D.C.O.

Arnala Fort

Strategically located at the mouth of the Vaitarna river, the Arnala Fort was built in 1516 by a local chieftain of Gujarat, Sultan Mahmud Begda. It is the specimen of the Maratha and regional defence architecture. In the 1530s, the Portuguese established their operations in the coastal area, with their headquarters at the Bassein Fort and soon gained control of the island. During the late 17th and early 18th centuries, the Maratha Confederacy came to dominate the region. After capturing the Bassein Fort from the Portuguese, whom he attacked at the behest of his elder brother, Peshwa Bajirao I, Chimaji Appa set his sights on Fort Arnala, as it would strategically help the Maratha navy in attacking Portuguese interests. A plaque, installed by the Marathas on the northern wall of the fort, to commemorate their victory, in March 1737, is still visible today. This fort is rectangular in shape and has many temples such as Tryambakeshwar, Bhavani Mata, Kalika Mata, and also of Mahadev. The doorway of the fort is beautifully decorated with pictures of elephants and tigers. It is a Nationally Protected Monument under Archaeological Survey of India.

Ghodbunder Fort Located in the Ghodbunder village, on the hilltop by the Ulhas River, in Mira Road, this fort was initially named Cache de Tanna by the Portuguese, who built it in 1550, in European architectural form, from stone blocks. Of the two churches built then, one is in good condition even today. The place also came to be called Ghodbunder as the Portuguese used to trade horses here with the Arabs. This fort came under the Maratha Empire only after Chimaji Appa defeated the Portugal forces. In 1818, the British East India Company took over the fort from the Marathas and made it its local administrative office. It has a great rampart with many bastions alongside its walls and also watch towers on the top. Recently, the Archaeological Survey of India (ASI) Ratnagiri and Directorate of Archaeology and Museums, Mumbai have decided to start restoration work of the fort.

Riwa Fort

Locally known as the Kala Qilla or Black Fort, the Riwa Fort is located in Dharavi, on the banks of the Mithi River. The most significant part of this Into-British architecture is that its main ramparts are built with laterite stones found in black colours. Part of the larger Bombay Castle, this fort also marked the northern portion of the British-held Bombay in the 17th century. The then Governor John Horne commissioned the construction of the Riwa fort, in the shape of a boomerang, to protect Bombay from the aggressive sea-faring Maratha leader Kanhoji Angre. Interestingly, the Riwa Fort also has an underground tunnel, which was built for an unobstructed flow of the Mithi River in those times. It is a State Protected Fort under the Directorate of Archaeology and Museums (Government of Maharashtra).

Sewri Fort

Built on the island of Parel in 1680, The Sewri Fort was one of the fortifications constructed by the British to ward off enemy attacks on their territory. In 1689, the Siddi General Yadi Sakat invaded Bombay with an army of 20000 men and first captured the Sewri Fort. The Fort in 1772 also witnessed another battle that repelled a Portuguese attack. Post the decline of the regional powers, it was used to house prisoners. Currently owned by the State’s Department of Archaeology and Museums, Maharashtra Govt., and classified as a Grade I heritage structure, efforts are underway under Phase I of Mumbai Fort Circuit Project to restore it. The strategic location of the Sewri Fort is said to promote ornithology as the area overlooks the mudflats that are frequented by migratory birds, particularly the lesser flamingos. Speaking about these forts, Dr. Mayur Thakare, Assistant Archaeologist, Directorate of Archaeology and Museums, Govt. of Maharashtra, said, "These forts are not just the dead monuments of the bygone era, but are the living links which connects the present grand Mumbai Metropolitan Region to its humble origin in the past. They stood rock solid to protect Mumbai or Bombay in their prime days and are ageing gracefully now. They are a unique testament to our multicultural society and History.” He added, “These forts have a wide scope of research, conservation and restoration activities. They need to be thematically and carefully conserved not just to protect their existence but to showcase their structural and site development over the years and centuries.

They are as lively as we are. Only we need to tune with them respectfully in this era of urbanism and not thrust our short sighted urban requirements over them. We must ensure to pass this heritage to our future generations.” Mumbai has a diverse culture and a long and rich history. Though some of the forts in the city are in dilapidated condition, they are considered to be magnificent works of architecture and narrate the glorious past of Mumbai.

https://www.financialexpress.com/lifestyle/travel-tourism/mumbais-lesser-known-iconic-forts-a-trip-down-the-history-lane/2258440/, May 28, 2021

