August 2011 – November 2011 “One of Our Major Misfortunes Is That We Have Lost So Much of the World’S Ancient Literature – in Greece, in India and Elsewhere…
d`fr j{k.k jk"Vªh; ik.Mqfyfi fe'ku dh }Sekfld if=dk
Vol. 7 nos. 1&2 A bi-monthly publication of the National Mission for Manuscripts August 2011 – November 2011 “One of our major misfortunes is that we have lost so much of the world’s ancient literature – in Greece, in India and elsewhere…. Probably an organised search for old manuscripts in the libraries of religious institutions, monasteries and private persons would yield rich results. That, and the critical examination of these manuscripts and, where considered desirable, their publication and translation, are among the many things we have to do in India when we succeed in breaking through our shackles and can function for ourselves. Such a study is bound to throw light on many phases of Indian history and especially on the social background behind historic events and changing ideas.”
Pandit Jawaharlal Nehru, The Discovery of India
Editor Mrinmoy Chakraborty
Publisher: Cover Image: Director, National Mission for Manuscripts Celebration of the marriage ceremony of Prince Dara 11 Mansingh Road Shikoh, son of Emperor Shahjahan: an illustration from New Delhi – 110 001 Padshahnama, preserved at Royal Library, Windsor Tel: +91 11 23383894 Castle, London Fax: +91 11 23073340 (Photo curtsey: Dr. Gulfishan Khan, Associate Professor Email: [email protected] in History, AMU) Website: www.namami.org The views, opinions and suggestions expressed in the Designing and Printing: Macro Graphics Pvt. Ltd. Kriti Rakshana are strictly those of the authors and not www.macrographics.com necessarily those of the editor or the publisher. funs'kd dh dye ls jk"Vªh; ik.Mqfyfi fe'ku dk f}rh; pj.k lekfIr dh vksj vxzlj ifj.kke gS fd gekjh f'k{kk iz.kkyh esa ik.Mqfyfi;ksa ,oa ik.Mqfyfi gks jgk gSA fiNys vad esa eSa ;g ladsr dj pqdh g¡w fd f}rh; foKku dks dksbZ egRo ugha fn;k x;k gSA Hkkjro"kZ esa fyfi ckgqY; pj.k dk dk;Zdky O;kogkfjd :Ik esa dsoy lok nks o"kkasZ dk gks ds lkFk Hkk"kk dh fofo/rk izkphu dky ls gh fo|eku jgh gSA ik;k gSA lEiw.kZ dky dh HkjikbZ rks iwjh rjg ls lEHko ugha gS vr% tks 'kks/kFkhZ @ fo}ku~ bl {ks=k esa dk;Z djuk pkgrs gSa mudk fdUrq fe'ku us ;Fkk'kfDr bls iwjk djus dk iz;kl fd;k gSA bl fo'ks"k izf'k{k.k vfuok;Z gksrk gSA ik.Mqfyfi foKku ds vè;;u ds o"kZ fu;fer lwphdj.k ds vfrfjDr] fe'ku dk cy] ik.Mqfyfi;ksa fcuk lEiknu dk dk;Z ugha gks ldrk vkSj fyfi Kku ds fcuk rks esa fufgr Kku dks fo}kuksa ,oa 'kks/drkZvksa ds fy, lqyHk cukuk ik.Mqfyfi dks i<+k gh ugha Tkk ldrkA bu nksuksa {ks=kksa esa izf'k{k.k jgk gSA ik.Mqfyfi;ksa dk izdk'ku le;lkè; yEch izfØ;k gSA lcls dk vHkko gksus ds dkj.k fe'ku us ;g nkf;Ro Hkh vius mQij fy;k igys rks ik.Mqfyfi;ksa dks ,d=k djuk gh HkxhjFk iz;Ru dh vis{kk gSA oSls Hkh fcuk bl izf'k{k.k ds fe'ku viuk 'kklukns'k iwjk ugha j[krk gSA ,d izfr ls lEiknu dk dke ugha gks ldrk vkSj vusd dj ldrk blfy, fe'ku 'kS{kf.kd laLFkkvksa ,oa ik.Mqfyfi lalk/u izfr;ksa dks ,d=k djus esa dbZ ckj dbZ n'kd yx tkrs gSaA esjk dsUnzksa ds lg;ksx ls izf'k{k.k dh O;oLFkk djrk gSA viuk vuqHko eSa lân; ikBdkas ds lkFk ck¡Vuk pkgw¡xhA lu~ 1986 vk/kj dk;Z'kkykvksa esa izf'k{kqvksa dks ik.Mqfyfi foKku ds ewyHkwr esa vkWDLiQksMZ fo'ofo|ky; esa O;kdj.k n'kZu dh ,d ik.Mqfyfi fl¼kUrksa dk ifjp; djkus ds lkFk rr~ rr~ {ks=k dh izpfyr fyfi dk eq>s miyC/ gqbZA ;g xzUFk blls igys izk;% vKkr FkkA izk;% 'kCn Kku djk;k tkrk gSA ik.Mqfyfi dh izzxr dk;Z'kkykvksa esa fyfi;ksa esa dk izz;ksx blfy, dj jgh gw¡ fd bldh ppkZ u rks bl fo"k; ds izf'kf{kr yksxksa dks lEiknu dk 'kkL=kh; Kku ,oa O;kogkfjd vuqHko xzUFkksa esa vk;h Fkh vkSj u gh 'kks/ dk;ksZa esa bldk mYys[k dgha izkIr djus dk volj iznku fd;k tkrk gSA fe'ku }kjk vk;ksftr ns[kk x;k FkkA ik.Mqfyfi ns[kus ij yxk fd ;g xzUFk izdk'k esa vkuk izxr dk;Z'kkykvksa ds iQyLo:Ik dfri; egRoiw.kZ ik.Mqfyfi;ksa dk pkfg,A vr% eSaus mldh ekbØksfiQYe ckWMfy;u iqLrdky; ls ys lEiknu lEHko gks ldk gS ftUgsa ;Fkkle; izdkf'kr fd;k tk;sxkA yhA mlds lEiknu ds fy, tc eSaus vU; izfr;ksa dh [kkst vkjEHk dh rks loZ=k fujk'kk gh gkFk yxhA 20 o"kksZa ds fujUrj 'kks/ ds ckn fe'ku }kjk ik.Mqfyfi;ksa esa fufgr Kkufo"k;d laxksf"B;ksa dks fo}kuksa lu~ 2006 esa eq>s bl xzUFk dh nks vkSj ik.Mqfyfi;k¡ miyC/ gks ,oa 'kks/drkZvksa us vR;f/d ljkgk gSA O;kdj.k dh vYiKkr ldhaA bu nks izfr;ksa dks ns[kus ds ckn ;g Li"V gqvk fd vkWDliQksMZ ik.Mqfyfi;ksa @ fl¼kUrksa ,oa Lo;a O;kdj.kksa ij ,d laxks"Bh iq.ks esa esa miyC/ izfr i;kZIr lnks"k FkhA 20 o"kksZa dh yEch vkSj Jeiw.kZ vk;ksftr dh x;h mlesa vk/kqfud dky ds ew/ZU; oS;kdj.kksa ds izfr{kk ds ckn tc vU; izfr;k¡ miyC/ gks x;ha rks muds lEiknu lkFk ;qok fo}ku Hkh lfEefyr gq,A dsjy fo'okfo|ky; ds izkP; dk dk;Z vkjEHk fd;k tk ldkA ;g O;fDrxr vuqHko ikBdkas ds fo|k 'kks/ laLFkku esa vk;ksftr LFkkiR; fo"k;d laxks"Bh ds }kjk lkFk ck¡Vus dk ,dek=k y{; ;g gS fd os ik.Mqfyfi lEiknu dh dsjy dh fof'k"V LFkkiR; 'kSyh ,oa mlls lEcfU/r ik.Mqfyfi;ksa izfØ;k esa vkusokyh leL;kvksa ls dqN voxr gks ldasA izk;% ,slk dks lcds le{k ykus dk iz;Ru fo'ks"kKksa us ilUn fd;kA fe'ku gksrk gS fd dk;Z lEiUu gks tkus ds ckn mldk iQy ns[kus okys ds bl izdkj ds iz;Ruksa dh fo'ks"krk gS fd ;g dsoy blesa Hkkx dk;Z dh iwfrZ esa vk;h ck/kvksa ls voxr ugha gks ikrsA ysus okys yksxksa rd gh lhfer ugha jgrs CkfYd iqLrd ds :Ik esa izdkf'kr gksus ds ckn lcksa ds fy, lqxerk ls miyC/ gks tkrs gSaA ik.Mqfyfi;ksa ds izdk'ku dh izfØ;k izfr;k¡ miyC/ djus ls vkjEHk Hkkjrh; ik.Mqfyfi;ksa esa fufgr Kku ijEijk dks mn~?kkfVr djus dk gks dj lEiknu dh dfBu ijh{kk ls xqtjrh gS] tks vius vki esa dk;Z nq"dj rks gS ysfdu fcuk bl Kku ijEijk ls tqM+s Hkkjr viuh Jelkè; dk;Z gSA bu lkjh leL;kvksa ,oa ck/kvksa ds ckotwn gesa [kks;h gqbZ xfjek dks izkIr djus esa leFkZ ugha gks ldrkA vko';drk lUrks"k gS fd fe'ku ik.Mqfyfi;ksa ds izdk'ku esa liQyrk izkIr dj bl ckr dh gS fd bl Kku ijEijk ls izsj.kk ysdj ge orZeku esa ns'k jgk gSA blds fy, fofHkUu {ks=kksa ds fo}kuksa dk tks lg;ksx izkIr dh leL;kvksa ds lek/ku fudkyus dk ;Ru djsaA fe'ku bl mn~ns'; gqvk gS mlds fy, eSa mudh vkHkkjh gw¡A ds izfr ltx Hkh gS vkSj mls izkIr djus ds fy, lfØ; HkhA vKkr@vYiKkr ik.Mqfyfi;ksa dks izdk'k esa ykus ds iz;kl esa fe'ku us fujUrj izxfr dh gSA blds fy, vusd izdkj dh ;qfDr;ksa dks çks- nhfIr ,l- f=ikBh viukuk iM+rk gSA ik.Mqfyfi;ksa ds izfr orZeku ;qx esa mis{kk Hkko dk funs'kd] jk"Vªh; ik.Mqfyfi fe'ku Editorial Contents
If Indian heritage is alive unblemished, it is there in certain 1. Shah Jahan-Nama and Imperial Views of History 3 pockets which are least affected by modernization. One Gulfishan Khan such spot is Tawang district of Arunachal Pradesh. The entire district is so situated, as if mighty Himalayas embrace Tawang and all its riches with intense affection. Monasteries on the lap of the Himalayas, elephantine manuscripts in 2. Mahayana Buddhist Manuscripts of 10 the custody of the monasteries and meditating monks, Tawang District all are in perfect harmony. A sublime spirit encompasses Maltesh Motebennur both man and nature in this land of salvation. In this fast changing world of IT revolution and artificial intelligence, people in Tawang produce hand-made paper and write manuscripts and documents. Dr. Maltesh Motebennur 3. Siddhānta Ratnākara 16 in his article on the ‘Mahayana Buddhist Manuscripts of S. Visalakshi Tawang District’ unfolds the literary heritage hidden in the manuscripts preserved for centuries in different Buddhist monasteries of Tawang and thus opens the doors of some treasure troves for our readers. 4. eqdqyHkV~V dh jpuk dk okLrfod 21 uke & ^vfHk/kkekr`dk* In another article, Dr. Gulfishan Khan presents us with a fot;iky 'kkL=h Mughal recipe in shahi andaz. Seems to be written in fursat, it explores the beauty in and facts about Shah Jahan-Nama. Her article itself is a piece of art, a Mughal miniature in words with every detail presented meticulously and with 5. Songs of the Cowboy: Melody that Enthralled 26 exceptional dexterity. Southern Assam for Centuries Dr. Vijaypal Shastri’s inquisitive and analytical approach Mrinmoy Chakraborty and a young scholar S. Visalakshi’s effort to unearth a less known text are indeed praiseworthy. India boasts of the richest tradition of grammar in the world. But, there are few who take care of preserving and promoting this tradition. Dr. Visalakshi’s attempt to critically edit an unpublished text on grammar is in complete harmony with what NMM strives to achieve.
