INDIA PERSPECTIVES MARCH 2003 2 Beyond Khardungla THE VALLEY OF NUBRA

Text & Photographs: ANIL MEHROTRA

e left the town of Leh (11000 ft) dominated by Wthe massive, nine-storey Palace of Sengge Namgyal – the king of Leh, at about 10 am on a cool May morning. The Palace is an exquisite piece of Tibetan architecture, believed to have been the inspiration behind the construction of the Dalai Lama’s famous Potala Palace in Lhasa, Tibet. The road and the surrounding terrain dictates the abject need for moving in an absolutely reliable, sturdy and powerful vehicle. Meandering along the single-lane, rough road, blacktopped in stretches, we headed towards Khardungla, which, at 18,300 ft, qualifies as the highest motorable road in the world. Enroute, the air with just sufficient oxygen was crisp and fresh. With clinical precision it cut through layers of woollens and jackets we had optimistically covered ourselves with. Every now and then, cute little brownish marmots, resembling well fed, overgrown distant cousins of cats, would emerge, bounce around on the rocks and teasingly run along the car at a very safe distance. Our attempts to stop for a photo opportunity with them proved futile, as no sooner did the car stop, they, too, ducked

The Nubra Valley.

INDIA PERSPECTIVES MARCH 2003 3 and vanished in the rocky looked around in awe. In the bleak mountainside. snowscape, hundreds of multicolored prayer flags did The sky above Leh and around is a precisely what they were meant perpetual inky blue, thanks to the for – praying silently through their absence of the omnipresent flutter, appeasing the mountain god pollution of the plains. Even noise for safety of the travelers and the pollution is non-existent. As we small army detachment stationed at moved towards Khardungla, Khardungla from the wrath of the pristine silence engulfed us. On a mountain. May morning when the plains Looking southwards, over the below were reeling under soaring famed Indus Valley, probably still The sand dunes of Nubra (top) and temperatures and at 11,000 ft even hiding in itself the genesis of the the unique double-humped camel Leh was decidedly warm, found here (above). present day civilization, we could Khardungla Top, thick with snow, see endless ridges and snowcapped seemed as Mount Everest in full peaks of the mighty Zanskar Range. winter glory. In a futile attempt to To the north lay the giant Sasser suck up warmth from hot mugs of Massif, a wayward outcrop of the tea handed over thoughtfully to us Karakoram Range. by an ever-present posse of armymen positioned at the Top, My army friend from Leh and a ensuring the snowy Pass remains constant traveler on mountainous open throughout the year, we sojourns, Phuntsog Wangdus,

INDIA PERSPECTIVES MARCH 2003 4 whose ancestors were natives of as the desert. With melting of the Carvings of Buddha on rocks near Nubra Valley before migrating to snow the rivers acquire the the Shey Palace. the more approachable town of character of rapids of various Leh, was also our guide during the grades and could be a source of journey. His intimate knowledge delight to the adventure seekers as kept us posted about finer nuances well as purists among nature lovers. of the famed valley. Nubra (meaning garden) Valley lying While navigating through massive between Khardungla and Siachin chunks of ice, the scene appeared Glacier, acquires its name from the straight out of Disneyland as huge Nubra River – a distributary of icicles, stalactites and stalagmites Shyok River, which has its origin in hung or grew along the route, the 78 km long expanse of moving refusing to melt. As we rolled down ice – the Siachin Glacier. Between the rather rough stretches, the themselves, both the rivers drain dripping boulders of ice forced our the Sasser Massif from the east and vehicle to move perilously along the west, reunite, continuing as imaginary kerbs. Besides Shyok and ending its journey into developing faith in our driver, we the mighty Indus at Baltistan. The also understood in no uncertain rivers during their journey break up terms the reasons for the fluttering into numerous flat-bedded water prayer flags, for the Gods to be channels gurgling through the kind to adventure seeker mortals valley, which at places is as sandy like us.

INDIA PERSPECTIVES MARCH 2003 5 Nature has exposed itself bare in areas beyond Kargil and all along Kargil-Leh- Nubra Valley route. Devoid of any vegetation the mountain tops are raw and possess an ephemeral, luminescent quality. Painted in muted shades of greys, browns or purple, you also find them in hues of magenta, yellow and blues. Often, all the colours are visible running down the same mountainside. Nubra valley at places carpeted with dense Seasick thorns, stately Willows and sinewy Poplars. Sprinkled with abandon are bushes of wild roses in magenta, crimson, yellow and red, weaving a delicate floral motif in the huge natural tapestry. Presence of vegetation coupled with relatively low altitude of Nubra Valley, as compared to Leh, infuses sufficient amount of oxygen in the air for one to breathe freely and easily. Cruising further at an average elevation of 11,000 ft, the road, after hitting a huge expanse of sandy patch, bifurcated, with the left limb, along Shyok River leading to the monastery town of Disket. The right bifurcation and our preferred route, hugging along Nubra River, took us towards Panamic the last inhabited village enroute to Siachin Glacier. Beyond Panamic, the road weaves all the way to Siachin Glacier. The tourists, however, are permitted to travel only upto Panamic. We decided to visit Panamic before falling back to Deskit for the night. The drive along the Nubra River was unbelievably pleasant. The quaint sleepy villages of Tirit, Lukung, Tegar and Sumeru whizzed past. Each village was an oasis of apricot orchards ringed with poplars and willows, in sharp

Icicles at Khardungla.

INDIA PERSPECTIVES MARCH 2003 6 conrtrast to the stark ash-brown mountainous desert all around. Wangdus informed us that in not too distant a past, these villages were on the Central Asian trade routes, throbbing with gaiety and frenetic activity as the caravan trains, loaded with spices and salt, halted here to prepare for the tough, fortnight-long journey that lay ahead through the vast mountainous desert of Karakoram and Kunlun Mountain ranges. A journey where nothing but nothing would be available. Not even grazing for the beasts of burden on which the weary caravans depended for their survival. Panamic, being the biggest village in the area, thus became a nodal point for trade. Along the road we also came across a number of hot sulphur springs, ebbing out of the mountainside, coating it in shades of ochre yellow. Having understood their therapeutic qualities, the natives have constructed channels as well as small cubicles at the sites to channelise the liquid and facilitate bathing. In the process they also serve the tourists interest. The next day saw us at Deskit. The centuries-old Deskit monastery, perched precariously atop a conical mountain, provides a magnificent view of numerous chortens fringing Deskit village sprawled below. The valley continued to spring surprises on us. As we drove ahead towards Hundar (11,000 ft) we saw massive sand dunes with wind patterns etched on the cold, ash coloured sand. The 60-80ft high dunes are as menacing as those in the more approachable Jaiselmer (Rajasthan) and are complimented

Prayer hall of Desket Gompa, Nubra Valley.

INDIA PERSPECTIVES MARCH 2003 7 with shaggy, double humped Bactrian camel – a native of Mongolia- who, however, finds himself completely at home in these sandy wastes. These camel are the leftover legacy carried forward from the early days when they were used as beasts of burden by the traders on the Central Asian trade routes. In the afternoon, we followed the setting sun, which had started metamorphosing into a massive reddish-orange ball. The azure sky above had started following suit as the clouds too, turned crimson. Almost imperceptibly the shadows started getting longer as a silken, black cover was silently pulled over nature’s assets to protect them from vagaries of the man – at least for the night! N The author is a noted travel writer.