The Thar Desert, or the Great Indian Desert, is a part of India’s national heritage, located in the western state of Rajasthan, spread over a whopping 77,220 square miles (200,000 square kilometers). Two independent researchers from France conducted a meticulous survey of the desert using Google Earth and drones leading to the identification of 8 Thar Desert geoglyph sites in the Jaisalmer district. The clear-cut geometrical lines and arranged motifs of the Thar Desert geoglyphs are now the largest ever graphical depictions by humans in the world! "So far, these geoglyphs, the largest discovered worldwide and for the first time in the Indian subcontinent, are also unique as regards their enigmatic signs,” Carlo and Yohann Oetheimer write in their study published in the journal Archaeological Research in Asia . The previous record was held by “The Marree Man” in Australia, which is 4,200 meters (2.6 miles) long, but the discovery in the Thar Desert covers an area of 100,000 square meters, easily surpassing all prior records."So far, these geoglyphs, the largest discovered worldwide and for the first time in the Indian subcontinent, are also unique as regards their enigmatic signs,” Carlo and Yohann Oetheimer write in their study published in the journal Archaeological Research in Asia.

The previous record was held by “The Marree Man” in Australia, which is 4,200 meters (2.6 miles) long, but the discovery in the Thar Desert covers an area of 100,000 square meters, easily surpassing all prior records. But the Thar Desert geoglyphs are so immense that their creators were unlikely themselves to have ever gotten a full picture of the entire art landscapes they made, according to Science Alert . Using drone technology and data collected in the field “the exceptional character of the graphic patterns near the village of Boha” were revealed. The two distinctly tremendous figures, titled Boha 1 and Boha 2, respectively, depict “a giant spiral adjacent to an atypical serpent shaped drawing” connected together “with a cluster of sinuous lines."

The Thar Desert geoglyphs lines are etched into the ground, 10 centimeters (4 inches) deep, and ranging from 20-50 centimeters (8-20 inches) in width. Boha 1, the giant asymmetrical spiral, is made from a single looping line running for 7.5 miles (12 kilometers), over an area 792 yards (724 meters) long by 220 yards (201 meters) wide. On the southwest side of Boha 1 lies Boha 2 a serpentine figure recognized by a huge 6.8-mile (11-kilometer) line that forms the outer body of the serpent. A smaller spiral is located within Boha 2, as well as boustrophedon-style line sequences, a style of drawing in which alternate lines are reversed.

Thar Desert Geoglyphs: Cultural or Religious Site?
The other Thar Desert geoglyphs are also magnificent but likely of lesser importance. Boha 3 is a series of meandering lines 30 miles (48 kilometers) in length, which the research duo suspect extended to 50 miles (80 kilometers) when first "drawn."

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"The giant spiral and serpentine figure are definitely the major points of interest, closely connected to Boha 3, suggesting that all the other geoglyphs were created as a framework for this set. Due to their spatial contiguity, patterns 1, 2, and 3 can be perceived as a sequential project." Although they are of interest due to their immense size, the Thar Desert geoglyphs are only believed to be 150 years old, and possibly linked to the Hindu memorial stones surrounding them, though their function and meaning are yet to be learnt or understood. Even the source of these geoglyphs and the artist behind them are unknown to the researchers, who hypothesize that it could be a yet-unknown cultural practice or an undiscovered spiritual art form . “Because of their uniqueness, we can speculate that they could represent a commemoration of an exceptional celestial event observed locally. We remain convinced that these unique geoglyphs are closely connected to their geographical and cultural context, and possibly contain a universal message linked to the Sacred and the cosmos,” the researchers stated, suggesting religious, astrological or cosmological meanings. At the same time, it would be important to acknowledge the world of possibilities that either of these speculations could lead to including a keen understanding of mathematics, design and planimetry by the creator(s).
Planimetry is the study of plane measurements like angles, distances, and areas, independent of those features that are elevated, like roads, rivers, and lakes. Going forward, it is important to note the role of technology, including drones and Google Earth, in this find and how these technologies can benefit future archaeologists, historians and scholars. The combination of Google Earth satellite tech, drone technology, and field research may reveal other fascinating historical and cultural things that are hidden from plain sight. - By Rudra Bhushan

https://www.ancient-origins.net/news-history-archaeology/thar-desert-geoglyphs-0015375, May 27, 2021

Church worker Nuklu Phom belongs to the Phom indigenous community in Nagaland in northeast India. He is noted for his work in connecting communities to conserve biodiversity and switch to sustainable livelihoods in his ancestral village. The effort led to the increase in congregations of the long-distance migratory bird Amur falcon, and other wildlife, in the community-conserved area centred around his village.

