INTACH Cultural Heritage of India organised a quiz competition at Vijay Boys High School, Mandi. The quiz included a variety of questions on the country's heritage, culture, art, important days, places, historical personalities etc. Students of DAVCPS, Mandi, participated in the competition with full zeal and enthusiasm. Amongst 110 teams, two teams (Saksham and Smriti) (Bhavya and Sannidhay) were selected and both got 2nd position in that quiz. Principal KS Guleria appreciated the students for their sincere efforts and congratulated them for their achievement.

https://www.tribuneindia.com/news/schools/dav-centenary-public-school-mandi-427859, September 1, 2022

This Durga Puja, revellers in the city will be able to experience the lifestyle and works of artisans, hailing from the heritage village of Raghurajpur in Odisha. The village, close to the temple town of Puri, is home to 'Pattachitra' artists. The Durga Puja pandal at Aurobindo Setu Sarbonin in Ultadanga will be a replica of this art and craft village. Revellers an get an idea of the exquisite art and craftsmanship of the artists by visiting the pandal. The club has stepped into its 46th year.

It will highlight the rich art and craft of Raghurajpur at its pandal through its theme 'Bahan'(Bearing Heritage) this year. "There are about 20 to 22 families that inhabit Raghurajpur and all the families are associated with art and craft, particularly Pattachitra. Their art dates back to 5 BC, but interestingly none of them have any institutional knowledge or knowhow about the art. The people have inherited the art form from one generation to another," Mintu Patra, the media coordinator of the club said. Artist Madhurima Pal, who is churning out the theme of the Puja, said that the design of the residences in the village, how the artisans work and the placement of the equipment they use for the craft will be recreated through the décor of the pandal.

"We have attempted to deliver a message to the people of Kolkata that Raghurajpur, which is still not known to many people, should be visited by the tourists. It will pave the way for due honour of the art work of the villagers," Pal added. The idol of Devi Durga and her entourage has been done in sync with the 'Pattachitra' style of drawing. Raghurajpur is the birthplace of one of the finest and legendary Odissi exponent Kelucharan Mahapatra. It has been awarded the heritage tag from INTACH for its artworks. Apart from 'Pattachitra' and palm leaf etchings the villagers of Raghurajpur make papier mache toys, masks, coconut crafts, wooden toys etc. All these will be used for decoration of the pandal.

http://www.millenniumpost.in/kolkata/bjps-march-to-nabanna-a-flop-show-ignore-it-mamata-tells-partymen-492905?infinitescroll=1, September 8, 2022

The ninth annual edition of The DHAN Academy’s two-day ‘Heritage 2022’ was inaugurated with discussions on the importance of culture, tradition and values here on Friday. M.P. Vasimalai, founder of The DHAN Academy, told The Hindu that the festival aims to encourage youth to change their attitude towards imbibing our heritage. “They must be taught to appreciate local culture, be aware of its richness and instill in them the need to preserve it,” he said. He added that it was college students pursuing history who take part in the festival year after year. “But preserving heritage is everybody’s responsibility and students from other streams must come forward as well. The festival also aims to reconnect villagers to their roots in many aspects,” said Mr. Vasimalai. “I am hopeful that such festivals inspire educational institutions to start heritage clubs that will push students to discover culture and tradition beyond textbooks,” he said. P. Rajesh Kanna, convener, Indian National Trust for Art and Cultural Heritage (INTACH), elaborated on brands that popularised our culture like veshti, turmeric etc., while speaking at the inaugural session. He also encouraged students to explore and make business models out of items rich in heritage.

R. Sasikala, coordinator for the event, said that 10 competitions will be held on both the days for around 120 participants from eight colleges in the city such as debate, poetry writing, short film, quiz, kolam drawing etc., to create awareness of our culture and history. The star attraction among the competitions was the exhibition where antique items, including crockery, jewellery boxes, farm tools, coins, wooden artefacts, figurines, paintings, traditional foods etc., will be on display. Professors from Fatima College said that students had handpicked over 50 vintage items from their family, especially their grandparents. While W. Gloria, a final-year student pursuing B.A. History at Lady Doak College, said that the oldest in their display was a 100-year-old brass “naali’ and ‘padi” that were traditionally used to measure rice. Learning about their use and history from the owners themselves was an interesting journey, she added. Ms.

Sasikala said that on Saturday, students, along with villagers of Vikkiramangalam village in Kovilpatti near here, would participate in cultural events like silambattam, oyilattam, folk songs etc., “We have planned to take out mulaipari (pot of seedlings) from Karuppu Kovil to Madhurodhaya Eswaramudaiyar Temple, a 1000-year-old temple, at Vikkiramangalam as part of the event,” she added. Academy’s director A. Gurunathan, programme advisor for DHAN Tourism Development, K.P. Bharathi, historian G. Sethuraman, archaeologist and epigraphist V. Vedachalam and others were present.

https://www.thehindu.com/news/cities/Madurai/preserving-heritage-is-everybodys-responsibility/article65871116.ece, September 9, 2022

The Indian cities, Nilambur and Thrissur in Kerala, have gained recognition from UNESCO after they became the nation's first entrants in the UNESCO Global Network of Learning Cities. The group of global cities also includes some of the most developed cities like Beijing, Shanghai, Hamburg, Athens, Incheon, Bristol, and Dublin.

The UNESCO Global Network of Learning Cities is an international policy-oriented network that paves way for the development and progress of other cities by sharing ideas and innovations at a global platform. The cities included in the list can benefit greatly from the exchange of ideas and solutions for development with other cities. As per the announcement, a total of 77 cities from 44 countries have joined the UNESCO GLC. The network supports and improves the practice of information sharing to enhance learning among member cities.

Nilambur, a prime destination for eco-tourism
Nilamubur is a major eco-tourism destination in Kerala. It is primarily marked by various socio-economic patterns and a mix of urban and rural populations. The majority of the population depends on agriculture and allied industries. It is a growing city whose objective is to promote sustainable development, gender equality, inclusivity, and democracy through community ownership. Under this initiative, the city aims to ensure employment opportunities and UN Sustainable Development Goal- 2 of 'zero hunger'. The city also aims to provide equal opportunity for growth to women by ensuring equal opportunities in all sectors, promoting capacity-building and reducing harassment. Lifelong learning initiatives will provide Nilambur with the tools to innovate in agriculture and handicrafts, promote eco-tourism and improve water management. The city is mainly known for its development of healthcare facilities. It provides free healthcare facilities to all citizens and utilizes health volunteers to offer door-to-door treatment for bedded patients.

Moreover, the city also promotes first-aid training for students and youngsters in the area. There is also a facility of tele-medicine services for the people living in remote areas. Its composite culture of several communities about religion, caste and economy has proved to be a major factor in its enhanced diversity. The city also hopes to ensure equality and inclusivity by eradicating challenges related to unemployment, poverty, housing, education, livelihood and connectivity. There will be a special focus on improving skill training amid the community for better employment opportunities. The city also provides free pre-primary education for all children below the age of six. The program also enables adults between 15 and 50 years of age to acquire the equivalent of Grade 4 in the formal education system. Special motivational sessions for children and older people is also planned to encourage them to make the use of city's open spaces and parks for education. This initiative also focuses on the eradication of child labour, basic health facilities for older people, and arranging training sessions for citizens with disabilities and mental disabilities.This project promotes a decentralized waste-management system and promotes recycling.