A Ladakhi girl from Kargil – fully bedecked.

INDIA PERSPECTIVES MARCH 2003 8 PeacockTHE REGAL INDIA’S NATIONAL BIRD

SAMAR SINGH

n 1963, the Government of India had named the Indian Peafowl (Pavo cristatus), also called the Blue Peafowl, as the National Bird of IIndia. Renowned ornithologist, the late Dr. Salim Ali, once told me that the choice was between the Indian Peafowl and the Great Indian Bustard, both big and prominent birds and typically Indian. The matter was debated in the Indian Board for Wildlife and eventually the Indian Peafowl was selected and recommended to the Government, not only on account of its widespread distribution in the country but also because of its longstanding association with the life and culture of the Indian people. Somehow, this latter aspect is taken for granted and it is generally not appreciated that in no other country of the world the bonds between the national bird and its people are as ancient and intimate as in India.

INDIA PERSPECTIVES MARCH 2003 9 INDIA PERSPECTIVES MARCH 2003 10 The Peafowl is considered a divine creature in Indian mythology, especially as the vahana (vehicle) of Kartikeya, son of Lord Shiva and army commander of all the gods. It is also said that at one time when the gods took the form of various birds, Devraj Indra (the rain god) chose the finest form, that of a peacock, and ever since, whenever Lord Indra brings rain on earth, all the peacocks dance in joy and merriment - a sight to behold, meant for the gods. Lord Krishna’s association with the peafowl is verily legendary: peacock feathers have always adorned his headgear, popularly known as the ‘mor- mukut’, and it is said that Krishna danced like a peacock to court his beloved Radha and when he played his mellifluous flute, the peacocks danced in unison with the gopis (female friends). Even now, the temples dedicated to Krishna display the peacocks prominently on the entrance gates. The famous epic Ramayana has many references to these birds. Likewise, one Buddhist Jataka folktale, called the ‘Maha- mor’ (the Great Peacock) relates how Gautam Buddha was a golden peacock prior to his birth as a human being. In Buddhist mythology, the peacock is a symbol of compassion and watchfulness. Buddhist and Jain legends and folklore contain numerous references to the role and importance of the peafowl. As for recorded Indian history, the earliest findings relate to the Indus Valley Civilisation dating back to about five thousand years. The excavations at Harappa, Mohenjo- daro and some other sites have thrown up evidence not only of the existence of peafowl at that time but also, and more importantly, of the pre-eminent role accorded to the bird by the people in those days.

INDIA PERSPECTIVES MARCH 2003 11 INDIA PERSPECTIVES MARCH 2003 12 There was even a popular belief rulers were dominant. For instance, assuming power. It was a unique then that after death the human the Tughlak kings were so and fabulous piece of artistic work, soul travels to its heavenly abode fascinated by the peafowl feather which took seven years to complete with the help of a peacock and in that they adopted its design for the and its cost even at that time was its form. Later, throughout India’s state emblem and prescribed its use computed in several millions; it is history, the peafowl has received in various ways, including the surmised that the cost was at least state recognition, one way or the headgear of the soldiers. Moreover, twice as much as that for the other. The Maurya and Gupta rulers fans made of peacock feathers were Taj Mahal. The dazzling structure, conferred special status on the regularly used in the courtrooms of studded with precious gems and species and even reared these birds many rulers all across the country, jewels, had a canopy supported on in their palace gardens. Emperor including the imperial Mughals. twelve emerald columns or pillars; Ashok in the second century BC on top were beautifully crafted forbade the killing of peafowl for The memoirs of Babur, the first large-sized peacocks facing each the table and some of his stone Mughal Emperor, known as other and bedecked with gems – edicts displayed the peacock Baburnamah, carry an interesting shining rubies, diamonds, emeralds prominently. The famous Sanchi and perceptive account of the birds and pearls. Shah Jahan was surely Stupa of around the same period of India, which appropriately starts aware of the Islamic folklore that also carries images of the peacock. with the peafowl. Babur described the peacock was the original During the Gupta period in the fifth the peacock as “a beautifully guardian of the gates of Paradise century AD, several coins depicting coloured and splendid bird; its form and the Persian myth that two the peacock were issued and it was is not equal to its colouring and peacocks facing each other on also a favourite subject for the art beauty.” However, it was the fifth either side of the ‘Tree of Life’ and architecture of that time. This Mughal Emperor Shah Jahan who symbolise the duality of human trend continued in varying forms paid perhaps the greatest tribute to nature. For a century or so, the subsequently, even during the the bird, when he got the jewelled Peacock Throne became the most medieval period when the Muslim Peacock Throne made soon after prestigious symbol of Mughal

INDIA PERSPECTIVES MARCH 2003 13 power and authority, and around 1648 it was shifted from Agra to Delhi, when Shah Jahan changed his capital. Then in 1739, Nadir Shah invaded India, plundered Delhi and took away this marvellous throne to Persia, along with all the other booty. For more than two hundred years, it was known to be at Teheran, but then it disappeared mysteriously and has since not been found. Now, it is no more than a legend. However, after being deprived of the original peacock throne, the later Mughal Emperors, right till the deposition of Bahadur Shah in 1857, are said to have used a silver peacock throne, which was, of course, a mere shadow of the original one. Besides, even during the time of Emperor Aurangzeb and, in fact, to honour him in a way, a small exquisite peacock throne was made within a fabulous diorama built at Dresden in Austria. And then, about a hundred years back, King Ludwig of Germany got a peacock throne made, embellished with three prominently placed life-sized enamelled peacocks. It is evident that the fascination for the Indian Peafowl had spread to other parts of the world several centuries ago and it was taken to Kartikeya, son of Lord Shiva, astride his vehicle – peacock. various countries in Asia, Africa and Europe at different times, mainly by the faithful drinking from the countries and some of these birds the invaders and traders. There are Fountain of Life and there was a were also kept in the premises of reports of these birds in the palace Christian belief, ascribed to the Palais des Nations in Geneva. gardens of the Egyptian Pharaohs, St. Augustine, that the peacock the Roman Emperors and even the symbolised immortality of the soul, As a result of consistent royal legendary King Solomon, whose since its flesh did not decay. Even patronage over the ages, in India throne had attractive peacock in China, the peacock was the peafowl has managed to images. When Alexander invaded considered a symbol of beauty, permeate numerous facets of the India in the third century BC, he dignity and rank and was made the life and culture of the Indian took back with him to Macedonia emblem of the Ming rulers. In people from the earliest times and several Indian peafowl. In early modern times, the Indian Peafowl it has literally adorned everything Christian art, two peacocks facing has been coveted by several that has been associated with it. each other represented the souls of zoological gardens in different This is amply demonstrated in art,