In Indian gourmet affair, every meal must end with a sweet dish. The issue in your hands ends with a melodious plot from the southernmost part of Assam. I think, these unheard songs of the cowboys will find in you a listener Others and you will find something sweeter to relish. NMM: Summary of Events
Editor Book Review Shah Jahan-Nama and Imperial Views of History
Gulfishan Khan
The reign of Mughal emperor Shahjahan chronicler of Shahjahan. The narrative which (r. 1628-1658 AD), has been considered the covers only five years of the brilliant reign most glorious epoch in the annals of the history beginning with the fifth solar regnal year to of the pre-modern South Asia. (B.P. Saxena, the end of the eighth is called Padshahnama History of Shahjahan of Dihli, Allahabad, 1932). and is preserved in the British Library, London. What rendered the period a golden era of (British Library Ms. Or. 1676). Muhammad Amin medieval India is Shahjahan’s contribution bin Abul Qasim Qazwini (1646), an outstanding to the development of art and architecture. prose-writer and excellent narrator, was the Architecture, the imperial art par excellence second official historian whom the emperor was the focus of emperor’s attention, but appointed as his official historiographer in 1636. other arts and letters also flourished under He composed a history of first ten years of the his patronage. Yet one such flourishing branch same magnificent era. The literary outcome of of knowledge was historiography, the art of Qazwini’s painstaking and beautiful penmanship history writing. Historiography was aimed is also called Padshahnama, a name decided at propagating imperial ideology and was upon by the emperor himself. (British Library purposefully utilized to record the imperial Ms. Or. 173). Abdul Hamid Lahori (died in1655), patronage and contribution to the promotion a historian trained in the Abul Fazl School of of art and letters. The court historians were penmanship (Insha) and historiography and appointed by the emperor after careful an accomplished historian and an elegant considerations. (T British Library Ms. Or. 1676) prose-writer, was the successor of the above- mentioned distinguished literary figures. The official historiographers composed their The standard text of Lahori’s Badshahnama narratives under the close royal supervision is divided into three volumes, the third was of the patron-emperor. The emperor completed by his disciple Muhammad Waris made all possible efforts to create official (died in 1680). (Waris, Padshah Nama, Vol. 3 documentation of his reign so that generation British Library MS Add. 6556). Each volume to come would know him and his achievements. describes a decade of his rule. Each decade was The emperor was fully aware of the uniqueness to be treated as separate volume, because ten and greatness of his reign. Therefore, he saw was considered auspicious by the Emperor who to it that every deed and event of his reign was also the tenth Timurid ruler. Consequently was to be set down in elaborate details for Padshahnama or Shahjahan–nama is also posterity. His brain, honed by some of the most called Tarikh-i-Shahjahani Dahsala, i. e., History well-read minds of the era, clearly understood of Shahjahani Decades. An abridgement the role of historiography as a powerful tool (mulakhkhas) of the three volumes of Lahori’s to propagate imperial ideology. official history was prepared by Muhammad Tahir Ashna entitled Inayat Khan, the royal It is to be noted that Mirza Jalala Tabatabai (died librarian of Shahjahan. (The Shah Jahan Nama in 1636), a learned Persian scholar of Isfahan, of Inayat Khan, An Abridged history of the who arrived in India in 1634, was the first court Mughal Emperor Shah Jahan, compiled by
National Mission for Manuscripts 3 his Royal librarian, ed. And completed by Unfortunately most of these priceless W. E. Begley, and Z. A. Desai, Delhi: Oxford literary treasures remain unedited University Press, 1990.) There is yet another to-date which otherwise would have Shahjahannama written by Muhammad Sadiq brightened many unread pages of Indian Khan. (Muhammad Sadiq Khan, Tawarikh-i- history. Shahjahani, BL. Ms. OR. 174). Another major historical work, a detailed Shahjahannama Shah Jahan-Nama (Book of Shahjahan) is also known as Amal-i-Saleh or ‘work of Saleh’ one such rare work preserved in the Library describing the splendid reign of the emperor of Salar Jung Museum, Hyderabad (Andhra Pradesh). The manuscript containing 944 Shahjahan was written by Muhammad Saleh folios documents only the first of the three Kambo1. There also exist three unfinished decades of the Shahjahani era (from 1037 A.H. versified histories, which were commissioned to 1047A.H./1628-38 A.D.) As befitting the by the emperor. The first was composed by official history of Shahjahan’s royal reign the the court poet-writer Haji Muhammad Jan paper itself carries sheen of gold and the Mashhadi Qudsi (died in 1646). (Zafarnama-i- headings throughout made out of pure gold. Shahjahan, British Library MS. Ethe 1552). The The manuscript is an excellent specimen of other two versified accounts of the reign, nastaliq form of calligraphy practiced under both called Padshahnama (Padshahnama or the Mughal court’s patronage, but neither the Badshshnama literally means ‘chronicle of name of the author nor that of the calligrapher/ the king of the world’), were composed by scribe is mentioned. A colophon on the last the poet-laureates Abu Talib Kalim Kashani page of the volume states that the manuscript (died in 1652) who was entrusted with the was presented to the emperor Shahjahan task of the versification of Padshahnama and on 14 Ziqadah 1054 A.H./2 January 1645 at for the purpose he was sent to the peaceful Akbarabad (Agra), the seat of Caliphate. A close and serene valley of Kashmir, (Padshahnama perusal of the manuscript reveals that it is the British Library Ms Ethe 1570), and the third first of the three volumes of Badshahnama was composed by Mir Muhammad Yahya Kashi. of Abdul Hamid Lahori, the above mentioned (Padshahnama British Library Ms. Or 1852). official historian of Shahjahan2. Another marvellous manuscript covering the first decade of the reign of Shahjahan, lavishly illustrated with forty-four full page paintings, copied by Muhammad Amin al-Mashhadi in 1656-57, is preserved in the Windsor Castle Library, London. Its superb narrative paintings reflect the glory of the reign. The emperor is portrayed in full imperial majesty in the midst of his noblemen reflecting his high stature and taste3.
Being a formal official chronicle the narrative is full of hyperbolic praise for the patron-emperor. Folios from Shah Jahan-Nama, preserved at Salarjung Nevertheless the author Museum, Hyderabad effectively portrays the
4 National Mission for Manuscripts complex personality of the suave and urbane Tables of Shahjahan. The detailed enumeration emperor of India, as well as the multifaceted of the royal horoscope is followed with the character of his reign. Despite the employment text of the royal order (farman), dated 1037 of effusive prose and hyperbole, the author A.H./1628, addressed to Abul Hasan Asaf successfully conveys zeitgeist, the true spirit Khan (died in 1641) father in law of the of the Shahjahani era. Being the official history emperor, now exalted with the dignified titles the text presents an image that the emperor of Yaminuddauala (Right Hand of the Empire) desired to communicate of himself and that of and addressed affectionately as Ummu (uncle) the vast empire of Hindustan which extended in addition to the above dignified titles. The from Kabul in the present-day Afghanistan royal order proclaims his appointment to to Aurangabad, and from the Arabian Sea to the position of wakil us saltanat the highest the Bay of Bengal. The language is ornate but office in the Mughal government, with the lucid. The author cites verses from the poetry official rank called mansab of 8,000/8,000 of the Persian poet-moralist Sadi Shirazi, the zat (personal status, pay) and sawar (mounted lyricist Shamsuddin Muhammad Hafiz of Shiraz troopers), along with the du aspa sih aspa, and (1315-1390), and the classic Persian poets an additional grant of the port city of Lahri Anwari and Khaqani. Bandar4. The emperor wrote with his own hands: “God the Almighty has bestowed upon The work begins with the accession (julus) me by the grace of His infinite bounteousness, of Shahjahan to the imperial throne. Prince the vast kingdom of entire Hindustan (badshahi (Shah) Khurram (1592-1666), (means, Joyous) kul Hindustan). And in this eternal sovereignty son and successor of the Emperor Nuruddin I deem you a partner and together we and our Jahangir (r. 1605-27), ascended the Mughal kingdom will ever flourish with the blessings of throne on 8 Jumada al-sani 1037/Monday, the most compassionate Almighty.” 14 February 1628, with the lofty title Abul Muzaffar Shihab al-Din Muhammad Sahib Qiran- Most significantly perhaps, the work contains i-Sani Shahjahan Padshah Ghazi which means a detailed listing of the offerings, honour ‘Father of Victory, Star of Religion, Lord of and promotions of the nobles who occupied the auspicious planetary conjunction, King of various political, military, administrative and the World, emperor, Warrior of the Faith.’ The diplomatic positions in the vast bureaucratic public ceremony took place in the Diwan-i-am, apparatus of the empire. The work constitutes the Hall of Public Audience in the royal citadel an important source for the reconstruction of Akbarabad consisting of the grandees, of the careers of the Mughal administrative ministers and the distinguished men of sword elite, as it depicts personal and collective and pen (arbab-i-saif wa qalam) of the realm, trajectories of those whose fortunes were amidst singers reciting melodious ghazals. bound with the empire. It contains the most Poets and men of letters composed felicitous comprehensive information of the high profile chronograms and were richly rewarded. nobles such as Asaf Khan down to many lesser known officials of the state. However, an account of the illustrious ancestors of the emperor as narrated in the Promotions and bequests made to the introduction of the first volume of the final imperial family are most diligently recorded. version of Lahori and Qazwini is excluded from The lunar weighing of his Majesty was held the present version. in celebration of the completing forty-eight years of his life on Rabiul Awwal 1047 Hijri The preface also contains emperor’s horoscope August 1637. On this occasion the mansab of (zaicha) drawn by Mulla Fariduddin Masud ibn his Royal Highness Prince Dara Shikoh who held Ibrahim Dehlawi (died in 1629) the Astronomer the mansab of 12,000/8,000 was fixed at 15, Royal and the author of Zich-i-Shahjahani the 000 zat with 9,000 sawar. The mansabs of the
National Mission for Manuscripts 5 Princes Muhammad Shah Shuja Bahadur and events at the court and elaborates court Muhammad Aurengzeb Bahadur by an increase ceremonials. It provides graphic description of of 2,000 and 1,000 were each raised to 12,000 the splendid receptions in the Diwan-i-am and zat with 7000 sawar.5 on the special days marked out by the court for special rejoicings such as the anniversary It noted the formal royal visits of the emperor of emperor’s birthdays, recovery of emperor to the mansions (manzil) of his grandees, such from illness, reception of an envoy. It describes as that of Asaf Khan and Jafar Khan, where the innumerable royal audiences at which the emperor was sumptuously entertained along emperor received homage of the assembled with his family. It carefully recorded the births nobles and aristocrats of his realm, who stood and deaths of children and grandchildren in in the order of precedence. The splendour and the imperial household, illness and death of pageantry of court comes to life especially in the important nobles of the empire such as the wedding ceremonies of the four sons of the sad news of the death of Mir Jumla, Mir the emperor. The author successfully conveys 6 bakhshi (Head of Personnel) due to paralysis, monumentality and splendour of royal the and of Mahabat Khan in 1634, and sudden imperial court mainly due to painstaking demise of the Central Asian (Turan) envoy concern for details. Khwaja Abdur Rahim Juibari7.