By Sahana Ghosh
From “shooting with catapults and guns'' to “shooting with cameras”, church worker Nuklu Phom mobilised communities in his ancestral village Yaongyimchen, in mountainous Nagaland, to identify an area for conservation in community-owned forests, over a decade ago. Under Phom’s leadership communities worked together to do away with hunting, protect biodiversity and adopt sustainable livelihoods centred around the 10 square km Yaongyimchen Community Biodiversity Conservation Area (YCBCA) set aside by them for conservation. Their efforts over time led to the revival of dwindling wildlife, including an increase in congregations of the long-distance migratory bird, the Amur falcon, the conservation initiative’s flagship species. Amur falcon is a small grey bird that annually migrates over 30,000 km from Siberia, China and Mongolia onto the southern parts of Africa. People had taken to hunting the birds and selling their meat during the birds’ stopover in Nagaland.

By documenting the significant increase in numbers of roosting Amur falcons over time in YCBCA, Phom was able to demonstrate the comeback of wildlife and restoration of ecosystems following a hunting ban and environmental-friendly farming. Phom was recently honoured with the Whitley Award, in recognition of his nature conservation efforts. He aims to connect more communities in rural Nagaland to be part of the network of community reserves managed by indigenous communities in what he calls the Biodiversity Peace Corridor, to mitigate the growing conflicts between humans and nature amid the growing impacts of climate change in the eastern Himalayas. “The expanded Biodiversity Peace Corridor will incorporate 16 villages across four Nagaland districts. Communities will connect with each other across their village borders to conserve biodiversity and take up sustainable livelihoods, and wildlife can move freely across these networked reserves,” said Phom who engaged with communities with his team at Lemsachenlok Society in Nagaland that received the India Biodiversity Award 2018. Sustainable, supplemental livelihoods are necessary for the communities because the areas set aside for conservation used to be jhum (shifting cultivation) fields. By switching to sustainable, non-extractive land-use practices, his team can ensure that the area supports both biodiversity and livelihoods, uniting some of the most economically constrained communities in a common cause, states the award-associated press release.

Phom, who studied theology and ecology, will also revive the tribal education system and enable elders to teach traditional knowledge to the younger generation. The Whitley Awards are presented annually to individuals from the Global South by UK-based charity the Whitley Fund for Nature. The award worth £40,000 (INR 41,33,343) is expected to be a shot in the arm for his plan to extend the corridor and introduce alternative livelihoods. As much as 88 percent of Nagaland’s forest is privately/community-owned. Bordering Myanmar, the state falls in the Indo-Myanmar and Himalaya Biodiversity Hotspots. YCBCA is one of the 407 community-conserved areas (CCA) in the state as per a 2015 TERI study and 82 percent of these CCAs have entirely or partially banned tree felling and/or hunting and enforce various conservation regulations. These CCAs, covering more than 1,700 square km (170000 hectares), also contribute to carbon storage (an estimated 120.77 tonnes per ha) and are essential for climate change mitigation and adaptation. Nagaland’s dependency on natural resource-based income generation also exposes it to climate hazard, according to the 2021 report Climate Vulnerability Assessment for Adaptation Planning in India Using a Common Framework released by India’s Department of Science and Technology.

It finds that the major drivers of climate change in Nagaland are very low coverage of crop insurance and the prevalence of rainfed agriculture. Agriculture also takes a beating from soil erosion, lack of irrigation, a smaller number of Natural Resource Management works per 1000 hectare (under the Indian government’s social security measure Mahatma Gandhi National Rural Employment Guarantee Act 2005) and low crop diversification. Phom and team have chalked out ways of integrating climate adaptation and mitigation options into their planning process and interventions to climate-proof vulnerable communities participating in biodiversity conservation actions. “We will generate alternative livelihoods through short-term and long-term plantations as per the local soil and climate conditions to enable climate adaptation. We will also look out for the market chains so that the products can be integrated into those systems,” said Phom. However, the COVID-19 pandemic has put a spanner in the works by hindering in-person outreach efforts among communities to drive home the message of biodiversity conservation and ensure participation. “Virtual meetings and phone calls etc. won’t have the same impact on people, so we are severely limited in outreach due to the pandemic. We need to keep the momentum going in terms of funds for switching to alternative livelihoods from hunting and other unsustainable practices,” adds Phom.

Observations, such as the marked reduction in wildlife, deforestation and loss of crop productivity, led to the crystallisation of the idea of a community-conserved area; and after about four years of discussions and meetings with village councils, Yaongyimchen inhabitants began conserving the YCBCA in 2010, Phom told Mongabay-India in a 2018 interview. The conservation area straddles the villages of Yaongyimchen, Alayong and Sanglu. The prelude to the CCA in 2010 began with Phom teaching the importance of environment protection to students of the college he was associated with. He also tapped into sermons and speeches through church work to draw people’s attention to environmental issues in the region. But it was the field-based experiences that added the wind beneath Yaongyimchen wings. “I started taking them to the forests and spending the night in the wilderness, dividing them into groups and encouraging them to pay attention to the sounds of wildlife and collecting data. Normally towards evening we could hear the sounds of barking deers but this has already decreased. We involved communities, especially the hunters, in observing and photographing wildlife,” said Phom, adding that one of the main successes of the conservation initiative was the hunting ban. The number of roosting falcons rose from 50,000 to one million after the conservation initiative began. One of the most successful activities of the campaign is satellite tagging of the birds facilitated by Wildlife Institute of India scientist Suresh Kumar and the forest department for a better understanding of the Amur falcons migratory route.