INDIA PERSPECTIVES MARCH 2003 14 architecture, sculpture, painting, ‘peacock dance’, essentially a metalwork, glasswork, jewellery, courtship display but also signifying ornaments, handicrafts, handloom, the role of a dependable textile, literature, music, folklore weatherman, heralding the onset and the traditions of almost all of the monsoon from year to year regions in the country. There are and endearing the bird for obvious examples aplenty to show that reasons. humankind, over the ages, has Another remarkable attribute of the been greatly fascinated and inspired Indian Peafowl is its amazing by this gorgeous bird to give adaptability. It belongs to the expression to highest levels of Pheasant family, of which there are creativity in multifarious ways and 17 species in India, which means forms. one-third of the world’s total It is this remarkable attribute of number of 51 pheasant species. All ‘adding value’ that makes the of them are essentially birds of the Indian Peafowl very special in jungles and mountains. While the India. Added to it is the fact that Indian Peafowl prefers scrub forest this is one bird that is known in for its habitat and is distributed every household throughout India widely through the country, it is the and even the children get to know only pheasant species that is able to about it quite early in life. Perhaps adjust easily to human beings and one reason is that Indian literature is at home near habitations and in virtually all languages and even in urban areas. This is another dialects, starting from Sanskrit, is factor that has facilitated its long replete with references to the and intimate association with the peafowl, particularly the peacock, people in India. in adorable terms and in a manner that no other bird or animal has For sheer attractiveness, adorning been able to equal. The same ability and adaptability, the Indian applies to the folklore, songs and Peafowl is clearly unsurpassable music of different regions across the and incomparable. No other bird country. However, it is noteworthy can claim such a triple ‘A’ standing. that even the English language has Regal and resplendent, yet common not escaped its sweep and impact. and plebian, it stands in a class of The expressions ‘peacockish’ and its own, a true symbol of India in ‘proud as a peacock’ are often all its beauty and colourful used, but there are several other splendour. It is rightly the National Bird of India. ways in which the peacock has N invaded the English dictionary and The author is the President, World Pheasant again ‘added value’ in meaningful Association - India. terms. Hence, we have colours that are called ‘peacock blue’ and ‘peacock green’, birds that are called ‘peacock bittern’, ‘peacock heron’ and ‘peacock pheasant’, flowers called ‘peacock flower’ and ‘peacock iris’, a ‘peacock butterfly’, a ‘peacock beetle’, a ‘peacock moth’, and even a kind of ‘peacock ore’ and a type of ‘peacock coal’. Then, there is the well known

INDIA PERSPECTIVES MARCH 2003 15 THE GOLDEN VOICE

B.M. MALHOTRA

D.N. Madhok, inspired perhaps by the promising young singer’s age and her enthusiastic singing to match the voice of the youthful heroine. Earlier, when “Baby Suraiya” was only eleven years old, she had participated in the children’s programmes broadcast by the , debuted as a child artiste in film Taj Mahal (1941) and had even crooned a song for in Station Master (1942) under ’s music direction. She was, however, launched as a regular dancing and singing star in ’ - Jairaj starrer, Hamari Baat (1943), music for which was scored by Anil Biswas. Mehtab, who at first resented being playbacked with uraiya, the singing star of the “immature and unripened” 1940s and 50s, which voice of a “slip of a girl” later Sconstituted the golden era of relented after listening with a the music-rich Hindi films, keener ear to Suraiya’s achieved great popularity through engagingly dulcet singing. She a variety of hit songs that she was so much fascinated by that rendered competently in her captivating voice that she insisted honeyed and cultured voice. on being lent the voice of only Suraiya for her next two movies, Her effective singing odyssey Kanoon and Sanjog (both began in 1942 with the idyllic released in 1943), with music song, “Panchhi! jaa, peechhe again being composed by raha hai bachpan mera/ Usko jaa Naushad. ke laa” (Go, o birdie, and bring back my sweet childhood), which Naushad used Suraiya’s she playbacked for the heroine, mellifluous voice again along Mehtab (later Mrs ) with that of Nurjehan, the then under Naushad’s baton in reigning singing heroine, in A.R. Kardar’s Sharda. The song Mehboob’s hit film Anmol Ghadi was written by the ace lyricist, (1946) and with much greater

INDIA PERSPECTIVES MARCH 2003 16 Suraiya with (right). effect in Kardar’s Dillagi (1949). who had emerged as an actress In the latter film Suraiya’s solo with superior histrionics and great number, “Murliwaale, murli promise, but one who could only bajaa / Sun sun murli ko naache act and not sing. However, jiya” (Flutist! Play on your flute Suraiya could not retain the and make my heart dance with numero uno female star slot after joy) and a romantic duet, “Tu started turning mera chaand, main teri chaadni” out for Nargis a slew of (You are my moon and I am your outstanding songs, which were moonlight) became enormously dexterously integrated, along with popular. Incidentaly, the duet her impressive acting, into her was shown on the screen as films, especially by rendered by Suraiya in tandem and Mehboob. with the hero, Shyam, but contrary to the general Suraiya, however, continued to impression, the male voice in the enchant and enthrall filmgoers song was actually not Shyam’s with the distinctive combination but that of Shyam Kumar, the of her melodious singing and villain, who playbacked for traditional acting and dancing Shyam. Shyam Kumar, whose real with her eloquent eyes, natural name was Sayyad Ali Khan, sang coyness and rhythmic body under Naushad in several other language. For Naushad, she also films too, including the highly sang in Dard (1947) and Dastaan successful musical, Rattan (1944). (1950). She also rendered scores of shimmering songs for some After Partition, the mantle of the other music directors like singing heroine, Nurjehan, who Husanlal Bhagatram in Pyar Ki migrated to Pakistan, passed on Jeet (1948) and Badi Bahen to Suraiya and she soon rose to (1949), Khurshid Anwar in the top, overtaking even Nargis, Parwana (1947) and Singhaar

INDIA PERSPECTIVES MARCH 2003 17 (1949), S.D. Burman in Duniya widely acclaimed and rated as (1949) and Afsar (1950) and for classy and definitive. The film Ghulam Mohammad in Mirza marked the pinnacle of Suraiya’s (1954). Produced and acting-cum-singing career and she directed by the veteran Sohrab was even praised by the then Modi, Mirza Ghalib, which was Prime Minister based on a story innovatively for “bringing back Ghalib to life”. written by the well-known litterateur, Saadat Hasan Manto, Born in in 1929 as the on the life of the great nineteenth daughter of Jamal Sheikh, an century poet, was adjudged the architect who was troubled by ill best film of 1954 and won the health, and Malika, a soft-spoken President’s Gold Medal. Suraiya’s and simple-natured lady, Suraiya singing of Ghalib in it, along with turned out to be an introvert and the silken-voiced ghazal a shy girl. It was her unlettered exponent, , was but functionally sharp and

INDIA PERSPECTIVES MARCH 2003 18 her residence and visited by a host of sweet and sour memories associated with her film career spanning 22 years and encompassing about 70 films and hundreds of soulful songs. N The author is a noted writer on films.

dominant maternal grandmother, modeleing his acting. By working Badshah Begum, and her son, together and spurred by their Zahoor, a stunt actor, who several common interests, Dev pushed her into the films. They and Suraiya got irresistibly drawn sidelined the singing actress’ towards each other and their modest parents and aggressively intimate relationship evolved into managed all her finances and a serious love affair. Dev contracts with producers for her proposed to Suraiya, but her various film assignments. orthodox and autocratic granny stubbornly put her foot down and From her childhood Suraiya was rejected the proposal outright - a film and music buff and an avid ostensibly as an unworkable admirer of the great K.L. Saigal. inter-religion matrimony, but Later, she considered herself really because she did not want lucky for having been featured to lose the golden goose, which with him in three movies, Suraiya with her fabulous income namely, Tadbir (1944), Omar had then become. Khaiyyam (1946) and Parwana (1947). In 1954,Dev quietly entered into a civil marriage with his heroine She was also a fan of the of Taxi Driver, Kalpana Kartik Hollywood matinee idol Gregory (real name: Mona Singh). But Peck, who even visited her Suraiya, whose love had been Marine Drive residence in thwarted before it could blossom, in 1954. , bowed before her harsh fate and who featured with Suraiya in half never married. Since bidding final a dozen movies, beginning with adieu to films following her Last Vidya (1948), was also a similar movie, Rustam Sohrab (1963), admirer of Peck, with whom he this once much- adulated singing bore some resemblance and after and acting icon has been a whom he was said to be recluse and a loner ensconced in