Thrissur,Kerala's cultural capital Thrissur is another city that has made its place on the list of UNESCO GLC. It is known as the cultural capital of Kerala. The city is also a prime destination for some famous academic and research institutions. It is also a flourishing ground in the jewellery industry, especially gold. Thrissur is the headquarters of four leading private sector banks in India and an important number of chit funds. A standing committee is takes all the key decisions on finance, development, health, education, welfare, public works and urban planning in the city. With its support, the city intends to integrate all sectoral and economic strategies into its master plan. As a member of the UNESCO GNLC, Thrissur will aim to provide solutions and ideas on issues related to equitable access to learning. It will also contribute to other cities in building digital learning ecosystems and sustainable development.

https://www.livemint.com/news/world/keralas-two-cities-become-india-s-1st-to-join-unesco-global-network-of-learning-cities-11662394110718.html, September 10, 2022

The village of Vangchhia is located in the Champhai district, Mizoram. The village is home to the state’s first protected archaeological site. What’s so special about this little offbeat village? There are around 180 menhir stones of different shapes and sizes in this village that are fully carved. What are menhirs? Menhirs are tall upright stones, erected by humans for various purposes as per their cultural and traditional practices. Most famous example of menhirs is the UK's Stonehenge. And in India, you may or may not have heard of Meghalaya’s famous monoliths of Nartiang.

In Vangchhia, the largest of these menhirs measures 1.5 m in width and 30 cm in thickness. We know that menhirs found all around the world mostly symbolises important aspects of the society. Mostly rituals. The ones in Vangchhia have carved images of humans, various animals and weapons. On each of these menhirs you will find one main figure of a human, with or without a head dress. Locals believe that the ones with head dress might be of a warrior. These menhirs might have been erected to honour these brave warriors who have killed their enemies and must have hunted big animals, which, during those days, was considered very brave. These menhirs are memorial stones for these brave warriors.
Not too far away from these menhirs is a cave or a rock shelter that overlooks Myanmar. Age has not been kind to this rock shelter and in its fragile state, it is best to stay out of it and not attempt to get inside. Though now it is in an unstable state, once upon a time this rock shelter must have been used as a watch post. Unlike the heavily carved menhirs nearby, this rock shelter has no such works of art whatsoever. There are other incomplete menhir sites and a stone-paved walkway that leads to Tiau River, one of the most important rivers in the area. One can only wonder what these silent stone structures must have witnessed. If only stones could talk…

https://timesofindia.indiatimes.com/travel/destinations/explore-mizorams-vangchhia-monuments/articleshow/94129964.cms, September 10, 2022

These five archaeological sites offer a fresh perspective on Northeast India’s ancient past. When teaching Indian prehistory and archaeology, the Northeastern states are often ignored or understudied. This goes from school textbooks to college syllabus. This dearth of knowledge about the 7 sisters results in students growing up to falsely believe that the Northeast has little to no history worth studying and researching. But this is far, far from the truth. From the Willong Khullen “Stonehenge” of Manipur to the Vangchhia and Thembang villages in Mizoram and Arunachal Pradesh, respectively, the Northeast has resplendent prehistoric sites which have fantastic stories to tell… but only if you listen closely …Here are five archaeological sites which reveal a fresh perspective on Northeast India’s ancient past. Willong Khullen Megalithic site, Manipur Did you know that Manipur has its very own Stonehenge? Located in the Willong Khullen village, a group of massive stone erections lies on a hill slope only 39 kms from Maram village.

Following a prehistoric tradition of megalithic symbolic stone structures, the tallest one stands proudly at 7 metres high and 1 metre thick! It is said that it’s impossible to identify the exact number of megaliths on this site due to spells casted by the spirits which live in these stones. Everytime someone attempts to count them, they will get confused and lose track. Legend says that once upon a time, a Japanese man tried to count the stones but a white wild boar chased him away. According to an unconfirmed report, the stones are 123 in total. The stone spirits are thought to be the ancestors of people who live in the Willong Khullen village today. Villagers say that at night, male voices of the spirits are heard calling out to each other by names like Kala, Kanga and Hila. No one is quite sure why the megaliths were propped up there and what they mean. But a story goes that the strongest men of the village used to find the biggest stones from across the land. Then they bowed down in front of the stone and prayed to it, asking for blessings. Only when given the permission to pick it up, the mighty men carried them to this place and erected them.

The villagers sometimes helped them. Due its resemblance to England’s Stonehenge (and similar dials of the ancient past), some have guessed it to be a calendar or sundial. Some elderly folks of the Willen Kullong village harbour poetry, oral stories and riddles about the megalithic site, as well as about the tribe that lived here. But due to falling interest among the younger inhabitants for learning and preserving these narratives, the village’s oral culture is dying. Today, the Willem Khullong megalith is a fascinating tourist spot, and an idyllic place to picnic at thanks to the hill slopes. Thembang Fortified Village, Arunachal Pradesh The Thembang Village is a 12th century fortified village in West Kameng district, Arunachal. The village is inhabited by the indigenous Monpas who are credited with respecting and sustaining Thembang’s ecological richness. Thembang is home to many historical structures, with the most important being the 12th century Dzong (fortified building).

Its architecture is similar to that of Bhutan and Tibet as it incorporates composite stone masonry and wood architecture. Ornamental features are carved on stone blocks and mani walls (stone walls engraved with prayers), and there’s traditional wood carvings, and paintings and manuscripts along the exteriors that present as murals and graffiti. Thembang is one of the oldest towns in Arunachal which is still inhabited. The Archaeological section of the Arunachalli government has recovered prehistoric tools from the site like neolithic celts, axes and other tools etc. Notably, Thembang used to sit at the Sat-Tsi river valley, which is 10 km away from the present location. But this all changed when an epidemic wiped out 90% of the villagers, causing the survivors to abandon the settlement and relocate to the present day area. Legend says that an all-powerful king called Cha-Cha-Nye ruled Thembang. He collected taxes from many lands such as parts of Darrang district, Mishamari, Udalguri and Mazbat of Assam. Stories of misunderstanding, betrayal, curses, executions and village rebellion surround the grand personalities associated with the village.