The work provides authentic descriptions of Subject matter various aspects of the Mughal court culture under Shahjahan. It contains meticulous The volume represents not only a saga of the literary representations of the royal court, pomp and splendour rather it also shows a with very minute portrayals of details of genuine concern for the common populace of the formalities observed at the Shahjahani the empire as is evident in the description of court. The work unfolds a rich spectacle of the famine in Deccan and Gujarat in 1630-2. the reign by bringing to life the splendour Similarly it describes flood relief measures and magnificence of the court. It provides undertaken in Thatta, and especial prayers panoramic views of Shahjahan’s darbar- offered by the emperor and nobles to stave off settings, royal audiences with nobles, foreign the calamity in the face of oncoming draught travellers and ambassadors, all full of pageantry in the regions around the capital. It is reported and an integral part of court life. Most of all, that Lord did hear as soon after the lands were it provides rare glimpses into the lives of the graced with rains. Besides the manuscript ruler and his family. Arranged chronologically provides wide-ranging information of Mughal within the text are detailed accounts of court’s international contacts, as well as virtually every important public activity of political developments in the other parts of the the emperor, from undertaking an important empire mainly the Deccan called junubi mamalik military campaign to the valuable offerings i.e., the southern states and Kabul and Kashmir. such as a chandelier (qandil) sent to the Additionally, the invaluable volume contains Holy cities in Hejaz. It describes the carefully transcripts of royal decrees and documents, choreographed royal audiences at which the copies of letters exchanged with ambassadors emperor announced major promotions and and regional Indian and foreign heads of the appointments, especially on the occasion of state. It provides views of the Central Asian the annual nauroz (new day) and the weighing policy of the emperor Shahjahan, relations against gold on the occasion of royal birthdays with the Astarkhanid rulers Nazr Muhammad according to both solar and lunar calendars Khan and Imam Quli Khan (1611-41), called and the great public displays at the time of Wali, internal conditions of Transoxiana called marriages of the princes. Therefore, a major Turan, unsuccessful siege of Kabul by Nazr part of the text describes various public Muhammad Khan (June-August 1628), and the
6 National Mission for Manuscripts defensive measures undertaken by Lashkar the planning, designing (tarh), ground-plan and Khan, the Mughal governor of the province, the layout of most of the royal monuments. It and Hakim Haziq Gilani’s ambassadorial provides a fascinating description of the Agra mission to the court of Bukhara in Nov 16288. fort complex, and its three main palace court Nevertheless relations with Persia occupies yards built by the emperor in the opening years prominent place, and the author describes of the first decade of his reign, and the main reception of Persian ambassador Bahri Beg imperial residence until 1648 when the court by Mutamid Khan, (folios 217-8), notice of the moved to the new capital in Delhi renamed death of Shah Abbas (r. 1587-1629) on Jan 9, Shahjahanbad. It contains rich profile of all the 1629, accompanied with a detailed obituary royal monuments secular as well as religious describing Persian monarch’s rise to power buildings which had been completed in the first and his major military conquests. It describes decade of the imperial rule. However, among internal conditions of the Safavid Empire, the royal monuments of the capital-city it does mainly the political instability of Persia after not refer to the construction of Moti Masjid the death of Shah Abbas I, followed with (Pearl Mosque) made from the translucent the event of accession of Shah Safi (r.1 629- marble completed in 1063A. H./1653 A.D. 1642). Significantly, the detailed narrative of However, the Jami Masjid, the congregational the Mughal foreign relations especially with Mosque of the capital (completed in 1647) for Persia and Central Asia called “Iran wa Turan” which the work of construction began in 1637 also represents rulers’ view of their mutual is mentioned as a project sponsored by the relationship. Although the wars and conquests Princess Jahanara. received marginal treatment in this volume, The author represented the Shahjahani nevertheless important military campaigns buildings a unique blend of elegance and and political events are dealt in ample details. architecture. It contains precise details of the measurement of the various buildings, as Architecture well as the material used in the construction such as the dazzling white marble (sang-i-mar Among his many accomplishments the mar) red stone (sang-i-surkh), chunah, chunah emperor Shahjahan was most conscious of Patiali quicklime, the precious or semi-precious his architectural achievements, therefore, stones, pearls, red gems (aqiq wa marjan), as along with the portrayal of the opulent well as the exact figures of the expenditure splendour of the Shahjahani court the official involved in construction. It refers to the new historiographers provided fascinating and in- innovative decoration techniques sanat-i-ayina depth descriptions of the imperial buildings kari, mosaic work, munabbatkari stone relief and majestic grandeur of his numerous work, parchinkari, stone intarsia, girahbandi architectural monuments While other arts the geometrical ornamentation. and letters also flourished under Shahjahan’s patronage his most outstanding and enduring The author[ Abdul Hamid Lahori] graphically artistic achievement belongs to the realm of portrays the newly completed Diwan-i-am architecture. Shahjahan’s reign represented the heart of the palace called Dawlat khana an era of great architectural awareness too, khass u amm literally “Palace building for when designing and construction of new the special one and for the wider Public,” buildings was a fashion at the court9. commonly referred as Diwan-i-amm or Hall of Public Audience where the emperor held his The author provides the extensive details of court twice a day and personally attended the imperial architectural projects for the future administration of the empire. The emperor historians of architecture in the most absorbing remained prodigiously busy with large scale manner. It contains the most exact details about building projects. Shahjahan made the
National Mission for Manuscripts 7 personal overseeing of his artists a part of ancestral throne. It describes annual urs, the his daily routine thus acting as his own artistic gathering on the anniversary of death on the director in a manner typical of Shahjahani site selected for her burial, and distribution of perfectionism. Emperor’s daily morning session charities by the emperor. Despite the opulence with his artists in the Dawlat Khana-i-Khass of the narrative and all encompassing grandeur wa amm, also included the close inspection of Mughal life and courts there is a persistent of the work of his artists and architects. The undercurrent of sadness in every proceedings. emperor is invariably referred as daqiqah- This sadness perhaps is a mere figment of the shinas meaning subtleties-knowing-emperor bleakness surrounding the emperor’s private and one who had a vision of an alchemist (nazr life. The lost love and desperation might kimiya asr literally, eyes effective like that an have been the driving force which spawned alchemist), and one difficult to please. a rainbow of events all celebrating joy but having their true source in tragedy. A number of nobles and officials of the state were employed in the planning and realization On closer inspection the multitude of events of the imperial architectural enterprises which took place around the empress’s death mainly as the superintendents (sarkar). Asaf anniversary was a “celebration of life”. Maybe Khan, the premier noble of the empire, was the loss of the one he loved the most led him also a gentleman architect, well versed in the to appreciate the worth of life more and the subtleties of this craft (sanat). “Yaminddaula emperor sought to spread a little joy in all his knows the intricacies of the craft.” He acted as subjects. But despite all his attempts to the a close advisor of the emperor on most of the contrary his life was deeply steeped in the architectural projects. The foremost noble’s quagmire of sadness. He was like a monk who architectural patronage included supervision, used to do annual pilgrimage to the shrine of his sponsorship as well as designing of various wife, the empress in order to find some shred building projects. of solace. Maybe peace and heartfelt happiness still eluded him for he remained till the last day “And each of the finally approved design (tarh) of his life a very faithful disciple to the shrine is submitted to that strong pillar of the state the Taj Mahal. But being the great king as was and firm arm of sovereignty Yaminuddaula he, he had found a way to camouflage his Asaf Khan who writes down the explanation eternal sadness in a garb of gaiety. of the imperial instructions which ultimately serve as a guide (dastawez) for the building Epilogue overseers (mutasaddiyan) and architects of buildings. In this peaceful reign, the art I do not think in all the Seven regions of building has reached such a point that it There is any city of the grandeur and beauty astonishes the widely-travelled connoisseurs of Lahore. (Talib Amuli) and undoubtedly is a source of envy of the engineers (muhandisan) of this incomparable The epilogue called Khatima at the end of craft.”10 the volume contains an account of notable intellectual and spiritual personalities of the Above all, Shahjahannama is shrouded in an period, in the form of biographical accounts atmosphere of sadness and gloom due to the called tazkira. This section containing death of Arjumand Bano, daughter of Asaf biographical notices is divided into four Khan, born to be a legend, known to history categories called tabaqa. The first division as Mumtaz Mahal, in child-birth at Burhanpur consists of the famous Sufi-saints (mashaikhs), on night of Wednesday, the 17 of Ziqadah the second is concerned with the scholars 1040 A.H./16 June 1631, only three years (fuzala) men of pen and letters, who excelled after the accession of her husband to the in learning and knowledge, the third category