INDIA PERSPECTIVES MARCH 2003 19 Kashmir & The “Sound of Willow”

UPENDRA SOOD

bdul Majid of Anantnag has to Srinagar and beyond towards never played the game. But Anantang, Majid and hundreds of Awhen thousands of Cricket- others churn out thousands of crazy Indian fans cheer at the crack cricket bats for customers all round of the leather on the willow, it is the world every year. Though because of people like him. He and accurate figures are hard to come his colleagues have been by, senior state officials in the manufacturing world class Cricket state’s Department of Small Scale bats. Not many people know that Industry and Commerce estimate India’s greatest passion and that the bat-making industry is obsession – Cricket – has deep worth at least $ 25 million a year roots in India’s paradise, the valley and employs at least 2.5 lakh of Kashmir. people directly or indirectly. Contrary to a common belief that Abdul, like hundreds of others, English Willow is better, Sunil started their business more than Gavaskar says, “The ball does seem three decades ago when the to go off a Kashmir willow more potential of Kashmiri willow was sweetly than off an English willow”. just being realized. Learning to On the dusty highway from Jammu design the bats was not easy. Over

INDIA PERSPECTIVES MARCH 2003 20 Phal S. Girota the years, however, Majid has “Considering the progress this become a master craftsman. He has industry has made during the last learnt to design bats including those two decades, it can be described as which are sold to international an economic success story”, says a brands. Today, besides his three senior government official of the sons, he employs 25 employees. state’s finance department. “With a little bit of more effort and Technology wise, the bat-makers organization, we could make here are abreast with the latest. Kashmir one of the largest sports Though bat-making has been goods manufacturing centres”, the mechanized elsewhere, those made official adds. here enjoy the distinction of being “hand made”. Use of machines is Most of the known and established limited to the first few stages like sports goods houses have their chopping down cylinders of willow representatives pick up bats in bulk into rough slabs and the fist cut. from people like Majid and Rashid “Thereafter, experienced round the year. Bats made here are technicians take over,” says Rashid sold in places like England, Ahmed, also a bat-maker. Australia, Bangladesh, Canada, Sri Lanka, Holland and even in In the end, each modest factory Pakistan – albeit under the brand churns our bats including the small, name of some established flatcut outs for toddlers, mediocre international sports goods houses. ones used in schools to well oiled N and polished ones for serious club The author is a freelance writer. cricket, state-level openers and those in international cricket. “Even at the Ranji Trophy level bats made in Kashmir are used by several players”, says the Wisden Indian Cricketer of the Century, Kapil Dev.

INDIA PERSPECTIVES MARCH 2003 21 Phal S. Girota Karnataka’s “Vidhan Soudha” (Legislative Assembly) in Bangalore. ASIAN BELT OF IT CITIES Bangalore is New Entrant

RADHAKRISHNA RAO

he Silicon Valley and High scouring for talent, looking for Tech capital of India, new markets and promoting TBangalore, is all set to be innovative ideas in the IT sector. included in the upcoming “Asian “Once we establish the banner, belt of IT cities” which will we can look forward to the synergise the human resources trading aspects and try to get and technological infrastructure to some benefit for those cities strengthen the IT initiative in from the respective government, these cities. Other Indian cities in said Phiroz Vandervala, Chairman the race to join this prestigious of NASSCOM (National conglomerate are New Delhi, Associating of Software and Mumbai, Hyderabad and Service Companies). Being Chennai. The “Asian Belt of IT the nodal agency in India, Cities” is promoted by the Asian NASSCOM will have the Oceanian Computing Industries responsibility of nominating a Organisation (AOCIO). couple of Indian cities to this As envisaged, AOCIO will be network. The 17 nations which organized on the lines of the support the initiative are: North Atlantic Free Trade Australia, New Zeland, Singapore, Agreement. To begin with, the IT Malayasia, Thailand, South Korea, initiative of this enterprise will Taiwan, India, Mynamar, focuss on five specific areas: Indonesia, Bangladesh, Mongolia, development of infrastructure, Philippines, Nepal, Sri Lanka, mobilization of resources, China and Japan.

INDIA PERSPECTIVES MARCH 2003 22 stability, the population’s entrepreneurial drive to start new ventures and the availability of venture capital to ensure that the ideas make it to the market. Significantly, Bangalore has been labeled by the report as “one of the world’s most dynamic technological hubs”. Not surprisingly then S.M. Krishna wants to replicate the “Banglore Magic” in other towns and cities of Karnataka including Mysore, Mangalore, Manipal and Hubli. The widely respected US-based Stanford University known for its Phal S. Girota pathbreaking research in cutting The Science Museum of Bangalore. edge technologies has identified Banglore as an ideal destination The headquarters of the network identified in the report, Bangalore to conduct a study on the will be based in Singapore. has secured a joint fourth slot evolution of technological As envisaged now, it will not along with San Francisco and entrepreneurship. The aim of the be a one time entry club as Austin in USA and Taipei in study is to get an insight into the performance of the individual Taiwan. Bangalore is ahead of factors that have shaped city will be assessed and New York, Montreal, Cambridge, Bangalore into a veritable monitored regularly. Dublin, Tokyo, Paris, Melbourne, technological powerhouse. Chicago, Hongkong, Kuala N Mr. S.M. Krishna, the Chief Lumpur and Singapore, among The author is a noted writer on scientific Minister of Karnataka and subjects. others. Mr. Chandra Babu Naidu, the Chief Minister of Andhra Pradesh, According to Mr. S.M. Krishna, based on their success in seeing “our untiring efforts to project some of the Fortune-500 IT Karnataka as an IT super power majors making their respective have been vindicated by the bases in these states have been Human Development Report. pitching for India as a “future The joy is more pronounced IT-Tech hub.” since the report has emanated from a credible and prestigious As it is, the Human Development organization. There cannot be a Report of the United Nations’ better recognition than this.” Development Programme (UNDP) has recognized According to this report, the four Bangalore as one of the leading factors that clinched the slot for hubs of technological Bangalore are: the ability of area innovations, better than many universities and research facilities cities in USA, Europe and South to train skilled workers or East Asia. Evidently, Bangalore develop new technologies, the has scored 13 out of the 16 points presence of established as the global hub of technological companies and multinationals to innovations. Among the 46 cities promote expertise and economic

INDIA PERSPECTIVES MARCH 2003 23 Books

Mirroring the Urban Indian Society

ROHINI SHARMA

live Avenue is a cul de sac, a melting pot of sorts, as it is Chome to a French family, a Punjabi Sikh family and many Tamil Brahmins, who live together and are a cohesive lot, which in essence, is India itself. Tirumurti in his first novel crafts a beautiful story that touches a lot of sensitive issues with candour and charm. The narrative is smooth with the right touch of wry humour, which makes it an interesting and entertaining novel. The author has a keen eye for observation and has used amusing, satirical style to describe the various idiosyncrasies of human behaviour in different situations. The descriptions, down to the minutest detail, are hilariously accurate.