The village has been caught in the crossfires of war throughout history due to its grand, tough structure and important location. Some of these battles include: the struggle between the Bapus of Thembang and the Miji tribes of Deojing (present day Rurang), and the 1962 Indo-China War (the war bunkers of the Indian army remain to this day). The government has even constructed a war memorial near the village to commemorate the brave soldiers.
Vangchhia Village, Mizoram
This gorgeous village could possibly be home to the remains of the oldest and biggest Neolithic civilization of India! Vangchhia which is situated in Champhai district near the Indo-Myanmar border, boasts of the Kawtchhuah Ropui (Great Gateway) and Pipute Lamlian (Ancestors’ pathway). It is known for its huge menhirs (megalithic stone erections) which stand tall and are carved with intricate tribal designs, such as ornamented men holding a spear. These menhirs are common symbols of Neolithic culture which are found around the world. The Ancestor’s Pathway is a clear path cut across the village which splits into three different directions: north, south and east. The path is lined with large stones with designs on them which portray tribal life; these carvings are said to portray the migration of the ancient village dwellers from Myanmar to Mizoram. These designs are valuable in understanding tribal Neolithic life. Another outstanding feature of this purportedly thriving civilization is the Circular arena of stone which was, perhaps, used as an amphitheatre for social ceremonies. The discovery of this glorious structure convinced archaeologists that the people who built these structures were more advanced than previously thought and were members of a thriving society. And lastly, there is an intriguing sight nearby where holes are bored in the ground made of stone. This is said to have been a method of rainwater harvesting as the water would seep into the holes and be collected underground below the stones. The ancient villagers preferred this strategy to open reservoirs because the former prevented potential poisoning by enemy clans during wars. Daojali Hading, Assam Daojali Hading is a major Neolithic site in the Dima Hasao district of Assam.
Excavations since 1961 have led to the recovery of sandstone, ceramics, pottery shards, fine red ware with cord patterns, as well as stone tools such as grinder, pestle and mortar. A jadeite (green stone) was also found which archaeologists suspect was a Chinese import. Previously estimated to be a few centuries old, the corded pottery and polished stone tools are now confirmed to be dated back to at least 2,700 years! This extraordinary excavation makes the site the first evidence of an Eastern Asiatic Neolithic complex in India, due to the discovery of double-shouldered Celts and cord-marked pottery. This project was the first to put Northeast India on the Neolithic world map. The findings of polished stone tools like mortars and grinders suggest that the people who lived here two millennia ago were growing and storing grains, and preparing food from the harvest. Although the Neolithic began globally in 10,000 BCE and ended for many societies by 4,500 BCE, according to historians, the Neolithic phase in Northeast India may be as late as early Common Era centuries.
Chungliyimti Village, Nagaland Chungliyimti lies in the Tuensang district of eastern Nagaland. Considered a Neolithic settlement, recent excavations have found remnants of earthen pots and huts. The team also discovered a settlement with deep incision marks on clay and sandstone; they are believed to be made by poles and footprints. A stone staircase (which led to a house) was also discovered nearby. That’s not all. Some half-weathered pottery pieces and grinding stones were excavated too. For historians, Chungliyimti’s discovery has pushed back the beginning of the Neolithic era in the region. According to legend, the great ancestor of the Jamir clan, Yimsenpirong, was said to have spotted the first fresh water in the region. The village is believed to be the originating place of the Sangtam tribe and the six clans of the Ao tribes. According to oral tradition, Chungliyimti was once the ancestral home of the Aos, as well as some Chang, Phom and Sangtam families.

https://www.eastmojo.com/arunachal-pradesh/2022/09/11/prehistory-northeast-indias-most-important-archaeological-sites/, September 14, 2022

When we think about the monuments built worldwide in memories of wives, mistresses or love interests, one unforgettable name is the Taj Mahal built by Shah Jahan in memory of his wife, Mumtaz. But the list of ‘love’ monuments is endless with tragic stories such as that of Boldt Castle and Dobroyd Castle. However, have we ever thought of sculptures made by women in memory of their husbands or love interests? If you look closely at the history of Western India’s stepwells – ancient water stores, also known as stepped well/staircases – you’ll find many of them were commissioned and patronised by women. The intriguing part is they were built in memory of their loved ones. Stepwells represent an etymology of forgotten civilisations in the form of exquisite artistry.

In the Indian subcontinent, stepwells have been used since the Indus Valley civilisations about 5,000 years ago. Ancient Great Bath with stairs excavated at the Mohenjo Daro is the true primitive example of the stepwells. Since they are more profound, these stepwells collect water during the seasonal monsoons and evaporate slowly. Historically, such water wells provided necessities such as drinking water for the semi-arid regions of India. When we look at the history of stepwells built on the Western side of India, we find the patrons or inspirations of at least a quarter of Gujarat’s stepwells have been queens, mothers, daughters, mistresses, or goddesses.

“It is now also come to light that many of the stepwells were built by women – queens, wives of affluent traders, ordinary women and servant girls. Not only did women commission stepwells as patrons, but they also frequently served as an inspiration. Stepwells are often built in honour of a virtuous wife, a benevolent mother, a beloved mistress or a local goddess. The articulation and embellishment inside these structures are often expressive of this feminine character creating a delicate spatial filigree.” (Purnima Mehta Bhatt, Her Space Her Story)

Relation between stepwells and women Water is female; they are the maternal, procreative aspect of the absolute’. (Zimmer, Myth and Symbols in Indian art and Civilisation) It is not the first time that nature has been associated with feminine entities. Throughout history, the earth has been associated with muliebrity. Water is often equated with fertility and abundance in semi-arid landscapes, both literally and symbolically. In ancient times, giving water for public use was considered one of the most extraordinary acts of charity. Routines and rituals, however, linked women directly to the stepwell. In many villages of the region, fetching water, washing, and cleaning from wells are still everyday routines. Historically, at the stepwells, women could socialise freely without being observed by men in the open spaces of village squares (chowk) or royal courts (darbar). It was a place where women would find solace in exchanging household stories, discussing politics, and seeking the company of other women.

Socially, they offered women a way to transition from the domestic sphere into the public domain when they were deprived of this opportunity for the most part. Furthermore, it sends the message that networking is essential for emotional support. With this brief window of freedom, the women could move away from their daily lives of constraints and oppression in a patriarchal society where they were treated as mere subjects. Folklore has it that in the Sabarkantha district of Gujarat, there is a stepwell known as Balasamudra; a woman unable to produce breast milk usually visits the well; a blouse or top is dipped in the water, after which when the cloth is worn, the magical qualities of the water will enable her to nurse her child successfully. In many stepwells today, shrines have been constructed, or stepwells have been converted into temples. In Gujarati, the Mother Goddess referred to as ‘Maata’ in these shrines and temples is always worshipped as an incarnation. despite being recognised as a shrine it was acquitted of any kind of invasion by raiders.

It’s still a religious place but in terms of secular ethos. Morna Livingston of Thomas Jefferson University writes, “After a thousand years, the wells may be near the end of their natural lives, and their decay too far advanced to be checked, but in most cases, the attention to the goddess can hold off the ruin of a stepwell a while longer.” Stepwell inscriptions provide valuable information related to stepwells, providing historians with insights into women donors who were otherwise obscure or overlooked in historical records of the time. The practice of digging wells in remembrance of the dead was widely prevalent, corroborated by both epigraphic and oral traditions. wells were built to honour a deceased relative. this act is referred to in Sanskrit text as ‘istapurta’ ( a pious work or sacrifice which confers merit).