8 National Mission for Manuscripts consisted of the famous physicians and the 6. Shah Jahan-Nama, folio 898. fourth deals with the poets and litterateurs, 7. Folio 130. who flourished under the liberal patronage of 8. Shah Jahan-Nama, folios 181-185. Shahjahan and adorned his court. Significantly, 9. Ebba Koch, The Complete Taj Mahal and the epilogue shows that the heavy brain- the Riverfront Gardens of Agra, with drain in the form of poets, litterateurs, drawings by Richard Barraud, Thames and artists, musicians, historians, architects and Hudson, London, 2006. diplomats from Iran and Central Asia to the 10. Shah Jahan-Nama folios 87-88. liberal Mughal court continuously enriched the cultural land-scape of Mughal India. Lahore the second capital of the empire, and the seat of References government had emerged as a vibrant centre Contemporary Sources: of learning and cultural activities, and the 1. Abdul Hamid Lahori, Badshahnama ed. M. city definitely enjoyed greater prominence Kabiruddin Ahmad and M. Abdur Rahim, than Delhi, only next to Agra. Many sufi saints Calcutta 1866-72. chose to reside in the same city such were the 2. Muhammad Amin bin Abul Qasim Qazwini, prominent Qadiri saints Mulla Shah Badakhshi, Padshahnama/Badshshnama Transcript (1585-1661), a successor (khalifa) of Mian Mir, of Reza Library, Rampur available in the (1550-35), the most revered personality of the History Seminar Library AMU. period, Shaikh Bilawal Qadri, (d.1637) and Mulla 3. Salih Kanboh, Amal-i-Salih, ed Ghulam Khwaja (1662) of Bihar, who arrived in Lahore Yazdani, Bib. Indica, Calcutta, 1912. to acquire traditional learning from Mian Mir 4. Shahjahan-Nama History 309, Library of and chose to live in Lahore and spent days and Salar Jung Museum, Hyderabad (Andhra nights in remembering God the Almighty. Pradesh). Footnote Modern Works: 1. Ebba Koch, The Complete Taj Mahal and 1. Muhammad Saleh Kambo Amal-i-Saleh, the Riverfront Gardens of Agra, London, 3 vols. Edited by Ghulam Yazdani, 2006. Bibliotheca Indica, Calcutta, Asiatic 2. B.P. Saxena, History of Shahjahan of Dihli, Society of Bengal 1923-46. Allahabad, 1932. 2. Abdul Hamid Lahori Badshahnama, 2 vols. 3. M. Athar Ali, The Apparatus of the ed. M. Kabiruddin Ahmad and M. Abdur Empire: Award of Ranks, Offices and Rahim, Calcutta 1867-8. Titles to the Mughal Nobility, (1574-1658) 3. Windsor Castle Royal Library, MS. HB.149. Delhi, 1985. M. C. E. Beach, E. Koch and W. Thackston, 4. Nur Bakhsh, Historical Notes on the Agra King of the World,: The Padshahnama: Fort and its Buildings, ASI Annual Report, An Imperial Mughal Manuscript from the 1902-3. pp. 164-93. Royal Library, Windsor Castle, (London/ Washington D.C., 1997). 4. For an exposition of the mansabdari system with its dual awards and obligations i.e., the zat and sawrar ranks see, M. Athar Ali, The Apparatus of the Empire: Award of Ranks, Offices and Gulfishan Khan is Associate Professor Titles to the Mughal Nobility, (1574-1658) in History, Centre of Advance Study Delhi, 1985, cf. Introduction. Department of History, Aligarh Muslim 5. Shah Jahan-Nama, folios 896-7. University (Uttar Pradesh)
National Mission for Manuscripts 9 Mahayana Buddhist Manuscripts of Tawang District
Maltesh Motebennur
North East India is the melting pot of various In the present scenario, it is estimated that cultures since pre-historic time. Before British in Tawang monastery alone there are more occupation, it consisted of independent than five thousand rare Buddhist manuscripts kingdoms of Assam, Manipur, Tripura, Cachar, which contain knowledge on religion, et al. The area is notable for its rich cultural philosophy, medicine, Lord Buddha’s original heritage in the form of temples, monasteries, preaching, etc. Besides Tawang, there are at stupas, traditional arts and crafts, dances, least five dozens of old Mahayan monasteries festivals, rituals and so on. During medieval in Arunachal Pradesh where hundreds of period, Hindu kings ruled the states of Assam, Buddhist manuscripts written in Bodic and Manipur and Tripura. other scripts are preserved. In the Theravad monasteries of Arunachal Pradesh located in With the coming of the Ahoms in Assam (13th the districts of Lohit and Changlang, thousands Century), a number of Buronjies (manuscript of such manuscripts written in Monai scripts on history) were written. Simultaneously with are preserved. the growth of Neo-Vaishnavism propounded by great saint, Shrimanta Shankar Dev, the cultural Though thousands of manuscripts, both heritage of Assam was given a new flip. One Vaishnava and Buddhist, are available in of the finest contributions of the Ahom kings the North-East, scientific preservation, as well as Shankar Dev was to popularise the conservation and restoration technique had writing of manuscripts. The largest river island not been practised until the establishment of Asia, Majuli (Assam) is the home of a number of the National Mission for Manuscripts due of satras (Vaishnav monasteries) which have to lack of well-trained manpower. Many a thousands of manuscripts in their collections. manuscript was destroyed due to the humid The satras at Bardoa and Barpeta are also rich climatic conditions, lack of preservation and in such Vaishnava manuscripts. Besides these lack of interest as well. Thus a considerable a number of manuscripts are preserved in the museums, libraries and individual collections number of manuscripts, which are the store in the north-east. The writing of manuscripts house of history and culture of the people as well as painting of manuscripts were also of the region, lost forever. The importance patronised in the Buddhist monasteries. of Buddhist manuscripts available in the Mahayan Buddhist monasteries in Tawang area region cannot be overlooked because as well as Theravad Buddhist manuscripts in of the fact that these manuscripts the eastern part of Arunachal Pradesh and contain information regarding cultural some parts of Assam as well, were in the interaction of North-East India with forefront of writing, copying and illustrating Tibet and parts of South East Asia. On the manuscripts. In Tripura, the Manikya kings were other hand, Vaishnava manuscripts contain great patrons of literary activities. Similarly in the history and culture of medieval Assam. Manipur, after the introduction of Vaishnavism Undoubtedly, the loss of these manuscripts is in 17th century, writing of manuscripts was a great blow to the Indian literary and cultural patronised by the rulers. heritage. It is in this context documentation
10 National Mission for Manuscripts of manuscripts and digitization process should Tawang Monastery be taken at the right earnest to preserve and protect these manuscripts for posterity. Perched atop a hill, overlooking the ridge and When I registered as Ph.D. scholar, my research surrounded by thick clouds, the legendary 17th topic was ‘Buddhist Manuscripts with special century Tawang Monastery is the fountain reference to Arunachal Pradesh: Restoration, head of spiritual life of the followers of Utilisation and Digitisation’. I surveyed the the Gelugpa sect of the Mahayan school of manuscripts scattered in and around Tawang Buddhism. Majestically seated on a ridge that Monastery and its adjacent gonpas. The overlooks the Tawangchu (Tsosum) valley of present paper is an outcome of my research Kameng division of Arunachal, at a strategic findings. In this write up, manuscript writing point where trade routes from Tibet, Bhutan and availability of manuscripts in Tawang and Eastern Kameng meet, the Gonpa is the district are discussed in brief. heart and soul of the Monpas. Being the biggest monastery of Arunachal and perhaps Mahayan Buddhist manuscripts the second largest of Asia, the monastery is locally known as Tawang Gaden Namgyal Mahayan monasteries of Arunachal Pradesh Lhatse or the celestial paradise of the divine are called gonpa or gompa in Monpa dialect. site chosen by horse. Tawang monastery These gonpas are generally located at some situated at about 10,000 feet above the sea distance from villages and on the face of a level. The monastery is surrounded on all cliff, or spur of a hill, offering a commanding sides except on the east by mountains with and picturesque view of the valley below. The snow-capped peaks and coniferous forest village monasteries are generally built at a below. Viewed from a distance, it appears like higher location than the habitation area. The a fort as if guarding the votaries in the wide monastic architecture does not differ much valley below. This impression is not devoid of from the architecture of the local houses of substance in view of the hostility its founder the area, except with respect to magnitude. faced from the Karmapas and Nyingmapas, Generally, the monastic buildings are bigger the then dominant Buddhist sects in the area than the house of the laity. The monasteries and more so, from the Dukpas of Bhutan, who are built of stones, wooden pillars and planks. are said to have attempted to capture Tawang. In Buddhist inhabited areas, every gonpa, This explains well the strategic location as well monastery, stupa or household should have as the structure, which are purely defensive in manuscript in it. These manuscripts, which nature. The layout of the Monastery proves are called peichas in local Monpa language that it is not only a strong base for propagation are preserved tightly wrapped in a yellow of religion but in the past was also a military silken or cotton cloth, sandwiched between post against the Dukpa attacks. It is apt to two wooden pieces. Every family has a small know that the founder of the Gonpa gave chapel in the shape of an altar called chosam so much importance to defence aspect that at the rear part of the house. It is wooden and he lifted all prohibitions against the military has a few shelves on which are kept images of activities from the inmates of the Monastery. several divinities and ritual articles. The rich It is important to note that out of monthly have a separate room for the altar. Religious ration of thirteen bras of cereals, as much books, manuscripts (peichas) are stacked as ten were given as inducement to actively in the pigeonhole along shelves, beside the joining the defence of the monastery. The altar. Every village in Monpa area has a gonpa spur on which the Monastery is situated has and according to the size of the gonpa the rivers in the south and west, a narrow ridge collection of manuscripts (peichas) varies. on the north connecting it with the range and
National Mission for Manuscripts 11 gradual slope on the east. Thus, the position has 131 volumes and the other 125 volumes. of the Gonpa is very strong as it is difficult The letters of these one hundred twenty-five to approach the Monastery from the north volume set are washed in pure gold. Some of along the ridge. Even now, one can see many them are written with silver. There are three holes in the boundary wall of the Monastery, pages of the religious text, called Gyetongpa, in which guns were fixed to repulse the attack embossed throughout in letters of gold is kept of the enemy and to watch the activities in the museum. Besides other scriptures were of the advancing enemies. The Monastery Gyetng, Sangdui, Seroodramba, Sungdrenga, covering an area of 135 mts. in length can be Kangso, Choiche, Manlha, Doduipa, Sungdui approached from the North along the ridge. and Jirje. Many of these valuable manuscripts The Monastery accommodates 500 to 800 are brittle and edges are broken. The wood lamas and is the largest of its kind in India. protections on both the sides of these manuscripts are eaten by wood borer insects A three-storied building stands on the western and some of these manuscripts have got side of the court, known as Par-Khang (Library) bores or holes in between, caused by these and is of the size 15.3m x 15m x 9m. Tawang wood borers. Origins of these manuscripts are Monastery Library is housed in a big square not ascertained since there are no records. hall of this building, which covers the entire On interview of Parkhang incharge, the facts first floor. Heavy curtains bearing Buddhist were collected about these rare manuscripts symbols are hung over the balcony. An altar (Tashi Choephel Lama: 2008). Incharge has with images of divinities and rituals stands on an opinion that these manuscripts probably the western side of the hall. The chief image were brought during construction of Tawang is that of Tsongkhapa. The sacred manuscripts monastery itself, and perhaps more than (peichas) are kept on pigeonholed racks on four hundred years old. The hand written both the sides of the altar as well as on the manuscripts are very fragile in nature, some northern and southern sides of the hall. of them are almost in ramshackle conditions. These manuscripts need curative conservation, Tawang Monastery Library contains two preservation and digitisation before further printed sets of Tanjur, three sets of Kanjur decay. The main Tawang Monastery (Gonpa) and five volumes of Changia Sungbum. Each and other adjacent monasteries have been set of Tanjur contains 225 volumes. Among surveyed and information collected about the the three sets of Kanjur, two sets are hand present conditions of those manuscripts. The written and one set printed. The printed set information so collected are presented in a extends to 101 volumes. One hand-written set tabular form.