It is a book that talks about conservative value-bound relationships, faith, sense of upbringings and their more belonging, the churning process of westernized education. Rajan, the the urban Indian society which still main protagonist, personifies this is in the throes of change and most confusion. It is also the story of of all, about love. The interplay of Rajan coming of age. When he left all these things is probed with a Chennai he was a student without a touching insight. care in the world but when he The characters are well defined returns from Wharton armed with with an economy of words. They an MBA he is unable to land a job are neither described in copious for himself. The utter helplessness details nor are they sketchy. They of the system hits him. And then his are fleshed out enough to clearly nostalgia for home turns into define their roles in the story. disillusionment, which ultimately takes him back to the US of A. There exists a dichotomy between traditionalism and modernity in our While the author talks of the ills educated urban society. We are plaguing the Indian governing increasingly becoming more liberal system, he nevertheless sees hope and modern in our outlook, while at the end of the road. Because of still grappling with our traditions every Devanathan, the corrupt and value system. And this income tax officer, there is a complexity of the situation is Rajaram IAS, the honest bureaucrat. disillusioning the young Indians. As a true reflection of the prevailing They are torn between their Indian urban society, women in the

INDIA PERSPECTIVES MARCH 2003 24 Chola Bronzes of South India

M.L. VARADPANDE story are independent, headstrong, or more than four hundred liberal and cultured. There are two years, from the ninth to female prototypes: Patti, the Fthirteenth century, the Chola grandmother and Gayathri, Rajan’s dynasty was the dominant cultural, fiancée. Then there is Dominique artistic, religious and political force Leonard, the French girl who has in South India. After the accession grownup in Chennai and lived all of Chola Rajaraja I the history of her life in Clive Avenue and has the Chola kingdom becomes the history same values like any Tamil of the entire Tamil country for more Brahmin girl, her racial and cultural than two centuries. The difference notwithstanding. Rajarajeshvara Shiva temple with Gayathri personifies the so-called tower rising one hundred and modern woman, who is in no way ninety feet, and considered an inferior to her male counterpart. architectural wonder, epitomizes She is well-educated, strong-willed, the emphasis the Chola Kings laid smokes and drinks freely and on architecture. Built by Rajaraja at thinks nothing of being a little Tanjavur it is one of the most relaxed in her morals. And on the magnificent temples of South India. The demand for such images led to other hand is Patti. She too is the genre of bronze statues which Apart from music, dance, drama educated, headstrong but brought attained artistic perfection during and poetry that flourished under up in a conservative and traditional the Chola reign. The study of such Chola patronage, the bronze image- environment. She would never do images is the theme of the book making achieved great artistic things that Gayathri does but is far under review. Four scholars have perfection during this period. Chola more modern, independent and contributed learned essays to bronzes have achieved international liberal-minded than Gayathri can explain historical, cultural and fame and a number of them adorn ever be. It is she who most artistic significance of the genre of museums around the world. The successfully bridges the gap Chola temple bronzes. These make image of Parvati housed in the between traditionalism and this book a valuable source of Freer Gallery at Washington, modernity and is the perfect information for research scholars. datable to eleventh century, is amalgamation of both, even though considered to be artistically THE SENSUOUS AND THE SACRED: she is the oldest in the family. She extraordinary. A Kali image from CHOLA BRONZES FROM SOUTH INDIA by tells Rajan not to rush things and Vidya Dehejia and others; Mapin Publishing, Tanjavur now in Nelson Gallery of think it over if he is not convinced Ahmedabad; Pages 255 with several Art, Kansas City, is yet another illustrations in colour and black and white; about his parents’ choice of his example of South India bronze art. Year of Publication: 2002. Price Rs 2500. would-be bride. And it is she who N However, the more dramatic and suggests that Dominique would The reviewer is a noted art critic. famous Chola images have Nataraj make a far better wife for Rajan. Shiva as their theme. A lovely story that makes a smile In the medieval period temple linger on your face as you finish it. became the centre of artistic activity The author’s maiden foray into the in South India. Around the world of fiction is quite successful. beginning of tenth century, in the CLIVE AVENUE – A novel by T.S. Tirumurti; temple rituals, demand for bronze published by Penguin Books India, 2002; images rose significantly. In the Price: Rs.275/-. temple processions, the use of N The reviewer is a freelance writer. bronze images was desirable and practical due to their movabality.

INDIA PERSPECTIVES MARCH 2003 25 Protecting the Sacred

Text: BRINDA GILL Photographs: SATYAJIT S. GILL

Photographs in the article depict tree worship, as well as certain shrines enclosed in their roots.

rom ancient times, in the vast faiths, and they continue to be and varied landscape of India, revered even today. Fthe divine has been perceived in trees, hills, mountains, caves, The oldest and the most enduring lakes, springs, rivers and at the sacred sites are those associated seashore. These beliefs are with sacred trees. Even as trees are beautifully conveyed in the Brhat valued for the tangible benefits Samhita, a text compiled in the derived from their produce (such as sixth century A.D., which states that fruit, fuel and timber) and “The Gods always play where lakes medicines derived from them, as are, where the sun’s rays are well as the shade they offer warded off by umbrellas of lotus travellers, their symbolism goes leaf clusters, where rivers have for beyond their physical offerings. their bracelets the sound of the Regarded as an abode of deities or flight of curleys…, where groves are spirits, a sacred tree was perceived near rivers, mountains and springs”. as possessing knowledge as well as Over the centuries as the powers that could shower blessings geography of the country was or rid a person of intractable woven with mythology, folklore, afflictions. Sacred trees are also historical events and religious associated with strength, longevity beliefs, numerous sites were as well as fertility. At the gateway identified as sacred, by different of the Great Stupa at Sanchi is seen

INDIA PERSPECTIVES MARCH 2003 26 the beautiful sculpture of a grove would lead one on the path shalbhanjika, the fertility tree-spirit, towards self-realization. These trees who by her gentle touch brings a are the pipal, bel, banyan, amla tree into flower or fruit. and ashok. Among the different trees species, trees of the genus On a metaphysical plane, a tree Ficus (which includes the pipal was deemed auspicious as it Ficus religiosa, the banyan Ficus spreads across the three spheres-its bengalensis and gular Ficus roots meshing the earth, its trunk glomerata) figure prominently rising through the terrestrial world among sacred trees. Interestingly, and its branches reaching into the conservationists point out that these heavens. Further, the close trees, such as the pipal and banyan, association of trees with meditating bear fruit in a period when other sages added to their sanctity. The trees are not in fruit, and thus are Buddha was born in a sacred grove an important source of food to , attained enlightenment under the birds and insects during that period. Bodhi tree in Bodh Gaya, Bihar, and delivered his first sermon at the “If there is one biodiversity-related Deer Park at Sarnath. Thus as cultural phenomenon cutting across groves or singles trees (of the the length and breadth of India, it is species regarded as sacred that are that of the sacred grove”, says worshipped), the reverence for Yogesh Gokhale, a researcher trees has passed down centuries. working on traditional conservation practices in India. Called by Traditionally, many it not all Indian different names in different parts of villages had a sacred tree or grove. the country (such as devarai in In mythology, Panchvati, the , karvu in Kerala, sacred grove was a garden of the deovan in the Himalayan regions) five sacred trees and it was in “Cultural and Ecological believed that meditating in this Dimensions of Sacred Groves in