Notable Stepwells
Known as the Rani ki Vav or Queen’s stepwell, the Patan monument placed at World Heritage sites is a royal foundation, traditionally associated with Queen Udaymati, the widowed wife of Solanki ruler Bhimdeva 1 (1022-64). It was because it never served as a temple with outstanding treasury and had already fallen into disuse by the Muslim raiders; the Patan stepwell escaped discretion. Prabandh-Chintamani, composed by Jain Monk Mertunga in 1304, mentions that “the stepwell was commissioned in 1063 and was completed after 20 years”.

The stepwell was later flooded by the Saraswati river and silted over. Construction of the stepwell followed the Maru-Gurjara style, reflecting the mastery of this complex technique and the beauty of detail and proportion. The ornamentation of stepwell depicts the entire universe inhabited by gods and goddesses, nymphs, celestial beings; men and women; monks, priests and laity; animals, fishes and birds, including real and mythical ones; and plants and trees. Following the flooding of the Saraswati river, this stepwell was submerged for many years beneath the world. After a long leap, the Archaeological Survey of India excavated and restored it in 1986. UNESCO designated it a World Heritage Site in 2014. Adalaj stepwell, aka Rudabai stepwell, built in 1555 combining Hindu and Islamic elements is a unique waterwork. Platforms and galleries built into the stepwell’s side make it stand out from the rest.

Its story is of unrequited love and events centred around it. Rana Veer Singh, a Hindu leader of the Vaghela dynasty, ruled this region, known as Dandai Desh (located around 20 km from modern-day Ahmedabad) in the 15th century. Mahmud Begada, the ruler of a nearby kingdom, attacked Rana’s kingdom. The Rana king was killed in battle. The beauty of his wife Rani Rudabai makes Mahmud fall in love with her. In grief at losing her husband, Rani agreed that Begada should first build the stepwell before proposing marriage to her. The well was built in record time after King Mahmud agreed to the contract. Upon the completion of the construction, he reminded Rani of her promise to marry him. On completion of the stepwell, Rudabai decided to end her life.

Rani circumambulated the stepwell with prayers and jumped into the well as a mark of devotion to her husband. The well was left untouched by King Begada. To this day, each visitor prays for Rani Rudabai’s spirit which some believe still haunts the well. Bai Harir Sultani Stepwell, aka Dada Harir, located within the residential suburban of Ahmedabad was commissioned in 1485 AD by Bai harir a Royal Nurse in Gujarat sultanate’s court. It is said, a cost of 3,29,000 mahmudis (the standard silver coin of the Gujarat sultanate) to refresh men, birds, insects and plants and at last, to please god, its walls are richly carved, with on each side small cupolas, under them spiral stairs leading down to the water. The well bears two inscriptions, one in Sanskrit on the south and one in Arabic on the north wall, of the first gallery. As per the Sanskrit inscription engraved on the marble slab, “the general superintendent at the door of the king’s harem and the powerful, religious, chief councillor of king Mahmud”.

Forbes calls the stepwell ‘the nurse’s well’, which corresponds with Blochmnn’s translation of the Arabic inscription, which names the builder as ‘Sri-Bai Harir, the royal (slave) the nurse’. But the history behind these stepwells strongly beckons women across the centuries, in an era where historical interpretations have largely neglected women. (Written by Ardent Geroy; Edited by Yoshita Rao)
Sources: Rani Ki Vav Gazetteer of the Bombay Presidency: Ahmedabad Her space her story, Purnima Bhatt Steps to Water: The Ancient Stepwells of India, Morna Livingstone Zimmer, Myth and Symbols in Indian art and Civilization

https://www.thebetterindia.com/297140/women-queens-built-stepwells-india-architecture-history/, September 14, 2022

When we think about the monuments built worldwide in memories of wives, mistresses or love interests, one unforgettable name is the Taj Mahal built by Shah Jahan in memory of his wife, Mumtaz. But the list of ‘love’ monuments is endless with tragic stories such as that of Boldt Castle and Dobroyd Castle. However, have we ever thought of sculptures made by women in memory of their husbands or love interests? If you look closely at the history of Western India’s stepwells – ancient water stores, also known as stepped well/staircases – you’ll find many of them were commissioned and patronised by women. The intriguing part is they were built in memory of their loved ones. Stepwells represent an etymology of forgotten civilisations in the form of exquisite artistry.

In the Indian subcontinent, stepwells have been used since the Indus Valley civilisations about 5,000 years ago. Ancient Great Bath with stairs excavated at the Mohenjo Daro is the true primitive example of the stepwells. Since they are more profound, these stepwells collect water during the seasonal monsoons and evaporate slowly. Historically, such water wells provided necessities such as drinking water for the semi-arid regions of India. When we look at the history of stepwells built on the Western side of India, we find the patrons or inspirations of at least a quarter of Gujarat’s stepwells have been queens, mothers, daughters, mistresses, or goddesses.

“It is now also come to light that many of the stepwells were built by women – queens, wives of affluent traders, ordinary women and servant girls. Not only did women commission stepwells as patrons, but they also frequently served as an inspiration. Stepwells are often built in honour of a virtuous wife, a benevolent mother, a beloved mistress or a local goddess. The articulation and embellishment inside these structures are often expressive of this feminine character creating a delicate spatial filigree.” (Purnima Mehta Bhatt, Her Space Her Story)

Relation between stepwells and women Water is female; they are the maternal, procreative aspect of the absolute’. (Zimmer, Myth and Symbols in Indian art and Civilisation) It is not the first time that nature has been associated with feminine entities. Throughout history, the earth has been associated with muliebrity. Water is often equated with fertility and abundance in semi-arid landscapes, both literally and symbolically. In ancient times, giving water for public use was considered one of the most extraordinary acts of charity. Routines and rituals, however, linked women directly to the stepwell. In many villages of the region, fetching water, washing, and cleaning from wells are still everyday routines. Historically, at the stepwells, women could socialise freely without being observed by men in the open spaces of village squares (chowk) or royal courts (darbar). It was a place where women would find solace in exchanging household stories, discussing politics, and seeking the company of other women.

Socially, they offered women a way to transition from the domestic sphere into the public domain when they were deprived of this opportunity for the most part. Furthermore, it sends the message that networking is essential for emotional support. With this brief window of freedom, the women could move away from their daily lives of constraints and oppression in a patriarchal society where they were treated as mere subjects. Folklore has it that in the Sabarkantha district of Gujarat, there is a stepwell known as Balasamudra; a woman unable to produce breast milk usually visits the well; a blouse or top is dipped in the water, after which when the cloth is worn, the magical qualities of the water will enable her to nurse her child successfully. In many stepwells today, shrines have been constructed, or stepwells have been converted into temples. In Gujarati, the Mother Goddess referred to as ‘Maata’ in these shrines and temples is always worshipped as an incarnation. despite being recognised as a shrine it was acquitted of any kind of invasion by raiders.