Buddhist Manuscripts in the monasteries of Tawang district
Sl. Monastery with Number of Manuscripts in Remarks No. address possession 1 Tawang Monastery 807 volumes Two printed sets of Tanjur, three sets (Tawang Gaden Namgyal of Kanjur and five volumes of Changia Lhatse) Tawang Sungbum. Each set of Tanjur contains Dist. Tawang 225 volumes. Among the three sets of Kanjur almost all are partially or wholly are damaged.There are three pages of the religious text, called Gyetongpa, embossed throughout in letters of gold are kept in the museum.
12 National Mission for Manuscripts 2 Taktsang Gompa 2 printed sets of Tanjur, Some other sacred books of North of Tawang 3 sets of Kanjur Buddhism are on display. Tawang Town Dist. - Tawang 3 Bigha Gompa 101 volumes of Tanjur and These manuscripts are in very brittle Tawang Town Kanjur manuscripts condition. Dist. - Tawang 4 Changparong Gompa 3 sets of Kanjur and These manuscripts are partially Tawang Town 5 volumes of Changia damaged due to wood bores and Dist. - Tawang Sungbum mis-handling. 5 Dirdar Gompa 225 volumes of Bum, Manuscript edges are broken. Village - Cheggar Gyetong and Dorjee Dist.- Tawang 6 Karso Gompa 1 set of Tanjur and 2 printed Some manuscripts are in good Village – Rho, sets of Kanjur condition. Dist. - Tawang 7 Gonpaphu Gonpa 1 volume of Bum, Gyetong Manuscripts are in good condition. Dist. - Tawang and Dorjee 8 Yubar Gonpa 101 printed set volumes of Manuscripts are in good condition. Village - Seru Tanjur and 225 Volumes of Some are getting damaged. Dist. - Tawang Kanjur 9 Namyik Lhakan Gonpa 101 volume scriptures like Manuscripts are in good condition. Village - Khartoot Gedung, Sungdu, Bom and Edges of a few manuscripts are Dist. - Tawang Tosung getting damaged. 10 Dharma Bumgha Gonpa 225 volume manuscripts such Many manuscripts are brittle and may Village - Paidar as Gedung, Sungdu, Bom, be damaged due to mis-handling. Dist. - Tawang Tosung 11 Gangkhar Dong Gonpa 101 volumes of Tanjur and Mostly brittle. Village - Kharotoot two sets of printed Kanjur Dist. - Tawang 12 Sarong Gonpa 1 volume each of Dorjee, Mostly brittle. villages of Roh & Jangda Gyetong, Sungdu, Kanjur and Dist. - Tawang Tanjur 13 Thengmak Khar Gonpa 1 set of handwritten Tanjur Mostly brittle. Village – Roh and 2 sets of printed Kanjur Dist. - Tawang 14 Sangeyling Gonpa Gui Bum (Nyingmapa Bum), All are in good condition. Tawang Town 48 bundles in total, are kept in Dist. - Tawang a wooden showcase 15 Lhagyala Gonpa 1 volume set of Dorjee, All are in good condition. Shergaon-Domkho Gyetong, Sungdu, Kānjur and Road, Tawang Tānjur Dist. – Tawang 16 BOHA GONPA 1 set each of Kanjur and Manuscripts are in good condition. Village – Boha Tanjur Some are getting damaged. Dist. - W. Kameng 17 Dontsi Gonpa 1 Volume set of Dorjee, A number of manuscripts are in Moham Camp Gyetong, Sungdu, Kānjur and dilapidated state. Bomdila Tawang Road Tānjur Dist. - W. Kameng
National Mission for Manuscripts 13 18 Gonpas of Nyokmodung Dorjee, Gyetong, Sungdu, Many of these manuscripts are in very Village: I, Gewa Jamba Kanjur and Tanjur are bad condition. Gonpa: II, Zhim Gonpa: III preserved in these gonpas Norbuling Gonpa 19 Zembu Gonpa 101 volumes of Tanjur and Zembu Gonpa is an ancient monument 65 kms. From Bomdila Kanjur in the Sherdukpen area. Dist.: W. Kameng 20 Gonpatse Monastery 2 sets of hand written Tanjur His Holiness Dalai Lama performed Upper Bomdila and 3 sets of Kanjur recitation from these manuscripts Dist. - W. Kameng during his visit and stay. 21 Gyuto Tantric Monastery Many manuscripts related to These manuscripts are brittle and Vill - Tenzingaon, Buddhist Tantricism are on deserve extra care during handling. Dist. - W. Kameng display 22 Zangdo Peri Gonpa 1 volume each of Tanjur and During important festivals and rituals Kalaktang Circle Kanjur the manuscripts are taken out and Dist - W. Kemang read. These manuscripts are relatively in better condition. 23 Rupa Gonpa 116 volumes of medico- This medico-religious book was Rupa, Bomdila religious book are on display compiled by eight Lamas. Dist. - W. Kameng 24 Gorcham Stupa 108 sets of Kanjur, each Most of them are in good condition. Near Zemithang containing 108 volumes and Lumla sub-division three sets of Tanjur. Dist. - Tawang 25 Bramadung Chong 108 volumes of Tanjur and Manuscripts are in good condition. Gonpa (Nunnery), 225 volumes of Kanjur 8 Kms. To the north of Tawang 26 Kyipney Gonpa Gyetong, Sangdui, These scriptures are in good Near village Jung Sungdrenga, Kangso, Choiche condition. Dist. - Tawang etc. are on display 27 Drakar Gonpa 1 volume set of Dorjee, Chu Manuscripts are in good condition. Village - Lhou Bum and Gyetong Some are getting damaged. Dist. - Tawang 28 Aryadung Gonpa 101 Volumes of peichas, like Manuscripts are in good condition. A 2 kms. from Lhou Bazaar Bum, Gyetong and Dor few of them have broken edges. Dist. - Tawang 29 Thongmein Gonpa Bum, Gyetong and Dorjee All are in good condition. Village - Khrimu Dist. - Tawang 30 Thromten Gonpa Chu Bum, Gyetong, Dorjee All are in good condition. Tawang Town and Suingda Dist. - Tawang 31 Sharmang Gonpa Dorjee, Gyetong, and Mela Manuscripts are in good condition. Tawang Town Ringochi Sumbum Some are getting damaged due to Dist. - Tawang wood borers, and miss-handling. 32 Shakti Gonpa Dorjee, Gyetong and Chu Bum Manuscripts are in good condition. Village - Shakti Lumala etc. Some are getting damaged. Circle, Dist. – Tawang
14 National Mission for Manuscripts 33 Tsangbu Gonpa 1 Volume each, of Tanjur, All are in good condition. 2 kms. from Tawang Kanjur and Bums. Town, Dist. – Tawang 34 Urgyeling Gonpa 12 sets of Bum, 3 sets of All are in good condition. 5 kms. from Tawang Getongpa, 1 set of Zongde Town, Dist. - Tawang and 1 set of Niythi. 35 Talung Gonpa Dorje, Bum and other Many of these manuscripts are in very Taklungzor manuscripts (one volume bad condition. Near village Sangkem each) Dist. - W. Kameng 36 Namshu Gonpa 3 sets of Getongpa, 1 set of All are in good condition. Village - Namshu Near Zongde and 1 set of Niythi Muna Camp Dirang Area Dist. - W. Kameng 37 Gaingong Ane Gonpa 1 sets of Getongpa, 1 set of All are in good condition. 14 Kms. from Tawang Zongde and 1 set of Niythi Dist. – Tawang 38 Kasherdung Gonpa 101 Volume Chos Many of these manuscripts are in very Village - Dirang Dist. - (manuscripts) belonging to bad condition. W. Kameng Kanjur 39 Sangejong Gonpa, 101 volumes of religious All are in good condition. Village - Sangejong manuscripts Dirang, Dist. - W. Kameng 40 Jangcho Choling Gonpa 101 volumes of Tanjur and All are in good condition. Jyotinagar, Dirang Kanjur are on display Dist. - W. Kameng 41 Thembang Gonpa Village - 101 volume of manuscripts Many of these manuscripts are in very Thembang Dirang are on display bad condition. Dist. - W. Kameng
Conclusion attention. To conserve and preserve these documents of immense historical and religio- National Mission for Manuscripts (NMM), New cultural importance, the NMM needs to have a Delhi had organised seminar cum workshop in dedicaed system in place. the month of February 2005, under a seminar series called Samrakshika, The indigenous method of handmade paper making by Monpa Tribes of Tawang district was an attraction of the seminar. The sale of hand-made paper to the delegates and participants was an additional flavour. Buddhist manuscripts written on such hand-made paper also were on display. Despite the efforts made by the NMM, the condition of the manuscripts in monasteries and household possessions in Tawang district of Arunachal Pradesh are Maltesh Motebennur is Librarian, Rajiv still in piteous condition and need immediate Gandhi University, Itanagar, Arunachal Pradesh
National Mission for Manuscripts 15 Siddhānta Ratnākara
S. Visalakshi
Daṇḍin in his treatise Kāvyādarśa says thus: by Bhaṭṭoji Dīkṣita in his Siddhānta Kaumudī. Siddhānta Kaumudī has further been bneUèka re% ÑRLua tk;sr Hkqou=k;aA embellished by many commentaries. Among ;fn 'kCnkà;a T;ksfr% vklalkja u nhI;rsAA those, Siddhānta Ratnākara is an unedited work written by Rāmakṛṣṇa Bhaṭṭa. (The three worlds would surely be plunged in blinding darkness, if not for the luminosity Siddhānta Kaumudī must have been a of word that shines as a beacon to the very popular work even during the time universe). of its author Bhaṭṭoji Dīkṣita. This can be assumed because of the fact that Siddhānta Importance of language and communication Kaumudī has been embellished by several is probably the most understated subject commentaries, some of the commentaries in this world. From the humdrum of daily have been written within a century of living to the most exciting branch of study, be Dīkṣita’s time. One such commentary on it technical or otherwise, language occupies Siddhānta Kaumudī, Siddhānta Ratnākara a prime position. Study of ancient languages has been authored by Rāmakṛṣṇa Bhaṭṭa, like Latin, Greek and Sanskrit enable people son of Tirumala Bhaṭṭa and grandson of to peep into the wonderful rich cultural Veṅkaṭādri. This is of great importance for heritage of our world. Deep insights into the the study of Siddhānta Kaumudī because it intellectual minds of our ancestors can be is one of its earliest commentaries. gleaned from a study of the treasure trove of literature left behind. Manuscript details
Study of any language is incomplete without This work is available as paper manuscript an indepth study of its grammar. Sanskrit is at several libraries. A perusal of the no exception to this. In fact, study of Sanskrit details given at NCC reveals that the only grammar can actually help understand the manuscript, complete with both pūrvārdha grammar of most other languages in India. and uttarārdha is available at Sarasvati This is due to the fact that Sanskrit grammar Mahal Library. Language constraints and is universal in nature. Pāṇinī’s Aṣṭādhyāyī incomplete nature of manuscripts have is the perfect example of a comprehensive prompted the edition of this work based on and scientific grammar, largely independent only the following six manuscripts. of the language itself. Nowhere does Pāṇinī 1. A - The Adyar Library and Research say that his text is a treatise on ‘Sanskrit’ Centre, PM 1182, Paper Manuscript, Size grammar. Modern day linguists certify 13 ¾ x 6 ½ inches, Folios 109, Lines 11 per Pāṇini’s grammar to be the world’s first well page, Size 9 x 4 inches, Script Devanagari, defined system of abstract thought. Incomplete – from beginning to middle In later days, Aśṭādhyāyī gained popularity of ajantapuṁliṅga. largely because of the rearrangement made (Continues on Page 17)
16 National Mission for Manuscripts NMM: Summary of Events 1st August–30th November, 2011
In the field of heritage conservation, National Mission for Manuscripts (NMM) occupies the centre stage, of course for not without reason. It was established to take care of the literary heritage of India, which happens to be the largest in the world. NMM is the first such centralized effort in the world to conserve manuscript heritage of a country. Since 2003, the year in which it came into existence, NMM has been striving hard to document, conserve, Director, NMM, Prof. Dipti S. Tripathi addressing Basic digitize and disseminate the knowledge Level Workshop on Manuscriptology & Paleography, th th contained in Indian manuscripts. In its well-knit held at MRC, Kannada University, Hampi (13 to 27 September, 2011) scheme of things every aspect is important and complementary to other aspects. A brief during 1st August to 30th November, 2011 is sketch of the events organized by the NMM presented below:
Public Lecture under Tattvabodha Series
Date Collaborating Topic Speaker Chairperson Institution & Venue 8th August, Deptt. of Sanskrit, The Works of Prof. Ashok Kumar Prof. Mohammad 2011 Gauhati University, Anandaram Goswami Tahar Assam Baruah: A Former Head, Deptt. Former Head, Venue: Phanidhar Reappraisal of Sanskrit, G.U., Deptt. of Dutt Seminar Hall, Assam Geography, Gauhati University G.U., Assam 28th August, Deptt. of Sanskrit, Some Important Prof. Karunasindhu Prof. Arun Kumar 2011 Pali & Prakrit, Vishwa Manuscripts at Das Mondal Bharati University, the Disposal of V.C., Rabindra Bharati Head, Deptt. of West Bengal Kshitindranath University, Kolkata Sanskrit, Pali & Venue: Lipika Thakur Centre Prakrit, Vishwa Auditorium, Vishwa of Rabindra Bharati University Bharati University Bharati University 9th November, NMM, New Delhi Representation Prof. R. N. Sharma Prof. R. I. 2011 Venue: Gandhi of Knowledge Deptt. of Indo-Pacific Nanavati Darshan, Raj Ghat, in the Sanskrit Languages and Former Director, New Delhi Tradition: Texts, Literature, Hawaii Oriental Research Formats and University, USA Institute, M.S. Trends University, Vadodara 18th November, Centre for Heritage Anti-colonial Prof. N.A.M. Abdul Dr. Bahauddeen 2011 Studies, Hill Palace, Aspects in Arabic Khader Muhammad Tripunithura, Kerala Manuscripts and Deptt. of Arabic, Nadwi Venue: Darul Huda Arabi-Malayalam University of Calicut, V.C., Darul Huda Islamic University, Literature Kerala Islamic University Chemmad, Kerala in Kerala with Special Reference to 16th to 19th Centuries
National Mission for Manuscripts Manuscriptology Workshop
Date Name of the Collaborating Details of the Workshop Institution & Venue Training 13 th–17th September, Basic Level Workshop Deptt. of Scripts taught: Kannada, 2011 on Manuscriptology & Manuscriptology, Modi, Tigelleri & Paleography Kannada University, Amaragannada Hampi, Karnataka 1st–21st November, Basic Level Workshop Akhil Bharatiya Sanskrit Scripts taught: Sarada, 2011 on Manuscriptology & Parishad, Lucknow, Newari & Brahmi Paleography Uttar Pradesh 10th–30th November, Basic Level Workshop Deptt. of Urdu, Scripts taught: Kufic, 2011 on Manuscriptology & University of Mumbai, Naskh, Suls, Nastaliq & Paleography in Persi, Maharashtra Shikasta Arabic and Urdu 12th Oct.–13th Nov., Advance Level Workshop Deptt. of Arabic, Scripts taught: Nafkhi, 2011 on Manuscriptology & University of Calicut Sulusi, Kufic, Diwani, Paleography in Persi, & Centre for Heritage Rainani, Ruq’i, Sunnani & Arabic & Urdu Studies, Deptt. of Malayalam Cultural Affairs, Govt. of Kerala, Kerala
Within the spectrum of deliverables, conservation commands principal focus for multiple reasons. Conservation of manuscript in original is done through preventive and curative methods. For that purpose a standard methodology comprising the positive aspects of both traditional Indian practices and modern scientific methods has been formulated and followed. Conservation of manuscripts is carried out through 46 Manuscript Conservation Centres (MCCs), besides organizing preventive Basic Level Manuscriptology and Paleography Workshop on Urdu, Persian and Arabic, organized in and curative conservation workshops at collaboration with Department of Urdu, University different locations of the country as per of Mumbai, Mumbai (10th to 30th November, 2011) priorities. Manpower development in the field of manuscript conservation, another objective fulfilling dual objectives of conservation of of the NMM is also taken care of during manuscripts and generate trained manpower workshops. Conservation workshops aim at in the field of manuscript conservation.
Conservation Workshop
Date Name of the Workshop Collaborating Institution & Venue 1st–5th August, 2011 Preventive Workshop on Oriental Research Institute, Shri Conservation Venkateshwara University, Tirupati, Andhra Pradesh 24th–28th August, 2011 Preventive Workshop on Akalank Shodh Sansthan, Kota, Rajasthan Conservation 26th–30th September, 2011 Preventive Workshop on Bhandarkar Oriental Research Institute, Conservation Pune, Maharashtra 9th–13th October, 2011 Preventive Workshop on Government Museum Chennai, Egmore, Conservation Chennai, Tamil Nadu
National Mission for Manuscripts Date Name of the Workshop Collaborating Institution & Venue 17th–21st October, 2011 Preventive Workshop on Manuscript Library, University of Calcutta, Conservation Kolkata, West Bengal 8th–12th November, 2011 Preventive Workshop on K.K. Handique Library, Gauhati University, Conservation Guwahati, Assam 22nd–25th November, 2011 Preventive Workshop on INTACH Lucknow, Lucknow, Uttar Pradesh Bio-deterioration (New) 2nd–6th November, 2011 Preventive Workshop on A.P. State Archives and Research Institute, Conservation Hyderabad, Andhra Pradesh
Semina
Date Collaborating Institution & Venue Topic 16th–18th ORI, University of Kerala, National Seminar on ‘Manuscripts Related November, 2011 Thiruvananthapuram, Kerala to Architecture’ 28th–30th CASS, University of Pune, Pune, National Seminar on ‘Less-known Grammati- November, 2011 Maharashtra cal Manuscripts, Grammarians and Theories’ Book Review Diwanzadah Reviewer: Prof. Tauqeer Ahmad Khan Prof. Abdul Haq is well-known in India and Pakistan as an eminent expert on Iqbal. The reason is not far to seek – his attention has been focused since his thesis on Iqbal and till today he has added many books to his favourite poet. However as a teacher, research on Urdu literature has been his another forte and he has delivered numerous lectures to M.Phil students on research methodology, textual criticism etc. Interest in research and criticism has been an important part of his life for the last forty years. Diwanzadah is a research masterpiece by Prof. Abdul Haq, which has now been published by National Mission for Manuscripts (NMM). This is worth appreciation and has proved beyond doubt that Sheikh Zahooruddin Hatim is indeed North India’s first Urdu poet. This diwan includes his poetry upto 1195 H., and, as Hatim passed away in 1197 H., this Diwan contains poetry written two years before he left for his heavenly abode. Prof. Abdul Haq has included ghazals written after 1195 H. too. Hatim compiled his collection in 1142 H., long before Aabru and Faiz. He has written a long preface, running into 104 pages which sifts the literary criticism on Hatim till now. The preface also painstakingly includes biographical details of Hatim from his birth in 1111 H. to his death in 1197 H. The preface itself can be published as a complete research work on Hatim’s life and works. Diwanzadah was actually compiled after the old Diwan and therefore contains poetry from the earlier version which he thought fit to retain and deleting what he did not like and also new additions. The new Diwan consists mostly of Ghazals and Prof. Abdul Haq possesses their original manuscripts and these hand-written samples from the manuscripts collected from Delhi and Lahore in Nastaleeq have been published here. The book also contains a Foreword in English written by Prof. Dipti S. Tripathi, Director, NMM. The Diwan contains ghazals in the beginning, alongwith rhyme scheme, year, occasion etc. Other poetic forms appear: Mutzad, Rubai’, fardiyat, Mukhammas, sadas, tarjeeh-band, mathnavi, etc. An interesting feature of this Diwan is that it includes a dictionary of difficult or obsolete words. This was very necessary as words since Hatim’s time have changed or have acquired newer nuances and Hatim would not have been understood without this help in vocabulary. Thus this publication by NMM is a unique effort in present times. Translated by Kamal Abdul Nasir
National Mission for Manuscripts Indian Textual Heritage Reviewer: Dr. Khaleeque Anjum There were many manuscripts in various languages – Arabic, Persian, Urdu, Hindi etc. in India. Unfortunately, most of them have been lost because the newer generations do not appreciate their deserved value. Govt. of India has established National Mission for Manuscripts (NMM)a few years ago precisely for this reason. The experts from this organization scout for these manuscripts in various libraries in India and think of ways to preserve them. This organization also provides grants to private and Government libraries. NMM has recently started publishing Urdu and Persian manuscripts. I congratulate the Director, Prof. Dipti S. Tripathi for her efforts to preserve the intellectual heritage of India. I would like to express my views on Dr. Chander Shekhar’s new book ‘Indian Textual Heritage’. Dr. Chander Shekhar has extraordinary mastery over Persian language. He has published many books in Persian and has translated Nawab Dargah Quli Khan’s “Muraqqa-e-Dehli” into English. He is also Incharge for preparing a 12-Volume dictionary “Farhang-e-Aryan”, in Khana Farhang-e-Iran, New Delhi. Two volumes of this Persian-Urdu-Hindi-English dictionary have already been published. The first volume from Alif to Bay consists of 400 pages and second volume, upto pay, tay and say has 300 pages. Dr. Chander Shekhar has also written articles on different topics in Persian. The tradition of preserving manuscripts is quite old in India. When the British introduced press in India, a printed copy of Bible was presented to King Akbar. He did not like the printed version as his eyes were used to beautiful calligraphy. If Akbar had liked the printed version, thousands of Persian, Arabic and Urdu manuscripts would have been preserved after printing. Our intellectuals have given attention to this after a long time. In the 20th century, Imtiaz Ali Khan Arshi, Qazi Abdul Wadood, Hafiz Mehmood Sheerani and others compiled and printed some manuscripts and thus a tradition started. Dr. Chander Shekhar has recently compiled the book under review which contains some important articles about manuscripts. The first paper is by Mahesh Prasad which introduces Persian translations of ‘Bhagwad’. The second paper is called ‘Persian translations of Ramayana’ by Maulvi Mehfooz-ul-haq. Syed Hasan Askari’s dissertation ‘Some manuscripts on History of Kashmir” mentions the manuscripts written on the history of Kashmir. Hasan Askari has provided important references at the end too. Syed Hasan Askari has written an illuminating article about manuscripts in Bihar, a land which boasts of a number of luminaries of literature. Hasan Askari has found a manuscript in which Jaisi and other Muslim poets' works are included. Hasan Askari was an expert in Arabic, Persian and Urdu languages as is evident in the article. This book is in two parts: the first part is in Urdu and second in English, consisting of 133 pages. There are some important articles in English about Urdu texts. Karim Najafi has introduced ‘Dabistan-e-Mazahib’ in detail. Who is the real author of this book? This question has been discussed for the last 200 years. Mr. Karimi has dwelt in detail about the author. Mansoora Haider’s dissertation ‘Music in the sphere of Sufism’, discusses Sufi music. Maria Bilquis has reviewed the manuscript of ‘Shah Nama’ in Rampur Raza Library. National Museum has several manuscripts of ‘Shah Nama’ and Dr. Chandar Shekhar has written about them. Jalal-ud-Din has written an article about Akbar’s Persian ‘Ramayana’ and Khan-e-Khana’s personal manuscript. Thus this book provides important information about many Indian manuscripts and also encourages the Persian, Urdu and Arabic students to find the manuscripts in private and Government libraries and throw light on them. The book is important in many respects and both NMM and Dr. Chander Shekhar deserve to be thanked. The attractive printing of this stunning book is exemplary. Translated by Kamal Abdul Nasir