INDIA PERSPECTIVES MARCH 2003 27 India”, its author define such groves as including multi-species, multi-tier primary forest, or a clump of trees or even a single tree. Their finds reveal that these groves have been protected through customary taboos and sanctions, with significant cultural and ecological implications; and the protecting institution may be a priest, a temple trust or the community as a whole. Most sacred groves do not allow the use of the protected forests, and their produce is left for the deity. In a few sites, minor produce of the sacred tree or grove may be sourced and even this is regulated by different factors- the produce may be removed only after seeking the blessing of the forest deity, or it may be removed during a particular season-which ensures that the ecology of the spiritual ancestors they were forest patch is not affected. protected as sacred. The practice of In different parts of India are seen protecting a particular tree or grove, shrines placed or built near the or their planting because of their base of a tree trunk. From the sacredness, he adds, was continued worship of a tree and the spirit or by agricultural and pastoral deity living in the tree, the next societies. step in the evolution of religious Conservationists believe that these belief was the placing of an idol of sacred trees and groves are an a particular deity near the tree important genetic reserve for the trunk. In course of time, structure conservation of species diversity in was probably built to demarcate the the country. As sacred groves sacred space and facilitate the remained protected through performance of rituals. centuries, they nurtured and thus Over the centuries, in the retain pristine natural life which syncretistic evolution of Hinduism, includes vegetation, animals, birds myriad beliefs, myths, legends and and insects. They are often the sole epics were absorbed in its fold and pockets of original vegetation of an thus many nature-based local cults area, while the surrounding areas endure into the present. Tracing the may be denuded of original origins of sacred groves to the vegetation or may have a hunter-gatherers of primitive completely different resource society, Gokhale says, that each utilization such as plantation clan had sacred locations, which farming, as seen in many parts of India. included rocks, water bodies, trees N where tribesmen kept their sacred The author is a noted freelance writer. hoards. In totemic religion, plants and animals were considered as totems, and being regarded as

INDIA PERSPECTIVES MARCH 2003 28 Notes

ORUPA KEEPING ART FORMS ALIVE

stablished in 1990 as a repository of Orissa’s art treasures, federation of artisans in the ORUPA provides a window to the EIndian state of Orissa, the outside world to its breathtaking Orissa Rural and Urban Producers’ heritage. Association (ORUPA) has been Moreover, the organization provides working as a voluntary organization training to the artisans to upgrade to help the artisans and producers their skills in tune with the market keep alive the traditional art forms trends. It also procures for them of the state. In so doing, it raw materials at competitive prices contributes towards improving their so as to ensure good profit margins quality of life by raising their for them. incomes through promotion and marketing of their products. Friedrich Naumann Stiftung, a German Organization, provides Besides its art, architecture and major technical know-how and cultural heritage known the world resources to ORUPA for helping it over, Orissa is also famous for its execute various projects for appliqué and patchwork, coir crafts, artisans, as also for preserving the stone carvings, palm-leaf engraving, dying art forms. horn craft and many more unique art forms. Therefore being a – Teevra Sharma

INDIA PERSPECTIVES MARCH 2003 29 Challenging Art Establishment WOMEN PAINTERS SHOW THE WAY

HEMANT SAREEN

“When people migrate from one “Secondly, there is this big culture to another everything about emphasis (in western contemporary them is put into question,” rued art) on self-expression. On the one Salman Rushdie. The beautiful and hand, they were saying this is the dialectical miniatures of Amrit and be-all and end-all of being an artist, Rabindra Kaur Singh of the UK in the next breath they would say wag their finger at the culture that `Oh! You cant paint this way. You has long presumed to don the must paint that way’. In the judge’s wig. beginning we tried to compromise our style. But when that wasn’t The Singh Twins have rescued the acceptable either, we did an about- tradition of miniature from its turn and carried on doing what we formulaic past just as they have wanted to do.” revitalised the emigre experience from the spiritual doldrums-the Daddy In The Sitting Room I-III space between proverbial ‘two documents their breaking free from stools’ where it seemed to have received notions of contemporary fallen. They have taken up arms western art. Three miniatures show and won public victories against the an English drawing room Western Art establishment. metamorphose into an Indian fantasy mindscape as their father They were recently in New Delhi nods off reading a medical journal- plugging their exhibition, Past symbolically depicting the Modern (a pun for ignoring Modern immigrant’s s wishful regression to art’s neurotic obsession with roots. individuality and Post-Modem art with its hollow claims to “This decision had serious universality), at the National Gallery consequences - one examiner of Modem Art. refused to mark our finals dissertations. We were finally Their interest in the miniature art vindicated but it took several years form was ignited on their 1980 visit battling against the system before to India. What influenced them to our degrees were finally reinstated. make the genre their vocation? It was an extremely stressful period, “Firstly, tutors were presenting but it really opened our eyes to the western role models, people like cultural prejudice that exists and Matisse and Gaugin; all of whom further strengthened our resolve to had looked to non-European art pursue art as a career as a way of forms. East had a big impact on the challenging it.” way Western art developed at that point but the acknowledgment Their art is a continuing polemic wasn’t there,” they say of their time against cultural hierarchy and studying Western contemporary art negative stereotypes about the east at Liverpool University. current in the west. “We visited

INDIA PERSPECTIVES MARCH 2003 30 India as teenagers and came back father’s journey from Amritsar to with a real sense of pride. We were Merseyside. able to stand up against people who were saying things like, They hold much against patchy “You’ve arranged marriages in multiculturalism: “Everybody in India, isn’t it backward!” or “All India has heard of Madonna. But daughters are locked up in their how many people in England have bedrooms,” and “All sons are heard of Indira Gandhi or Nargis?”, supposed to become doctors when they lament, rationalizing their really they want to be something conscious omission of Asians else.” We were constantly being (to reflect the bias of World history asked, “Are you Indian or are you books written by Westerners) from British?” You had to be one or the the series of portraits of eight famous women -including other. And we were saying, “Well “The wedding” (top) and the twin-sister we are both! We want to be both.” Madonna, Princess Diana and painters (above). Mother Teresa-inspired by the Les Girls, named after the Victorian painter Dante Gabriel Hollywood film of yore, shows ten Rossetti’s famous painting Blue girls, both Asian and English, just Bower. sitting around ‘locked up’ in a bedroom indulging in girl talk; their The force of their arguments is doctor father is lionised in the epic delivered through painstakingly All That I Am, ‘narrating their worked layers of fine brushwork.

INDIA PERSPECTIVES MARCH 2003 31 “Les girls”. They work in tandem on miniatures that we do sometimes,” they say in sometimes only 4 x 4" that could empathy. require anything from 50 to 900 hours to execute. In Akbar’s atelier There is the inescapable reference two or more artists worked to their twin-ness. “In the West simultaneously on a small piece of there is a big emphasis on miniature. “They probably had to individuality. And particularly as do the same kind of contortion act twins we felt that quite strongly.