It’s still a religious place but in terms of secular ethos. Morna Livingston of Thomas Jefferson University writes, “After a thousand years, the wells may be near the end of their natural lives, and their decay too far advanced to be checked, but in most cases, the attention to the goddess can hold off the ruin of a stepwell a while longer.” Stepwell inscriptions provide valuable information related to stepwells, providing historians with insights into women donors who were otherwise obscure or overlooked in historical records of the time. The practice of digging wells in remembrance of the dead was widely prevalent, corroborated by both epigraphic and oral traditions. wells were built to honour a deceased relative. this act is referred to in Sanskrit text as ‘istapurta’ ( a pious work or sacrifice which confers merit).

Notable Stepwells
Known as the Rani ki Vav or Queen’s stepwell, the Patan monument placed at World Heritage sites is a royal foundation, traditionally associated with Queen Udaymati, the widowed wife of Solanki ruler Bhimdeva 1 (1022-64). It was because it never served as a temple with outstanding treasury and had already fallen into disuse by the Muslim raiders; the Patan stepwell escaped discretion. Prabandh-Chintamani, composed by Jain Monk Mertunga in 1304, mentions that “the stepwell was commissioned in 1063 and was completed after 20 years”.

The stepwell was later flooded by the Saraswati river and silted over. Construction of the stepwell followed the Maru-Gurjara style, reflecting the mastery of this complex technique and the beauty of detail and proportion. The ornamentation of stepwell depicts the entire universe inhabited by gods and goddesses, nymphs, celestial beings; men and women; monks, priests and laity; animals, fishes and birds, including real and mythical ones; and plants and trees. Following the flooding of the Saraswati river, this stepwell was submerged for many years beneath the world. After a long leap, the Archaeological Survey of India excavated and restored it in 1986. UNESCO designated it a World Heritage Site in 2014. Adalaj stepwell, aka Rudabai stepwell, built in 1555 combining Hindu and Islamic elements is a unique waterwork. Platforms and galleries built into the stepwell’s side make it stand out from the rest.

Its story is of unrequited love and events centred around it. Rana Veer Singh, a Hindu leader of the Vaghela dynasty, ruled this region, known as Dandai Desh (located around 20 km from modern-day Ahmedabad) in the 15th century. Mahmud Begada, the ruler of a nearby kingdom, attacked Rana’s kingdom. The Rana king was killed in battle. The beauty of his wife Rani Rudabai makes Mahmud fall in love with her. In grief at losing her husband, Rani agreed that Begada should first build the stepwell before proposing marriage to her. The well was built in record time after King Mahmud agreed to the contract. Upon the completion of the construction, he reminded Rani of her promise to marry him. On completion of the stepwell, Rudabai decided to end her life.

Rani circumambulated the stepwell with prayers and jumped into the well as a mark of devotion to her husband. The well was left untouched by King Begada. To this day, each visitor prays for Rani Rudabai’s spirit which some believe still haunts the well. Bai Harir Sultani Stepwell, aka Dada Harir, located within the residential suburban of Ahmedabad was commissioned in 1485 AD by Bai harir a Royal Nurse in Gujarat sultanate’s court. It is said, a cost of 3,29,000 mahmudis (the standard silver coin of the Gujarat sultanate) to refresh men, birds, insects and plants and at last, to please god, its walls are richly carved, with on each side small cupolas, under them spiral stairs leading down to the water. The well bears two inscriptions, one in Sanskrit on the south and one in Arabic on the north wall, of the first gallery. As per the Sanskrit inscription engraved on the marble slab, “the general superintendent at the door of the king’s harem and the powerful, religious, chief councillor of king Mahmud”.

Forbes calls the stepwell ‘the nurse’s well’, which corresponds with Blochmnn’s translation of the Arabic inscription, which names the builder as ‘Sri-Bai Harir, the royal (slave) the nurse’. But the history behind these stepwells strongly beckons women across the centuries, in an era where historical interpretations have largely neglected women. (Written by Ardent Geroy; Edited by Yoshita Rao)
Sources: Rani Ki Vav Gazetteer of the Bombay Presidency: Ahmedabad Her space her story, Purnima Bhatt Steps to Water: The Ancient Stepwells of India, Morna Livingstone Zimmer, Myth and Symbols in Indian art and Civilization

https://www.thebetterindia.com/297140/women-queens-built-stepwells-india-architecture-history/, September 14, 2022

Haryana is all set to become home to the world's largest museum of Harappan culture. Rakhigarhi is a village in Hisar district of Haryana, situated some 150 km from Delhi. The village is also a famous archaeological site from the Indus Valley civilisation period. On Sunday, Chief Minister of the state Manohar Lal Khattar reviewed the ongoing construction work. He also instructed the officials of Archaeological Survey of India (ASI) to finish the excavation work as soon as possible. As per officials, the museum will display some 5000-year-old Indus Valley artifacts. About Rakhigarhi For those who don’t know, the village of Rakhigarhi was part of the Indus Valley Civilisation from 2600-1900 BC. Not only this, the place was one of the largest settlements of the ancient civilisation located in the Ghaggar-Hakra River plain. However, the site remains largely unexcavated and only about five percent of the village has been excavated till date. The CM has also directed officials to make a list of artefacts found during the excavation. He also said that if villagers have any such artefacts, a list of them should also be prepared. The name of such villagers would also be displayed along with the artefacts. Rakhigarhi's archaeological evidences are available in two villages, namely Rakhi Khas and Rakhi Shahpur. It was in 1963 that the ASI first started digging up a village. Till 1998, some 56 skeletons have been discovered in the Rakhigarhi region. Among these, two skeletons of women were about 7000 years old. Along with this, a number of shell bangles, a copper mirror and semi-precious stone beads were found in the hands of both the skeletons.

https://timesofindia.indiatimes.com/travel/travel-news/worlds-largest-museum-of-harappan-culture-to-be-set-up-in-haryanas-rakhigarhi-village/articleshow/94143741.cms, September 15, 2022