National Mission for Manuscripts 2. A1 – The Adyar Library and Research help of the available manuscript copies Centre, PM 1185.1, Paper Manuscript, mentioned above. Folios 811, Lines 9, Script Devanagari, Incomplete – from paribhāṣā to end. The text and its chapters 3. Ba – Oriental Research Institute, Baroda, Acc. No. 11660, Paper Manuscript, Siddhānta Ratnākara, being a commentary Folios 29, Script Devanagari, Granthas on Siddhānta Kaumudī, follows its source 800, Incomplete – from beginning to in the arrangement of text and analysis of middle of acsandhi aphorisms. The course of discussions is highly influenced by Śabda Kaustabha, again 4. Ba1 – Oriental Research Institute, written by Bhaṭṭoji Dīkṣita. Baroda, Acc. No. 9162, Paper Manuscript, Folios 62, Script Devanagari, Granthas This text Siddhānta Ratnākara is hence, 1800, Incomplete – from beginning to divided into the following chapters. end of acsandhi 1. Saṁjñā – dealing with nomenclature 5. P – Bhandarkar Oriental Research specific to the branch of vyākaraṇa. Institute, Pune – No. 170, 189/1882- 2. Paribhāṣā – dealing with the method 83, Paper Manuscript, Size 10 ½ x 4 ½ of applying rules that need to be inches, 197 leaves, 14 lines per page, followed. 36 letters per lines, Script Devanagari. 3. Acsandhi – sound change between 6. T – Tanjore Maharaja Serfoji’s Sarasvati vowels. Mahal Library, Tanjore, TD 5657, Paper Manuscript, Size 13 ¾ x 6 ½ 4. Halsandhi – sound change between inches, Sheets 357, Lines 13 per page, consonants. Script Devanagari, Granthas 17500, 5. Visargasandhi – dealing with rules Complete. pertaining to visarga. I have restricted myself to edition of 6. Svādisandhi – sound change involving the text upto Kāraka Prakaraṇa with the the class of words beginning with su.
Folios from Siddhānta Ratnākara manuscript, preserved at Adyar Library and Research Centre
National Mission for Manuscripts 17 7. Ajantapuṁliṅga – masculine words 3. Father of Nārāyaṇa Bhaṭṭa who has ending in vowels. authored Āhitāgnimaraṇadāhādi. 8. Ajantastrīliṅga – feminine words 4. Son of Nīlakaṇṭha Bhaṭṭa who has ending in vowels. written Rasaratnamālā.
9. Ajantanapuṁsakaliṅga – neuter words 5. Son of Tirumala who is the author of ending in vowels. Uttaracarita.
10. Halantapuṁliṅga – masculine words 6. Son of Kendra Bhaṭṭa and grandson ending in consonants. of Prayoga Bhaṭṭa – author of Tattvaprakāśikā. 11. Halantastrīliṅga – feminine words ending in consonants. 7. Author of Āhnikakamalākara.
12. Halantanapuṁsakaliṅga – neuter 8. Author of Caṇḍikāprayoga. words ending in consonants. 9. Author of Vijayadaśamīnirṇaya. 13. Avyaya – rules pertaining to The author of Siddhāntaratnākara cannot be indeclinables. the first, second and third Rāmakṛṣṇa Bhaṭṭa. 14. Strīpratyaya – suffixes that influence If the son had a father who had authored formation of feminine words. such a great work in grammar, then he would 15. Kāraka – semantics and syntax. have made a significant mention of either his authorship or his expertise.
The author – Śrī Rāmakṛṣṇa He cannot be the second, fourth and sixth Bhaṭṭa Rāmakṛṣṇa Bhaṭṭa because of the difference in the father’s name. Tirumala Bhaṭṭa is the Rāmakṛṣṇa Bhaṭṭa, son of Tirumala Bhaṭṭa father of SR’s author. and grandson of Veṅkaṭādri, has authored Siddhānta Ratnākara, a commentary on Again, he cannot be the seventh, eighth and the Siddhānta Kaumudī written by Bhaṭṭoji ninth Rāmakṛṣṇa Bhaṭṭa. If he has authored Dikṣita. There are many Rāmakṛṣna Bhaṭṭas any of these books there would be a mention mentioned in the records of NCC. Rāmakṛṣṇa of it in either Ratnākara or in his other work Bhaṭṭa mentioned here has written another Madhvatantracapeṭikā. work called Madhvatantracapṭikā. The About the fifth Rāmakṛṣṇa Bhaṭṭa, the author date of the author from his colophon1 is of Uttaracarita whose father is also Tirumala – understood to be somewhere between late it is clear from the various colophons in the 17th century and early 18th century. This work that Tirumala is proficient in Veda, ought to be the earliest of commentaries on Shastra and their meaning. If he had authored Siddhānta Kaumudī. any text at all, Rāmakṛṣṇa Bhaṭṭa would have There are several authors by the name mentioned it. Rāmakṛṣṇa Bhaṭṭa. The New Catalogus The author’s father also shares his name with Catalogorum (NCC) has information on nine several others, NCC mentions 15 Tirumalas. other Rāmakṛṣṇa Bhaṭṭas – The information regarding some of them is 1. Father of Kamalākara Bhaṭṭa who is as follows – the author of Ācāradīpa. 1. Tirumala alias Timmappa of 2. Son of Bhaṭṭa Nārāyaṇa and father of Parāśaragotra who has written two Dinakara and Kamalākara – author of works namely, Dharmasetu and Ubhayatomukhīvidhāna. Śrāddhanirṇayadīpikā
18 National Mission for Manuscripts 2. Son of Aṇṇamācārya of AD 15th Rāmakṛṣṇa Bhaṭṭa would have at least century who has authored many mentioned his father’s expertise in works like Udāharaṇanītiśataka, grammar if not the work Sumanoramā. Cakravālamaïjarī, Bhagavadgītā, He has merely stated that his father is Repharakāranirṇaya, Śṛṅgāradaṇḍaka well versed in the Vedas, Shāstras and and Śṛṅgāraśataka their meaning.2 3. Tirumala Dīkṣita, brother of 3. There is no confusion between the Yajïeśvara Dīkṣita who is the author of surnames of Bhaṭṭa and Yajvan. It is Pañcapādikāvivaraṇojjīvanī clear from the different colophons in 4. Tirumala Yajvan or Dvādaśādhvarin, Siddhānta Ratnākara that the author’s son of Veṅkaṭayajvan of ṣaḍdarśana surname is only Bhaṭṭa. family, pupil and younger brother of Sarveśvara Yajvan (author of Due to absence of any conclusive evidence, Mahābhāṣyapradīpasphürti) and it is assumed that Tirumala, father of brother of Abbana Puṇḍarīka. Identity Rāmakṛṣṇa Bhaṭṭa has not written any with father of Rāmakṛṣṇa Bhaṭṭa work. Thus, the present author is the son of not certain. Authored commentary Tirumala Bhaṭṭa and grandson of Veṅkaṭādri Sumanoramā on Siddhāntakaumudī Bhaṭṭa who has written two works – Madhvatantracapeṭikā and a commentary on 5. Tirumalācārya of meligiri of Rāghavasomayāji family, father of it and Siddhāntaratnākara – a commentary Annambhaṭṭa on Siddhāntakaumudī. 6. Tirumala Bhaṭṭa son of Veṅkaṭādri bhaṭṭa and father of Rāmakṛṣṇa The text – its simplicity and Bhaṭṭa (a. of Siddhāntaratnākara depth on Siddhāntakaumudī and Madhvatantracapeṭikā) The language adopted by the author in his commentary is very simple and easy A possibility has been raised by NCC that the to understand, yet, approaches indepth fourth Tirumala mentioned could possibly every important issue at hand. Some of the be the father of Rāmakṛṣṇa Bhaṭṭa. There are important issues discussed in several texts several points based on which this possibility like Mahābhāṣya, Pradīpa, Udyota and cannot arise. Śabdakaustubha are dealt here in the same 1. It is a well known fact that people of extensive manner, yet presented in simple Andhra are very proud of their family words. and the village which they belong to. Some sections of saṁjñā and kāraka are They make it a point to always mention cited here to emphasize the simplicity of the that in their works. Rāmakṛṣṇa Bhaṭṭa does not say anything about his commentary, Siddhānta Ratnākara. family apart from his father’s and While discussing why conjunction is grandfather’s name. Whereas Tirumala not present in the first Māheśvara Sūtra, the author of Sumanoramā mentions Rāmakṛṣṇa Bhaṭṭa very beautifully that he belongs to ṣaḍdarśana family. summarizes the views of Kaiyaṭa and Bhaṭṭoji 2. Siddhānta Ratnākara by Rāmakṛṣṇa Dīkṣita and presents his view in the following Bhaṭṭa and Sumanoramā authored by manner: Tirumala are both commentaries on Siddhānta Kaumudī. If his father had The question here is why yaṇādeśa has written a commentary on grammar, not occurred between अ and इ in the first
National Mission for Manuscripts 19 Māheśvara sūtra. It is argued by most that commentator proceeds further to illustrate the sūtras vkfnjUR;su lgsrk (û-û-÷û) and vd% lo.ksZ his view on Ædkj’s position – nh?kZ% (ö-û-ûúû) have not yet been read at the time of Māheśvara sūtras. Here, Rāmakṛṣṇa ¶;Rdk;± izfr ÇRoa u vfl¼a rnFkZ% l%¸ puts forth his siddhānta as – “To which purpose Ç is not invalid, that is ¶v b m f.kR;kfnA uUo=k lfUèkuk HkkO;fefr psr~] lfUèkÀkkÐL; the purpose of it (Ædkj).” In other words, if ,rnqinsÀkdkÇs vuqRiÂRokr~ l u] bfr dSÕ;V%A rÂ] there are actions given for Ædkj, then it can lfUÀkkÐksRiR;uUrje~ mísÀ;rkoPNsnddksfVfufo‘Rosu ^jesÀkks become invalid. uk;d%* bR;knkS izo`fÙkor~ v=kkfi rRizo`Ùks% nqokZjRokr~A vU;Fkk ^rqY;kL;* bR;knkS lo.kZnh?kZ% izkfrifnlaKkor~ u L;kfnfr Both Bhaṭṭoji Dīkṣita and Rāmakṛṣṇa Bhaṭṭa nhf{kr%A rÂ] dSÕ;VkÀk;k vuocksèkukr~A mithO;fojksèkkr~ agree upon the fact that one cannot take lfUèkusZfr rkRi;Ze~A ------ÀkkÐ;ks% ikSokZi;sZ¿fi vkuqiwO;±Àks okfrZddkj as an authority over Pāṇinī. mithO;ksithodHkkokHkkokr~] laKk;k% r=kksithO;Rokr~A ------“ ”3 --- rLekr~ mithO;fojksèkk ;.kkn;% bfr fnOk~QA¸ u rko}kfrZda n`‹k lw=kÑr% izo`fÙk “okfrZda n`‹k lw=kÑrks¿izo`Ùks”:4 “The letters अ, इ, etc would cease to exist Many such instances give us an had sandhi been employed in the first understanding of the text, commentary aphorism.” and the subject at hand. Therefore, owing The author explains his siddhānta with the to its chronological placement and ease help of mithO;&mithod&Hkko- mithO; is that by of understanding, this commentary has a which something exists. mithod is that which great value so far as the study of Siddhānta depends on something for its existence. In the Kaumudī is concerned. present context, the letters of the Māheśvara sūtras are the basis upon which the entire Footnotes system of grammar unfolds. If the letters were to be combined, then we would only 1. Colophon at the end of pūrvārdha in the know the resultant letter - vikṛta. The original copy of BORI manuscript letter – prakṛta or avikṛta would be absent at pUnzf"kZHkweh"kq;qokjO;oRljs dkSosjfnXHkkft jokS eèkkS flrsA the time of the sutras vkåq.k%, o`f¼jknSp~्, etc. JhjkeÑ".k% izfrifÙkFkkS cqèks jRukdja iw.kZephdj}je~AA Rāmakṛṣṇa Bhaṭṭa, in presenting his analysis Śrī Ramakṛṣṇa Bhaṭṭa completed Ratnākara in the year Yuva (1755 AD) of the ekgs ÜÒjlw=k & ÍÆd~्, closely follows Bhaṭṭoji Dīkṣita’s Śabda Kaustubha. Focus here is 2. Benedictory verse at the beginning of the on why Æ is taken separately when okfrZddkj commentary says that both Í and Æ are lo.kZ – similar. osnÀkkÐkFkZfu".kkra rkra fr#eÇkfHkèka Rāmakṛṣṇa Bhaṭṭa sets out by saying that Àks"kkÀks"kkFkZfl¼kUrdkSeqnhe~ vfrxàjke~AA lko.;Z or similarity between Ídkj and Ædkj is necessary for some of the forms to be 3. ÀkCndkSLrqHk% by Bhaṭṭoji Dīkṣita, Vol. 1, pg. 39 achieved. For example, the sutra ok lqI;kfiÀkÇs%AA 4. fl¼kUrjRukdj: (ö&û&ùü) enjoins o`f¼ for Í at the beginning of a verb when preceded by prefix ending in v. Owing to similarity the same rule is applied for verbs beginning with Æ too, izkYdkjh;fr] mikYdkjh;fr. While this similarity is needed to explain some forms, we cannot altogether S. Visalakshi is pursuing Ph.D. in remove Ædkj from Māheśvara sūtras and Vyākaraṇa under the guidance of say that Ædkj is represented by Ídkj. The Prof. Narayan Jee Jha
20 National Mission for Manuscripts eqdqyHkV~V dh jpuk dk okLrfod uke & ^vfHk/kekr`dk*