INDIA PERSPECTIVES MARCH 2003 32 build an International profile, refusing potential opportunities that we felt pigeonholed our work as ethnic and because certain curators and Directors in UK have been prepared to put their necks on the line by offering us major exhibitions in main stream, prestigious venues and commissions.” What brings them to India? “This is where it all started for us, here in India. We probably wouldn’t even be artists if it hadn’t been for our first experience of India in 1980. We have exhibited in Britain, Europe and America [where] we have won lot of acclaim – our work is very popular too. But we both realize that unless you have acceptance in India-for we consider India our true home – its really meaningless.” Their works based on the Guru Granth Sahib, a tribute to their roots, could make them icons of the Sikh culture a la Kushwant Singh with his definitive work on Sikh history. “No, no. Icon is such a big word. We are quite keen not to be labelled as Sikh artists because we see our work as much more universal than that. After all the ideals expressed in our paintings “All that I am...” are Indian as much as Sikh. However, we do intend at some People were constantly saying, “To ‘elitist circles’ of the Art point to return to an exploration of ‘Haven’t you tried to be different?” Establishment our art represents all visual interpretations of Sikh “Haven’t you got your own that has come to be rejected in literature.” identity?” And we say, “Of course Modern art –it’s decorative, we have! We know we are figurative, symbolic, narrative and Yet, they realize the India of their individuals -we take it for granted.” rooted in a distinctly non- European conceiving, the fountainhead of aesthetics that is dismissed as naive their art and source of sustenance As a challenge to the prevalent and too traditional to be regarded in the ‘alien’ west, is in throes of notions about individuality, in the as ‘serious’ art. The success we now change. N society and the art establishment, enjoy as artists has largely been due The author is a freelance writer. they dress alike and always exhibit to the tremendous public popularity their work together. of our art... across the board – white, no-white, all ages and all How is their work received? social groups. We have managed to

INDIA PERSPECTIVES MARCH 2003 33 CARVING A NEW NICHE Steam Heritage Tourism

Text: ASHWANI LOHANI Photographs: PHAL S. GIROTA

vividly recollect my early encounters with this new flavour of tourism, when as a four year old, I used to get the thrill of my life, trying hard Ito tug at the whistle cord of a WP class Steam locomotive at Kanpur (then Cawnpore) Central Railway station in the early sixties. The thrill returned some 30 odd years later when I pushed (and pushed really hard) the world’s oldest, the Fairy Queen steam locomotive back on track and in the process set a Guinness world record. The push and the thrill continued with amazing regularity and finally culminated in the birth of the first and the only Indian Steam Railway Society in November 1999. Steam Heritage Tourism had by then come to stay in India.

Fairy Queen was a dream. It was a dream which I dared to live, despite being a bureaucrat in a “developing” country. It was a dream, which when realised gave my life a sense of fulfilment. Its re-run on the 18" of October, 1997, after being in hibernation for over 90 years, become a high point of my life and a milestone in the life of the Indian Railways. This one single event acted as the trigger and suddenly steam locomotives started making their appearance, proudly, once again on the Indian

The steam “beauties” displayed at the Rail Museum, New Delhi.

INDIA PERSPECTIVES MARCH 2003 34 And for the tourists visiting India, a trip on the steam locomotive – propelled train is an unforgettable experience. For example the Fairy Queen Express. For 10,000 rupees, this two-day all inclusive tiger safari is perhaps the best steam heritage tourism package anywhere in the world. More than 12 hours of Guinness world record winning steam! Wow! The train runs every other Saturday, October through March and bookings can be made from the National Rail Museum, New Delhi, International Tourist Bureau at the New Delhi railway station or any of the IR offices overseas. Railway system, even if only with Matheran line and then on the the limited objective of hauling Kalka-Shimla line with the grand The Darjeeling Himalayan Railway, short distance tourist trains. Soon it finale being the re-enactment on hauled by perhaps the cutest steam became fashionable even in elite the 16th of April, 2002, of the first locomotives ever to trot the globe, railway circles to talk of steam runs. train-run of 1853 on the Mumbai- is now a world heritage site. A visit Nostalgia, became the order of the Thane section to commemorate the to this railway comes with the day. Inspired by the success of the 150th year celebration of the Indian added attraction of the beautiful hill Fairy Queen, Ghosh, a DRM in Railways. This re-enactment was station of Darjeeling attached - at the railways, pumped life into an the ultimate tribute which the the end. HGS class locomotive and ran it efficient Indian Railways could have A south bound tourist should not from Howrah to Tribeni in August, paid to the lure of steam. And why miss the X class steam locomotives 1999. This was followed by a steam not? With fire in its belly, and a of the metre-gauge Nilgiri Mountain run in distant Guwahati, again unique personality of its own, the Railway, one of the only two rack fuelled by a passionate Railway steam locomotive is more human railways in the world. Well an General Manager called Bisht. than anything else we know. added attraction is “Ooty”, Steam then appeared on the Neral-

INDIA PERSPECTIVES MARCH 2003 35 INDIA PERSPECTIVES MARCH 2003 36 acclaimed as the queen of hill stations in India. A hardcore steam enthusiast would do well not to miss a visit to the National Rail Museum, New Delhi, which boasts of one of the best collections of steam locomotives anywhere in the world and the recently resurrected steam locomotive shed at Rewari. What is gratifying is that the intrinsic value and potential of steam heritage tourism is now finally being recognized. This leads one to believe that steam heritage tourism is bound to mature into a significant tourism segment of the country and any steam lover who visits India will have many reasons to feel satisfied and satiated. N The author is a much-decorated officer of the Indian Railways.

“The Royal Orient” leaving the Delhi Cantt. station for Alwar.

INDIA PERSPECTIVES MARCH 2003 37 JEWELS OF INDIAN SKY Blueheaded Rock Thrush

Text & photographs: BHAGAT SINGH

here are several species of Thrushes spread over the world, and many of them are wonderful songsters. The common Tcharacteristic feature of Thrushes is their spotted plumage. The Blueheaded Rock Thrush (Monticola cinclorhynchus) found in India is about the size of a Bulbul: 17cm. The male is a brilliantly coloured little creature, with a conspicuous white patch on the wings. The crown, shoulders, neck and throat are blue. The rump and underparts are orange-red, and the tail feathers are black, tipped with

INDIA PERSPECTIVES MARCH 2003 38 blue. The female is plain brown above, with barrings and scaly patterns on the underside. In summer, it inhabits the light forested hillsides of Chir, Pine and Oak in the Himalayas. In winter, it visits practically the whole of India, particularly the stony hillsides covered with light deciduous forest and bamboo jungle, often in the neighborhood of human settlements and cultivation. It also inhabits the lightly wooded moist-deciduous areas, but seldom ventures into dense evergreen forests. When and clear whistling song ‘tra-tree- of trees. The clutch normally disturbed, it flies silently up and tree,’ heard mainly in mornings contains four eggs of pinkish- sits motionless on an overhanging and evenings. In winter, the bird white colour, painted pale branch of the nearby tree. From remains silent. reddish-brown. Both the sexes its perch, where it sits bolt share in building the nest, upright, it descends to the ground This bird breeds, throughout the Himalayas between 4000 and incubation and tending the to pickup an insect and either young. returns to the perch with the 9000 feet elevation from April to N quarry or disposes off it on the July, and often raises two The author is an eminent photographer/ spot. Its food chiefly consists of successive broods. The nest is an writer on wildlife. insects, snails and caterpillars, but untidy pad of grass, roots and is also preys on small animals similar material. It is placed in a such as frogs and lizards. hollow in the bank of a steep grass-covered hillside or on a In summer, during the breeding ledge of rock overhung by season, the male gives out a loud herbage or under exposed roots

INDIA PERSPECTIVES MARCH 2003 39 INDIA PERSPECTIVES MARCH 2003 40 Ellora & The Lonar Crater

Text & Photographs: KOMALA VARDAN

ention Ellora – the mind at once conjures up an image Mof cave temples hewn out of mighty rocks. Gods and mythological events in three different religions Hinduism, Buddhism and Jainism, are extensively and exquisitely carved in these caves. Created in a span of about 600 years, between the 5th and 11th centuries, the 34 caves leave an unforgettable and lasting impression on a visitor.