Over the years rock carvings of a previously unknown civilization have been found in India's western state of Maharashtra. Now, a cave in the same region is promising to shed more light on the creators of these prehistoric artworks and their lives. The cave, located around 10km (six miles) away from Koloshi village in the Konkan region of western Maharashtra, was discovered by a group of researchers last year. Excavations earlier this year revealed several stone tools in the cave that date back tens of thousands of years. "Nowhere in the world can we find rock art of this kind," says Dr Tejas Garge, who heads Maharashtra's archaeology department. Archaeologists believe these artefacts can help us find out more about the way our ancestors lived. The cave, which is situated in a secluded forest in Sindhudurg, was discovered by researchers who were studying rock carvings in nearby areas. Excavation work was conducted in two rounds, during which archaeologists dug two trenches inside the cave. Several big and small stone tools dating back to the Mesolithic period - also called the middle stone age - have been found. "The microliths, or the small stone tools, date back to around 10,000 years, whereas the larger tools could be around 20,000 years old," says Rutivij Apte, who has been researching the Konkan petroglyphs and was part of the excavation team. Dr Parth Chauhan, an archaeologist, says chemical processes are used to analyse any residue that might be present on the edges of the artefacts. This can help determine what the object was used for. "It will take a couple of months to find out the exact time period these stone tools belong to. But right now, we can say that these artefacts are between 10,000 to 48,000 years old." Maharashtra's laterite-rich Konkan plateau where this cave was discovered is also a treasure trove of prehistoric art. In the past explorers have discovered rock carvings of animals, birds, human figures and geometrical designs hidden under layers of soil in several villages here. So far, 1700 petroglyphs - or rock carvings - have been found at 132 locations in 76 villages in Sindhudurg and nearby Ratnagiri district. Saili Palande Datar, a Pune-based art historian and writer, says these carvings offer great insights into the life and habits of prehistoric man. She gives the example of an iconic rock carving of a human-figure found near Barsu village in Ratnagiri district. The carving is embossed on a rock and seems to be of a male figure who is holding what appears to be tigers and other wild animals in both hands. "There is an amazing sense of symmetry in this carving, which points to a high level of skill. The picture also depicts the relationship man shared with animals," Ms Datar says. He says that seals of the Harappan civilization - one of the oldest civilizations in human history that flourished in the Indian subcontinent - also depict the close relationship man shared with animals. "The seals have images of large animals like tigers and buffaloes and of man hunting animals," she says. Experts say that mysteries around these prehistoric rock carvings are far from being solved, but a UNESCO tag - natural and cultural landmarks from around the world are singled out for their "outstanding universal value" to humanity - can help preserve them for generations. Three rock carving sites in the Konkan region are already a part of UNESCO's tentative list of World Heritage sites, which is the first step towards getting the tag for any culturally-significant site. — BBC

https://saudigazette.com.sa/article/625041/World/Asia/Stone-Age-tools-found-in-India-cave, September 16, 2022

The weathered wooden mandapa of the Charchika temple at Banki in Cuttack district has been given a new lease of life. The weathered wooden mandapa of the Charchika temple at Banki in Cuttack district has been given a new lease of life.Damaged over the years due to extreme weather conditions and lack of restoration, the entire structure known as ‘Sunyavahini Mandapa’ has been reconstructed by Indian National Trust for Art and Cultural Heritage (INTACH). The Culture department had handed over the temple to INTACH in 2019 for restoration. Managed by the Endowments department, the intricately carved canopy of the mandapa (also known as mukhashala) is the biggest draw of the temple. While the canopy of the ancient mandapa was made entirely of Sal wood, the pillars are in stone.

The temple is considered one of the oldest Shakti shrines of Odisha. Director of INTACH, Odisha, Mallika Mitra said the wooden ceiling of the mandapa had episodes from Bhagavata Purana, flower motifs, lotus medallions, scrolls and jali work, gaja-vidalas, makaramukha, mithuna and maithuna images, among other carvings.

“When we started the work, we found out that the entire canopy including the central dome was severely damaged by insects and only the outer surface of the carvings survived. So the restoration work required recreation of the entire canopy by imitating the designs. We could only restore 10 pc of the entire canopy and the rest by recreated after an extensive study of the carvings,” she said. The mandapa has 12 pillars on which large wooden carved beams are resting. Conically, the structure has six layers and each layer is supported by carved cross beams. The damaged beams, too, were restored. Similarly, instead of screws and nails, traditional Salabinda method (joining by groves) has been used to join the wooden planks. “Seasoned Sal wood for the purpose was procured from government timber forests and treated with insect repellents,” she said. While an amount of `79 lakh was spent on the project, a team of 15 wood craftsmen from Banki, Nayagarh and Khurda worked on it.

https://www.newindianexpress.com/states/odisha/2022/sep/18/intach-restores-and-recreates-charchika-shrines-carved-canopy-in-odisha-2499451.html, September 19, 2022

The ceremonial sword or “talwar” was one of the seven objects to be returned to India by Glasgow Life, which manages the Kelvingrove Art Gallery and Museum at Glasgow, Scotland. Hyderabad awaits the return of a 14th century sword that was believed to have been gifted or sold by a top official of the sixth Nizam to a British army general more than 100 years ago. The ceremonial sword or “talwar” was one of the seven objects to be returned to India by Glasgow Life, which manages the Kelvingrove Art Gallery and Museum at Glasgow, Scotland. An agreement to this effect was signed between the Indian high commission in the UK with museum authorities on August 19.

According to a BBC report, it is the first repatriation to India from a UK museum. According to the report, six of these artefacts, including 14th century carvings and 11th century stone door jams, were stolen from shrines and temples during the 19th century. “The seventh object, a ceremonial sword or tulwar, with its scabbard, was stolen in 1905 from the collection of the Nizam of Hyderabad by his prime minister. He then sold it to British general Sir Archibald Hunter.

All of the artefacts were gifted to the Glasgow museum,” the BBC said. According to convenor of Indian National Trust for Art and Cultural Heritage (INTACH) P Anuradha Reddy, the sword was of Indo-Persian design of wavy serrated serpentine blade and gold damascening, belonging to around 1350 AD. “As I understand, it was in the collection of Salar Jung, who was a noble during the period of sixth Nizam of Hyderabad Mahbub Ali Pasha, who ruled till 1911,” she said. In 1905, the sword was gifted by Maharaja Kishen Pershad Bahadur, the then Prime Minister of Hyderabad, to General Sir Archibald Hunter, Commander-in-Chief, who had close connections with the Nizams. “I don’t think it was sold but it must have been gifted to Hunter, who took it back to the UK and from him, it reached the museum,” Reddy said.

Prominent historian and expert on ancient metallic swords and canons S Jaikishan said going by the serpentine shape and etchings of the Nizam’s sword, presently in display at Glasgow Museum, it was meant for exhibition during ceremonial parades, and was never used in any battle. “We can find out its origin and whom it belonged to, only after seeing it,” Jaikishan said. Salar Jung Museum director A Nagender Reddy said it was not immediately known when the “Nizam’s Sword” would be brought back to India. “But when it comes, it has to come to Hyderabad, as it is from here, the artefact had gone to the UK. I think the union government is taking care of the formalities and so far, we have not got any information about its return,” he said.

The museum director hoped that if it was brought to Hyderabad, it would be put on display at Salar Jung Museum. “There are other heritage museums belonging to the Nizams at Purani Haveli and Chowmahalla Palace. But since they are private museums, I don’t think the sword would be put up for display there. I am sure it will be given to the SJM," Reddy added.

https://www.hindustantimes.com/india-news/uk-to-return-hyderabad-nizam-s-sword-101663871715305.html, September 19, 2022

The UNESCO team, including an expert from International Commission on Monuments and Sites (ICOMOS), visited the 13th century Keshava temple at Somanathapur in Mysuru district on September 16 before concluding its tour of Hoysala monuments in Karnataka. The visit is a precursor to the ICOMOS expert, Tiang Kian Boon, submitting his report to UNESCO, which will decide whether the monuments could be accorded the World Heritage Site tag, possibly some time in 2023. The Chennakeshava temple at Belur, Hoysaleshwara temple at Halebid and Keshava temple at Somanathapur are India’s nominations for the World Heritage Site tag. Of these, the temples at Belur and Halebid have been in UNESCO’s tentative list since 2014. At Somanathapur, Mr. Tiang Kian Boon had specific queries regarding the architecture of the temple and the sculptures.