“Longleng” a female Amur Falcon, was tagged in 2016 from the roost site in Yaongyimchen Community Reserve in Longleng district. The abundance of termites in September and October makes the area a preferred refuelling site for the birds before they continue their flight across the Arabian Sea to the African continent. In addition, the birds are not connected to specific sites in this part of India but seem to change preferences, most probably depending on the availability of food, according to the Convention on Migratory Species. “They are known as ‘Tuma Lo-i’, in our language which means a bird that crosses water (body) and comes from a faraway land. To me, the birds represent entities that connect landscapes and unite people. Now there is a huge interest among tourists and scientists to study our area,” he adds. He hopes to unite more scientists, policymakers and communities to expand the Biodiversity Peace Corridor. Pia Sethi, co-author of the 2015 TERI project report on Nagaland CCAs attributes the success and sustainability of these efforts to the unflinching efforts of changemakers like Nuklu Phom. “You need a local who is really committed to the cause. Remember that the communities are giving up these areas and they are giving up hunting so there is an opportunity cost involved. So you need a committed local to convince and lead them through it,” Sethi told Mongabay-India.“While local community members in these close-knit villages support the decisions of the elders to conserve, they often face financial constraints in the process such as not being able to hunt and fish and sell for subsistence, which is why these CCAs need support in various forms, ecotourism, livelihoods. etc. Also, they have enormous pride in their culture and heritage and are encouraged when outsiders visit their areas,” elaborated Sethi.

Sethi and colleagues were involved in a pilot-scale project that was initiated in the three villages of Sukhai, Kivikhu and Ghukhuyi in Zunheboto district of Nagaland, which aimed at creating and linking CCAs across the landscape and supporting conservation through livelihood creation. The model adopted aimed at strengthening the resilience of these mountain communities and their forests by rejuvenating traditional conservation practices and providing supplementary livelihoods. She emphasised the importance of having a separate policy that recognises these CCAs. “You do not have a strong protected area network (such as wildlife sanctuaries etc.) in Nagaland. But wildlife conservation is active through these community-led initiatives. There is a need to recognise these efforts to ensure their sustainability,” Sethi added.

https://www.firstpost.com/india/green-oscar-2021-winner-nuklu-phom-strives-to-continue-connecting-indigineous-communities-and-form-biodiversity-peace-corridor-9660901.html, May 27, 2021

The Khonoma Nature Conservation & Tragopan Sanctuary (KNCTS) in Nagaland has won the India Biodiversity Awards 2021. KNCTS has been honoured with the award under the category ‘Sustainable Use of Biological Resources’. The India Biodiversity Awards is a joint initiative of the Union Ministry of Environment, Forest and Climate Change, National Biodiversity Authority and the United Nations Development Programme. Nagaland chief minister Neiphiu Rio has congratulated the Khonoma Nature Conservation & Tragopan Sanctuary for being honoured with the award. "Congratulations to Khonoma Nature Conservation & Tragopan Sanctuary (KNCTS) on winning the #IndiaBiodiversityAwards2021 under the category ‘Sustainable Use of Biological Resources’ by @moefcc. Proud of KNCTS for its community-led initiatives & best wishes for future endeavours," chief minister Rio tweeted.The award was announced on Saturday at the virtual celebration of the International Day for Biological Diversity. A media report quoted KNCTS chairperson Kezhaseria Meyase as saying that the community-based initiative involves everyone and represents the entire community.

Khonoma is in a strategic location which attracted the jury, believes Meyase. The village is surrounded by paddy fields and in the middle there are jhum fields and the reserved forests are in the upper part of it, the KNCTS chairperson said. Khonoma village is known for its unique and sustainable jhum cultivation which has been practiced since time immemorial. In the last two decades, the village has been able to conserve its forest and use its resources in a successful way. The report further quoted Meyase as saying “today we are proud to say that the journey of 20 years has assured us that we have contributed something to humanity and to nature.” Khonoma Nature Conservation and Tragopan Sanctuary was established on December 11, 1998 and it has been playing a vital role in organizing, monitoring, conserving and preserving the biodiversity in the Khonoma area. Khonoma is a home to many endemic and vulnerable species of flora and fauna.

https://nenow.in/north-east-news/nagaland/nagaland-khonoma-nature-conservation-tragopan-sanctuary-wins-india-biodiversity-awards-2021.html, May 28, 2021