Of late, Ellora is also known for a grand annual festival of classical music and dance performances. Last December, I also got an invitation to perform at the Ellora Dance Festival organized by the Maharshtra Tourism Development Corporation. Renowned artists of the country participate in the Festival. In the special open-air enclosure erected in front of Cave No.16, called Kailash temple, artists perform on the temporary stage paying tributes to the deities who exist there in their sculptural splendour.

Ellora has been declared a World Heritage Site, making it an artistic legacy for the whole of mankind. Before visiting these caves, we paid a visit to the Grishneshwar Temple. This temple is important because it is the last of the 12 Jyotirlingams in India and situated just half a kilometer away from the Ellora Caves. Rani Ahilya Bai built the temple and the Lingam (phallus) is

“Kailash” – Cave No. 16

INDIA PERSPECTIVES MARCH 2003 41 INDIA PERSPECTIVES MARCH 2003 42 Above: “Viramurthy Shiva” in Cave No. 29. Cave No.29 is called Dhuma Lena. Facing page: The Lonar Crater filled with water (above) and the perennial flow of A huge Shivalingam in the sanctum water (below). with four entrances on four sides await the visitor. The sculptures on said to be Swayambhu (self- the walls of the cave are all of appeared). mega size - Shiva as Vira Murthy, We then began our tour of the Parvati’s marriage to Shiva, the caves from Kailash, Cave No.16 – a Divine couple sitting side by side magnificent work of art. Hailed as with Nandi (bull). the greatest monolithic structure in Cave No.32 is one of the best the world, it is credited to the period of Rashtrakutas. A single representations of the Jain Caves. It rock is hewn from top to is a double-storeyed temple. Called downwards in the pattern of a two- Indra Sabha, it has a shrine in the storeyed Shiva temple in the centre, centre. The walls are adorned with around which runs an open sculptural depictions of courtyard surrounded by carved Tirthankaras. The pillars of the galleries and halls at two levels. front court are delicately carved The expressions on the faces of the with flower and chain motifs sculptures, details of the hairdos, and dancing figures. Narrow garments, jewellery and accessories staircases on either side lead to the leave you spellbound. How could upper storey. It is carved more they transform an immense, single, elaborately and some paintings solid rock into caves with halls, have survived to this day. A passages, upper storeys and sculpture of Mother Goddess seated courtyard, in the middle of which on a lion under the Mango tree stands this temple – a sheer with a child in arms is very wonder! attractive.

INDIA PERSPECTIVES MARCH 2003 43 Also, there is another wonder nearby – which has a unique variety of blue algae in its water that gives it a distinct blue colour. This algae is said to be found nowhere alse in the world. From there, we moved onto Lonar, a small sleepy village just three hours from Aurangabad. From the main road a narrower road branches off to Lonar and some distance away, we suddenly realized that it was going around the crater. I immediately got out of the car to take some pictures. The notice board at the edge of this crater mentions that it is “The only Hypervelocity Natural Impact Crater in Basaltic Rock in the World”. In this village, there is also a very old but charismatic Vishnu temple. Because from just below the main sanctum sanctorum, there is a continuously flowing stream of sweet water. People say that it has never stopped and comes in the same volume and force, be it summer, winter or autumn. This is used for drinking and other purposes. It is then led through a drain for some distance and let into the crater. I wondered that how even after years and years of constant flow of this sweet water, the water of the crater still remained brackish? Could it be due to the presence of the algae? Besides the Ellora Caves, this picturesque crater will also remain etched in one’s memory. N The author is a famous danseuse.

Left: Details of a sculpture in Cave No. 16. Facing page: The author performing at the Ellora Dance Festival.

INDIA PERSPECTIVES MARCH 2003 44 INDIA PERSPECTIVES MARCH 2003 45 ISSN 0970 5074 IndiaMARCH 2003 Perspectives From the Editor…

India’s dominance in the field of Information Technology has been acknowledged the world over. Many developed countries are seeking India’s know-how in the field and our IT professionals are much sought after in various countries. It is not for nothing that even the United Nations Development Programme (UNDP) has recognized Bangalore as one of the leading hubs of technological innovations – scoring over many other cities around the globe. The Stanford University of the US has too identified Bangalore as an ideal destination for conducting a study on the evolution of technological entrepreneurship. All this has earned Bangalore a place in the upcoming “Asian Belt of IT cities”. This development will only spur the urge to excel among IT centres spread all over India.

This issue also contains a scholastic piece on India’s National Bird – Peacock. It is indeed revealing that perhaps nowhere else in the world does a national bird have such an affinity with the culture and mythology of a people as it has in India. And this association goes back to more than five thousand years. India Perspectives

MARCH 2003 VOL 16 NO. 3

Editor Bharat Bhushan Assistant Editor B. Bhushan

BEYOND KHARDUNGLA: THE VALLEY OF NUBRA Anil Mehrotra 2 THE REGAL PEACOCK: INDIA’S NATIONAL BIRD Samar Singh 9 SURAIYA: THE GOLDEN VOICE B.M. Malhotra 16 KASHMIR & THE “SOUND OF WILLOW” Upendra Sood 20 ASIAN BELT OF IT CITIES: BANGALORE IS NEW ENTRANT Radhakrishna Rao 22 BOOKS 24 PROTECTING THE SACRED Brinda Gill 26 NOTES 29 CHALLENGING ART ESTABLISHMENT: WOMEN PAINTERS SHOW THE WAY Hemant Sareen 30 CARVING A NEW NICHE: STEAM HERITAGE TOURISM Ashwani Lohani 34 JEWELS OF INDIAN SKY: BLUEHEADED ROCK THRUSH Bhagat Singh 39 ELLORA & THE LONAR CRATER Komala Vardan 40

India Perspectives is published every month in English, This edition is published for the Ministry of External French, Spanish, Arabic, Urdu, Hindi, Portuguese, Russian, Affairs, New Delhi, by Navtej Sarna, Joint Secretary, Bahasa Indonesia and German. Views expressed in the External Publicity Division, and printed at articles are those of the contributors and not necessarily of Ajanta Offset and Packagings Ltd., Delhi - 110052. India Perspectives. All original articles, other than reprints This edition is designed by Image & Imprint for the published in India Perspectives, may be freely reproduced Ministry of External Affairs. with acknowledgement. For obtaining a copy of India Perspectives, please contact the Indian Embassy in your country. Front cover: A Ladakhi girl in all her finery. Transparency: Anil Mehrotra. Editorial contributions and letters should be addressed to the Editor, India Perspectives, 149 ‘A’ Wing, Back cover: Utility Towers, Bangalore. Shastri Bhawan, New Delhi-110001. Transparency: Phal S. Girota. Telephones: 23389471, 23388873, Fax: 23782391 email: [email protected] Website: http://www.meadev.nic.in