He was apprised of its salient features by a team of officials, comprising Jahnwij Sharma, Additional Director-General (Conservation and Scientific Preservation), Archaeological Survey of India (ASI). A team from INTACH-Bengaluru, which prepared the dossier for submission to UNESCO, including Pankaj Modi, architect, Meera Iyer, convener of INTACH-Bengaluru, and Aravind Chandramohan, co-convener, briefed Mr. Tiang Kian Boon in the presence of Mysuru district Deputy Commissioner Bagadi Gautham and A. Devaraju, Commissioner, Department of Archaeology, Museums and Heritage. UNESCO expert meets local stakeholders at Somanathapur Mr. Tiang Kian Boon also met local stakeholders, including representatives from Somanathapur village, who were asked to spell out their concerns, if any. Mr. Gautham translated the views of the local community for the benefit of the ICOMOS expert. The local community was positive in their views on the evaluation by UNESCO and expressed optimism that development of tourism would benefit villages in the vicinity.

The local representatives opined that the historic monument, with its sublime architecture, was being appreciated only by the locals. If upgraded as a World Heritage Site, it would be universally known, and bring fame and pride to the village as well. Mr. Tiang Kian Boon appreciated the opinion of the villagers and said that it synced with the UNESCO’S views on shared universal values. The villagers wanted the process of according the World Heritage Site tag to the temple to be expedited, but aired concerns about relocation. However, their fears were allayed by Mr. Gautham and Sudha Murty, who heads the State Tourism Vision Group. The local community was informed that the ASI would continue to be the custodian of the monument, and not UNESCO, as suspected by a few villagers. But the stakeholders were apprised of the imperatives of adhering to certain ASI norms and guidelines in the surrounding areas so as to preserve the aesthetics of the monuments. On September 17, the UNESCO team will meet officials of the Karnataka Government, including the Chief Secretary, in Bengaluru.

https://www.thehindu.com/news/national/karnataka/unesco-team-concludes-visit-to-hoysala-temples-in-karnataka-for-world-heritage-site-tag-evaluation/article65898845.ece, September 20, 2022

Ceremonial swords such as this symbolized power and military prowess of the Princely State of Hyderabad. The ‘Serpent-Sword” of Nizams of Hyderabad which is brought to Delhi early this month will be made ready for public view at the famous Salar Jung Museum. The High Commission of India in the UK and the United Kingdom’s Glasgow Life which manages Glasgow’s museums have signed an agreement during a formal ceremony at the Kelvingrove Art Gallery and Museum after which India got possession of the unique sword of Nizam of Hyderabad.

The ceremonial sword is of Indo-Persian design and is shaped like a snake and has serrated edges and a damascene pattern, with gold etchings of an elephant and tiger that is dated circa 1350 CE. “The sword went missing some time in the rule of Nizam VI,” Mir Mahbub Ali Khan, said INTACH co-convener, P. Anuradha Reddy. Her guess is Sir Archibald Hunter who was the General Officer Commanding of the Southern Army in 1907 may have been presented this sword by the rules of Hyderabad and that’s how it traveled with him to Europe.” While the government’s position is that such artifacts are stolen objects, India’s acquisition document for the sword says it was purchased from Maharaja Kishen Pershad.

“The tulwar (sword) was purchased in 1905 by General Sir Archibald Hunter, Commander-in-Chief, Bombay Command (1903-1907), from Maharaja Sir Kishen Pershad Bahadur Yamin us-Sultanat, the Prime Minister of Hyderabad.” “The tulwar was donated by Sir Hunter’s nephew, Mr. Archibald Hunter Service, to Glasgow Life museums’ collections in 1978.” Jonathon Reilly, communications officer of Glasgow Life,” Jonathon Reilly, communications officer of Glasgow Life, said in a statement. According to the Glasgow museum documentation, “the sword was “exhibited by Mahbub Ali Khan, Asaf Jah VI, Nizam of Hyderabad (1896-1911) at the Imperial Durbar held in Delhi in 1903 for a ceremonial reception to commemorate the coronation of King Edward VII and Queen Alexandra as Emperor and Empress of India.” How this ceremonial sword exhibited by Nizam Osman Ali Khan was later taken by his Prime Minster Maharaja Kishen Pershad remains a mystery.

It is generally guessed that Maharaja might have gifted the sword to the General Commanding Officer of the Southern Army, Sir Archibald Hunter. “The Salar Jung Museum in Hyderabad is the perfect repository for the sword as this artifact is from this region,” says SJM director A. Nagender Reddy. It is unknown whether the Serpent-Sword of Nizam of Hyderabad will be displayed there. Ceremonial swords such as this symbolized power and military prowess of the Princely State of Hyderabad. It also signified the presence of a ruler if it’s being placed on the throne. It’s also used in the royal wedding ceremony, by making its presence felt in the absence of the groom’ to solemnize the ‘Nikah’ ceremony in the ladies’ chamber, said historian Sajjad Shahid, a Hyderabad-based historian of architecture, conservator, and columnist.

“This sword follows the Mughal tradition of encrusted-edged weapons, although the form of the hilt is strongly influenced by the Persian swords makes. The manufacture and design are typical of Hyderabad Princely state, where lavishly decorated swords were popular till the late nineteenth century,’ he added.

https://www.siasat.com/salar-jung-museum-to-display-serpent-sword-of-the-nizams-of-hyderabad-2418770/, September 21, 2022

Indian National Trust for Art & Cultural Heritage (INTACH) launched the mammoth task of Documentation and Listing of Heritage Temples of Purmandal- Utterbehni Corridor, here today from Purmandal of district Samba. Deputy Commissioner, Anuradha Gupta formally launched the exercise from the main temple premises of Purmandal also called 'Chota Kashi'. The project has been initiated by Indian National Trust for Art & Cultural Heritage (INTACH) Jammu Chapter with the help and guidance of A.H.Division INTACH New Delhi.

S.M.Sahni KAS (Retd.) Convener INTACH Jammu Chapter briefed the salient features of the documentation, listing and preparation of booklet of “ChotaKashi” (Purmandal-Utterbehni) Temples Corridor. Deputy Commissioner Samba, Anuradha Gupta, in her address, appreciated the efforts of team INTACH for initiating the documentation and listing project which will help in conservation and development of the Purmandal- Utterbehni Temples. Citing Article 51A of the Constitution, the DC said that the citizens are morally obligated to perform the Fundamental Duties as enshrined in it. She said that it is the duty of each citizen to value and preserve the rich heritage of our composite culture.

"With the aim to save Purmandal-Utterbehni temples for posterity and to increase the influx of pilgrim tourists specially enroute to the holy cave shrine of Mata Vaishno Devi Ji this project will be hugely beneficial,'' added the DC. The DC further stated that the local people should be taken on board for Conservation, Preservation, Restoration and development of the area with special focus on solid and liquid wastes management programs as it will ameliorate the socio-economic well being of locals. Akshit Kumar and Kartik Dubey Architects from Delhi present on the occasion also explained the methodology of the project.

Among others present on the occasion DDC member Avtar Singh, BDC Chairperson Arshad Begum, ACD Sidharath Dhiman, DFO S.D.Khajuria, Manager Dharmanth Trust Chander Shekhar, Amit Gangotia HOD TTM Central University of Jammu along with Scholars/students, Sarpanch and Panchs and others participated in the event, J.L. Baru presented the Vote of thanks.

https://www.crosstownnews.in/post/81606/jak-listing-of-purmandal-utterbeni-heritage-corridor-launched.html, September 21, 2022

T. Narasipur: A team from United Nations Educational, Scientific and Cultural Organisation (UNESCO) visited the 13th century Chennakeshava Temple at Somnathpur in Mysuru yesterday before concluding its tour of Hoysala monuments in Karnataka. The team, headed by Tiang Kian Boon, an expert from International Commission on Monuments and Sites (ICOMOS), also visited the other Hoysala Temples at Belur and Halebid before coming to Somnathpur. Tiang Kian Boon is expected to submit a report to UNESCO which will decide whether the monuments could be accorded the World Heritage Site tag.

The World Heritage Site tag will be declared in 2023. The Somnathpur Temple is located at a distance of 35 kilometres from Mysuru and the structure is a paradise for art connoisseurs. Officially, the Hoysala Temples of Belur, Halebid and Somnathpur have been finalised as India’s nomination for consideration as World Heritage for the year 2022-2023. The effort has been ongoing since 1992. In Karnataka, only Hampi and Pattadakal are considered UNESCO World Heritage Sites. There has been a demand to promote more places on the list as it actively promotes conservation efforts and officials have been working since the 1990s to push for the Hoysala Temples on the list.

On the tentative list since 2014
The ‘Sacred Ensembles of the Hoysalas’ are on UNESCO’s tentative list since April 15, 2014 and represent one of the highest points of human creative genius and stand testimony to the rich historical and cultural heritage of our country. At Somnathpur, Tiang Kian Boon was briefed regarding the architecture of the Temple and the sculptures. He was apprised of its salient features by former Chairperson of Infosys Foundation Sudha Murty who has been actively involved in conservation efforts of heritage Temples and Kalyanis in Karnataka. She also heads the State Tourism Vision Group.

Others in the team were Jahnwij Sharma, Additional Director-General (Conservation and Scientific Preservation), Archaeological Survey of India (ASI), Pankaj Modi, Meera Iyer and Aravind Chandramohan of Indian National Trust for Art and Cultural Heritage (INTACH)-Bengaluru.

Mysuru Deputy Commissioner Dr. Bagadi Gautham and Commissioner, Department of Archaeology, Museums and Heritage A. Devaraju were also present during the team’s visit.

Dossier to UNESCO In fact, INTACH-Bengaluru had prepared the dossier for submission to UNESCO. After the dossier was submitted, technical scrutiny was done. Now the team is doing a site evaluation. The dossier will be taken up for consideration in July or August 2023. According to the epigraphical records available with the Archaeological Survey of India (ASI), Soma, commander-in-chief of the Hoysala king Narasimha III (1254-1291 AD) built the shrine in 1268 AD. Built using a soft stone (greenish schist stone), every inch of the Temple is adorned with various sculptures and the entire shrine is raised on a star-shaped moulded platform.

Interaction with villagers
After the site visit, Tiang Kian Boon met Somnathpur villagers and local businessmen especially those doing business at a short distance from the Temple and elicited their views on the site being accorded a World Heritage Site status. The Mysuru DC translated the views of the local community from Kannada to English for Tiang Kian Boon to understand. The villagers told the ICOMOS head that as of now, the Temple with superior and wonderful architecture was known only in the local areas and some of the tourists who come from Mysuru. If at all the Temple gets the distinction of being a World Heritage Site, it will be known to the entire world and it will be a matter of pride to the village too.

State to ensure conservation: Centre
A note from the Press Information Bureau (PIB) stated that the State Government will ensure the conservation of State-protected monuments which are around these three monuments since it would add to the visual integrity of the place. The District Master Plan will also incorporate the buffers of all monuments and build an integrated management plan and the State will also look at the traffic management issues to be looked into especially around the designated property. “These Temples attest to the creativity and skill of the Hoysala artists and architects who built these masterpieces of a kind never seen before or since. The Hoysala architects used their profound knowledge of Temple architecture in different parts of India to their advantage,” the PIB said. The Hoysala architects made considered and informed eclectic selections of features from other Temple typologies which they further modified and then complemented with their particular innovations. The result was the birth of a completely novel ‘Hoysala Temple’ form, the PIB release added.

https://starofmysore.com/unesco-world-heritage-site-status-team-ends-state-visit-at-somnathpur-temple/, September 22, 2022

Kolkata is preparing for Durga Puja, the greatest celebration in the city. In the historic potters’ workshops of Kumartuli, idols are being sculpted, and pandals are sprouting up all over. The festivities this year will be even more remarkable. The administration of Mamata Banerjee extended an invitation to a team from the United Nations Educational, Scientific, and Cultural Organization (UNESCO) to attend the pre-Durga Puja event on September 1 in Kolkata. The chief secretary of the state has received a letter from the director and UNESCO representative to India, Bhutan, the Maldives, and Sri Lanka, Eric Falt, confirming participation. Not just a religious celebration, but a celebration of art and life. “I would like to offer warm congratulations to India, its people and especially all those who worked on the nomination dossier.

I am confident that this inscription will offer encouragement to the local communities that celebrate Durga Puja, including all the traditional craftspeople, designers, artists, and organizers of large-scale cultural events, as well as tourists and visitors who partake in the inclusive festivity that is Durga Puja,” says Eric Falt, Director, UNESCO New Delhi. UNESCO added Durga Puja in Kolkata to its Representative List of the Intangible Cultural Heritage of Humanity in recognition of the festival’s unique characteristics. During its 16th session in Paris, France, the Intergovernmental Committee of UNESCO’s 2003 Convention on Safeguarding of the Intangible Cultural Heritage made the news. Durga Puja is not just a religious celebration in Kolkata; the city transforms into a carnival as amazing public art pieces spring up all over the place. This magnificent show is annually put together by thousands of artists, craftspeople, and employees.

For one week, thousands of pandals—temporary buildings that house the goddess—appear on the streets, transforming Kolkata into a massive public art museum. These buildings have lavish themes and artwork. The magnificent pop-up constructions are all around them, as vehicles and people weave in and out of them. The pandals can be thought of as enormous art installations, and “pandal-hopping” can be compared to a massive public gallery crawl.

hhttps://www.travelandtourworld.com/news/article/durga-puja-gets-unesco-intangible-cultural-heritage-of-humanity-tag/, September 23, 2022