fot;iky 'kkL=kh dk'ehjh fo}ku~ eqdqyHkV~V (9oha bZLoh) dh fe=k oklqnso 'kkL=kh i.k'khdj dh lgk;rk ls ikB'kks/u 'kCn'kfDr&fo"k;d jpuk dk okLrfod uke fd;k Fkk] ,slk bUgksaus vius laLdj.k dh izLrkouk esa ^vfHk/ko`fÙkekr`dk* vFkok ^vfHk/ko`Ùkekr`dk* u fy[kk gSA bl izdkj loZizFke fu.kZ;lkxj ls Nih bl gksdj ^vfHk/kekr`dk* gSA ;g rF; bl 'kks/ys[k esa iqLrd esa jpuk dk uke vfHk/ko`fÙkekr`dk fy[kk gSA lizek.k izLrqr fd;k tk jgk gSA blds vuUrj 1973 bZ- esa bl xzUFk dk ,d laLdj.k laLÑr&dkO;'kkL=k ds {ks=k esa eqdqyHkV~V dh ;g ,dek=k pkS[kEck fo|kHkou okjk.klh }kjk MkWñ jsok izlkn f}osnh & fof'k"V jpuk miyC/ gqbZ gS] tks vfHk/ko`fÙkekr`dk jfpr fgUnhHkk";kuqokn ds lkFk izdkf'kr gqvk gSA bl o vfHk/ko`Ùkekr`dk bu nks ukeksa ls izdkf'kr gSA blesa laLdj.k esa f}osnh th us xzUFk dk uke vfHk/ko`Ùkekr`dk xzUFkdkj us vfHk/k ds O;kid Lo:i dk fu:i.k djrs ekuk gS rFkk xzUFk ds vfUre 'yksd dh O;k[;k esa bls gq, mls lEiw.kZ okXO;ogkj dh tuuh fdaok lHkh o`fÙk;ksa gh mfpr Bgjk;k gSA (y{k.kk vkfn) dh tuuh ds :i esa izLrqr fd;k gSA xzUFk ;g xzUFk jk"Vªh;&laLd`r&laLFkku] tudiqjh] ubZ fnYyh esa dqy 15 'yksd gSa] ftu ij xzUFkdkj us vrho izkS<] dh lkfgR;kpk;Z ijh{kk ds f}rh; o"kZ esa 100 vad ds oSnq";iw.kZ ,oa lqyfyr laLÑrHkk"kke;h O;k[;k fy[kh gSA ,d LorU=k i=k ds :i esa o"kksZa rd ikB~;Øe esa fu/kZfjr O;k[;k lfgr ewyxzUFk dh dqy i`"Bla[;k jgk FkkA ,rnFkZ izk;% vkpk;Z jsokizlkn f}osnh dk laLdj.k fu.kZ;lkxj&laLdj.k ds vuqlkj 22 gSA bldk dysoj gh iBu&ikBu esa iz;qDr gksrk jgk gSA ijUrq foxr 2 o"kksZa rks bruk gh gS] ij fo"k; dh egÙkk o foospu dh izkS
National Mission for Manuscripts 21 :i esa vfHk/ko`fÙkekr`dk dks gh mfpr fl¼ djrs gq, ykypUn 'kks/iqLrdky; Mh-,-oh- dkyst] lSDVj&10] Lohdkj fd;k x;k gSA1 p.Mhx<+ ls Hkh bl jpuk dk ,d gLrys[k (,e- 2940) bl izdkj eqdqyHkV~V dh bl jpuk dk uke& izkIr gqvk gSA bldk ikB Hkh mDr nksuksa LFkyksa ij vfHk/ko`fÙkekr`dk ,oa vfHk/ko`Ùkekr`dk bu o`Ùk 'kCn gh fn[kkrk gS& ------o`Ùkekr`dkA bfr nks :iksa esa vk/qfud dky esa izpfyr gks x;k gSA JhdYyVkReteqdqyfojfprkfHk/ko`Ùkekr`dk lekIrkA vkpk;Z jsokizlkn f}osnh o Jh czãfe=k voLFkh us ;gk¡ fufnZ"V bu pkjksa gLrys[kksa dh izfrÑfr;k¡ gekjs vfHk/ko`Ùkekr`dk rFkk eaxs'kjkeÑ".k rSyax] MkWñ fu#iek laxzg esa miyC/ gSaA bUgsa lkeus j[kdj gh mDr ikB ;gk¡ f=kikBh o MkWñ lqKkudqekj ekgkfUr us vfHk/ko`fÙkekr`dk izLrqr fd, gSaA bu m¼`r ikBksa ls Li"V gS fd iwoZfufnZ"V uke Lohdkj fd;k gSA nks Jsf.k;ksa ds gLrys[kksa ds vk/kj ij izLrqr jpuk dk bu laLdj.kksa o buds mithO;Hkwr gLrys[kksa dks ns[kus f}fo/ uke izpfyr gqvk gSA ls fofnr gqvk fd bl izdkj ds f}fo/ uke ds ihNs fu.kZ;lkxj&laLdj.k ds vk/kjHkwr gLrys[k (ftls geus izLrqr jpuk ds vfUre 'yksd dk ikBHksn gh vk/kjHkwr ugha ns[kk gS) ds vfrfjDr tSlyesj o iwuk okys dkj.k gSA ;g 'yksd bl izdkj gS& nksuksa gLrys[kksa esa mDr 'yksd ds vfUre pj.k esa rks HkV~VdYyViq=ks.k eqdqysu fu:firkA lwfjizcks/ o`Ùk 'kCn gh gS] ijUrq rnuUrjofrZuh iqf"idk esa o`fÙk uk;s;efHk/ko`fÙkekr`dkAA2 'kCn feyrk gS] tcfd tEew o p.Mhx<+ ds gLrys[kksa bl 'yksd ds vfUre pj.k esa fu.kZ;lkxj&laLdj.k ds mDr 'yksd o iqf"idk esa Hkh o`Ùk 'kCn gh feyrk esa ^o``fÙk* 'kCn Nik gS rFkk mlds vuUrj iqf"idk esa gSA vkpk;Z jsokizlkn f}osnh us ^vfHk/ko`Ùkekr`dk* Hkh ^HkV~Veqdqyfojfprk vfHk/ko`fÙkekr`dk lekIrk* ds fgUnhHkk"; dh izkosf'kdh esa lwfpr fd;k gS ,slk ikB izdkf'kr gSA ;|fi fu.kZ;lkxj&laLdj.k dk fd ,f'k;kfVd lkslk;Vh dydÙkk esa miyC/ vk/kjHkwr gLrys[k geus ugha ns[kk] ijUrq vuqeku gS fd gLrys[k (Øekad 1824) esa Hkh mDr 'yksd ds prqFkZ 3 mlesa mDr nksuksa LFkyksa ij o`fÙk 'kCn jgk gksxk] rHkh pj.k esa o`Ùk 'kCn gh fy[kk gS A blls Li"V gS fd lEikfnr iqLrd esa oSlk Nik gSA mDr gLrys[k esa Hkh 'yksd o iqf"idk esa o`Ùk 'kCn gh fyf[kr gSA blds vfrfjDr pkSngoha 'krkCnh esa fy[ks rFkk orZeku esa ftuHkælwfj Kku Hk.Mkj tSlyesj esa miyC/ gLrys[k (Jes- gekjh n`f"V ls vfHk/ko`fÙkekr`dk o vfHk/ko`Ùkekr`dk 331&510&1) esa mi;qZDr 'yksd ds vfUre pj.k esa rks nksuksa gh uke] tks vfUre 'yksd ds ikBHksn ds vk/kj ^o`Ùk* 'kCn feyrk gS] ijUrq mlds vuUrj iqf"idk esa o`fÙk ij ekus gSa] mfpr ugha gSa rFkk xzUFkdkj dks xzUFkuke 'kCn ds lkFk& HkV~VdYyVkReteqdqyHkV~Vfojfprk ds :i esa vHkh"V ugha gSaA ;g rF; mDr 'yksd dk vfHk/ko`fÙkekr`dk lekIrsfrA JhefTtuifrlwjh.kke~A mfpr vUo; djus ls Li"V gks tkrk gSA gekjs er esa iqfLrds;e~AA ,slk ys[k feyrk gSA bl gLrys[k dh bl 'yksd dk mfpr vUo; bl izdkj gS% izfrÑfr gekjs laxzg esa fo|eku gSA HkV~VdYyViq=ks.k eqdqysu lwfjizcks/kuk; o`fÙkekr`dk blds vfrfjDr Hkk.Mkjdj izkP;fo|k 'kks/laLFkku] iwuk b;e~ vfHk/k fu:firkA bl vUo; ds vk/kj ij esa miyC/ gLrys[k la[;k 63@1873&74 esa Hkh mi;qZDr 'yksd dk 'kq¼ ikB bl izdkj gS% 'yksd esa ^o`Ùk* 'kCn gS rFkk mlds vuUrj iqf"idk esa HkV~VdYyViq=ks.k eqdqysu fu:firkA ^o`fÙk* 'kCn gS & HkV~VdYyVkReteqdqyHkV~V&fojfprk lwfjizcks/kuk;s;efHk/k o`fÙkekr`dkAA vfHk/ko`fÙkekr`dk lekIrsfrA leLrqAA la- 1930 vc rd ds izdkf'kr laLdj.kksa esa ^vfHk/k* 'kCn dks ek?klqfn 14A ^o`fÙkekr`dk* ls tksM+dj xzUFkdkj ds okLrfod Hkko buds vfrfjDr dqN vU; gLrys[k gesa miyC/ gq, gSa] dks vU;Fkk :i esa izLrqr fd;k tkrk jgk gSA ;fn tks vis{kkÑr buls vokZphu gSa] muesa mDr 'yksd ds 'yksdxr vfHk/k 'kCn dks o`fÙkekr`dk ds lkFk lekl prqFkZ pj.k esa Hkh o`Ùk 'kCn gS rFkk blds vuUrj miyC/ dj (tksM+dj) izpfyr vUo; dks eku fy;k tk, rks iqf"idk ds vUnj xzUFkuke esa Hkh vfHk/ko`Ùkekr`dk bl vFkZ gksxk& ;g vfHk/ko`fÙkekr`dk fu:fir dh gSA :i esa o`Ùk 'kCn gh fy[kk gSA bu gLrys[kksa dk fooj.k bl vFkZ esa Li"Vr;k ;g folaxfr gS fd iqLrd ;k fuEu gS& mlds uke dks fu:fir ugha fd;k tkrk] izR;qr mlds j?kqukFk efUnj iqLrdky;] tEew esa miyC/ gLrys[k izfrik| fo"k; dks fu:fir fd;k tkrk gSA ;gk¡ izfrik| (laú&477] vyadkj&foHkkx)A bldk ikB& ---o`Ùkekr`dkA fo"k; vfHk/k gS] vr% xzUFk ds vUr esa milagkj ds :i bfr JhHkV~VdYyViq=keqdqy& fojfprkfHk/ko`Ùkekr`dk esa xzUFkdkj dk ;g okD; gekjh n`f"V ls blh :i esa gh lekIrk 'kqHkk; Hkorqrjka ys[kdikB;ksjksa rRlr~ Hkæa laxr gksrk gS fd& o`fÙk vFkkZr~ O;ogkj dh ekr`dk i';se izpjse Hkæe~A (ekrk) ;g vfHk/k fu:fir dh gSA
22 National Mission for Manuscripts mDr 'yksd ds izpfyr vUo; esa ,d cM+h folaxfr bl eUrO; ds fo"k; esa gekjk dguk gS fd tc vfHk/k ;g Hkh gS fd vfHk/ko`fÙkekr`dk bl leLrin esa 'kCn dk vkxs okys va'k ls lekl gh ugha gS rks nksuksa esa vfHk/k ps;a o`fÙkekr`dk ;g deZ/kj; ekuus ij ls fdlh dks Hkh xzUFkuke ekuuk fujk/kj gSA ge igys ^vfHk/k* dh vis{kk ^o`fÙkekr`dk* bl fo'ks"k.k dk dg pqds gSa fd ,slk ekuus ij ^fu:firk* in dk iwoZfuikr gksuk pkfg,A vr% ;g deZ/kj; ugha ekuk tk vUo; laxr ugha gks ikrk gSA vkpk;Z f}osnh th dk tks ldrkA ,slh fLFkfr esa bls iwoksZDr izdkj ls vleLr ;g dFku gS fd& foosP; 'yksd esa o`fÙk 'kCn ekuus ekuus ds vfrfjDr vU; dksbZ pkjk ugha gSA vU; fdlh ij mldk vfHk/k ds lkFk deZ/kj; izeq[k gks tkrk lekl dh dYiuk dj Hkh ysa rks ^fu:firk* in dh gS] bl ij Hkh gekjh ogh iwoksZDr nksuksa vkifÙk;k¡ gSaA laxfr ugha yx ik;sxhA ;gka ,slh gh lekl&fo"k;d ,d izFke rks ;g fd o`fÙk dh vis{kk o`Ùk 'kCn j[kdj Hkh dYiuk MkWñ fu#iek f=kikBh us dh gS] ijUrq muds dFku bls xzUFkuke ekuus ij ^fu:firk* in dk vUo; ugha dks ekuus ij 'yksdxr fu:firk in vlaxr gks tkrk yxsxk] D;ksafd fu:i.k uke dk ugha] izfrik| fo"k; gSA mudk dFku bl izdkj gS% dk fd;k tkrk gSA vkSj f}rh; ;g fd ;gk¡ deZ/kj; ^^vfHk/ko`fÙkekr`dk dk lekl foxzg djus gksrk rks ^o`fÙkekr`dk* bl fo'ks"k.k dk iwoZiz;ksx gksuk ij bldk vFkZ gksxk ^vfHk/ko`fÙk gS ekrk ftldh*A pkfg, FkkA vr% ;gk¡ deZ/kj; dh laHkkouk crkuk bldk foxzg bl izdkj gksxk& vfHk/ko`fÙk% ,o ekrk mfpr ugha gSA ;L;k% lk] ^nsoekr`dk% ns'kk%* ds leku ;g in Hkh bl izdkj mDr gsrq}; ds dkj.k bl foosP; 'yksd vU; in dk fo'ks"k.k gSA fopkj djus ij ;g lkfgR; ds vfUre pj.k esa ^vfHk/k o`fÙkekr`dk* ;g lekl 4 fo|k dk fo'ks"k.k izrhr gksrk gS** jfgr o o`Ùk ds LFkku ij o`fÙk okyk ikB gh mfpr bl izdkj MkWñ Jherh f=kikBh ds vuqlkj vfHk/ko`fÙk gS gSA tSlk fd ge igys dg pqds gSa fd o`fÙk 'kCn dk ekr`dk ftldh] ,slh lkfgR;fo|k bl xzUFk esa fu:fir vFkZ O;ogkj gS& O;ogkjks fg o`fÙk#P;rs7] vr%& dh gS] ,slk vFkZ gksxkA ijUrq ,slk ekuuk rks izdV esa o`fÙkekr`dk ;g vfHk/k fu:fir dh] ,slk vFkZ gh eqdqyHkV~V dk lh/k fojks/k djuk gSA os rks Li"V lE;d~ laxr gks tkrk gSA dg jgs gSa% ehekalk'kkL=fu".kkr eqdqyHkV~V dh ewy n`f"V Hkh ;gh gS bR;srnfHk/ko`Ùka n'k/k=k fu:fire~] ;ks fd os ldy okXO;ogkj dk ewy vfHk/k dks gh ekurs ;kst;fr lkfgR;s rL; ok.kh izlhnfrAA5 gSaA vr ,o os y{k.kk dks Hkh "kM~ vfHk/ko`Ùkksa ds :i vFkkZr~ ;gk¡ geus n'kfo/ vfHk/ko`Ùk dk fu:i.k fd;k esa gh izLrqr djrs gq, vfHk/k ls fHkUu ekuus dks rS;kj gSA bls tks lkfgR; esa la;ksftr djrk gS] mldh ok.kh ugha gSa rFkk ehekaldRo&okluk ls okflrkUr%dj.k gksus fueZy gks tkrh gSA blls loZFkk Li"V gS fd ;gk¡ n'kfo/ ds dkj.k O;atuk dks Hkh Lohdkj ugha djrs gSaA bl vfHk/ko`Ùk dk fu:i.k gS] u fd lkfgR; dkA lkfgR; izdkj mDr 'yksd esa mUgksaus vfHk/k dks o`fÙk¾O;ogkj esa rks bldk iz;ksx djus dk ijke'kZ fn;k x;k gSA vr% dh ekr`dk ds :i esa izLrqr djrs gq, ^o`fÙkekr`dk* MkWñ Jherh f=kikBh dk mDr eUrO; laxr ugha gSA fo'ks"k.k ls foHkwf"kr dj xkSjokfUor fd;k gSA ;fn vfHk/ko`Ùks% ekr`dk vfHk/ko`fÙkekr`dk ,slk eqdqyHkV~V }kjk izLrqr bl fo'ks"k.k dh ,d laxfr ;g "k"BhrRiq#"k lekl djds bls iqfLrdk ;k jpuk dk Hkh yxkbZ tk ldrh gS fd ;gk¡ fu:fir dh gqbZ ;g fo'ks"k.k ekusa rks fÝQj ogh folaxfr vkrh gS] ftldk vfHk/k gh vU;ksa }kjk LohÑr lHkh o`fÙk;ksa dh ekrk gSA ge igys funsZ'k dj pqds gSa fd blds lkFk ^fu:firk* vFkkZr~ rkRi;kZo`fÙk] y{k.kko`fÙk] xq.ko`fÙk o O;atuko`fÙk] in dk vUo; ugha cu ik;sxk] D;ksafd xzUFk esa fu:i.k tks vU;ksa }kjk LorU=k o`fÙk;ksa ds :i esa ekU; gSa] mu rks izfrik| fo"k; dk fd;k tkrk gS] jpuk ds uke dk lcdh tuuh ;g vfHk/k gh gS] ftls geus ;gk¡ fu:fir ughaA fd;k gSA bl izdkj ;gk¡ ehekaldf'kjksef.k eqdqyHkV~V vkpk;Z jsokizlkn f}osnh bl xzUFk ds vfUre 'yksd dh dk ;g vkxzg O;f×tr gksrk gS fd mDr o`fÙk;ksa dks O;k[;k ds vuUrj foe'kZ esa fy[krs gSa fd& ^^vfHk/k LorU=k u ekudj mudh tuuh vfHk/k dks gh ekuus ds Åij fy[ks bl xzUFk dks xzUFkdkj us vfHk/ko`Ùkekr`dk ls gh ldyiz;kstuflf¼ gks tkrh gSA vr% mDr i| esa dgk gSA tcfd izflf¼ gS ^vfHk/ko`fÙkekr`dk* uke xzUFkdkj y{k.kkfn o`fÙk;ksa fdaok lEiw.kZ o`fÙk¾okXO;ogkj dhA ,f'k;kfVd lkslk;Vh ds ik.Mqys[k esa o`Ùk 'kCn gh dh ekr`dk (ekrk) ds :i esa vfHk/k dks gh ekuus ij feyrk gSA eEeV us blds fojks/ esa tks xzUFk fy[kk gS cy nsrs gq, fn[kkbZ iM+rs gSaA mlesa O;kikj 'kCn viuk;k& ^'kCnO;kikjfopkj* bl vius bl Hkko dks os bl 'yksd ds Bhd Åij okys bu izdkjA blls yxrk gS fd ;gk¡ ewy esa o`Ùk 'kCn gh jgk 'kCnksa esa izLrqr dj jgs gSa& n'kfo/sukusukfHk/ko`Ùksu gksxkA o`fÙk 'kCn nsus ls mldk vfHk/k ds lkFk deZ/kj; lexzL; okDifjLiUnL; O;kIrRokn~ O;kdj.k&ehekalk& izeq[k gks tkrk gS** 6A rdZ&lkfgR;kReds"kq prq"kqZ 'kkL=ks"kwi;ksxkr~
National Mission for Manuscripts 23 rn~}kjs.k p lokZlq fo|klq ldyO;ogkj& bldk Hkko ;g gS fd ekr`dk 'kCn /kr`dk (/k;] ewyHkwrklq izlj.kknL; n'kfo/kL;kfHk/ko`ÙkL; miekrk)] ekrk] "kksM'k ekr`dkvksa ds :i esa izfl¼ ldyO;ogkjO;kfiRoek[;kre~A oLrqr% ;s iafDr;k¡ nsfo;ksa rFkk o.kZekyk ds fy, iz;qDr gksrk gSA foosP; mi;qZDr vfUre 'yksd dh vorjf.kdk ds :i esa gSa 'yksd esa ;g 'kCn ekrk ds vFkZ esa gh iz;qDr le>uk vkSj buds Hkko dks 'yksd esa o`fÙkekr`dk vfHk/k pkfg,A bl vk/kj ij 'yksdxr okD; dk vFkZ lqrjke~ fu:firk bu inksa ls izdV fd;k gSA Li"V gks x;k fd ;g vfHk/k tks fd o`fÙk (okXO;ogkj) bl foospu ls Li"V gS fd izLrqr 'yksd esa izfrik| dh ekrk gS] ;gk¡ fu:fir dh xbZ gSA eqdqyHkV~V ds fo"k; dk funsZ'k fd;k gS] u fd xzUFk ds uke dkA vr% bl lEiw.kZ xzUFk dh 'kSyh ls Hkh ;gh vFkZ iq"V gksrk gS] vuqfpr vUo; ds vk/kj ij bls xzUFk dk uke ekuuk D;ksafd os vfHk/k esa gh y{k.kk vkfn o`fÙk;ksa dks lekfgr HkzkfUrewyd gSA vc jgh ckr o`Ùk vkSj o`fÙk :i ikBkUrj djrs gq, fn[kkbZ nsrs gSaA dh] rks blesa gekjh lEefr gS fd ;gk¡ o`fÙk 'kCn gh vc iz'u gksrk gS fd tc mDr 'yksd esa xzUFkuke dk ewy ikB ds :i esa ekuuk mfpr gSA D;ksafd o`fÙk 'kCn funsZ'k ugha gS rks xzUFk dk uke D;k gS\ bl iz'u dk mÙkj okXO;ogkj ds fy, vf/d izfl¼ gS rFkk blds Hkko dks gesa tSueqfu vkpk;Z ekf.kD;pUæ lwfj (13oha 'krh) dh è;ku esa j[krs gq, gh eqdqyHkV~V iwoZfufnZ"V vorjf.kdk dkO;izdk'k&ladsr Vhdk ls feyrk gSA dkO;izdk'k ds esa okDifjLiUn ,oa ldyO;ogkj bu 'kCnksa dk iz;ksx f}rh; mYykl esa ^y{k.kk rsu "kM~fo/k* ij os fy[krs djrs gSaA gSa & ^la{ksis.kSok=k y{k.kkfopkj% Ñr%A foLrjs.k rq o`fÙk 'kCn dks ;gk¡ ewyikB ekuus ds i{k esa nwljk eqdqykfn & fojfprkfHk/kekr`dkfnxzUFksH;ks Ks;%*A10 vUrjax lk{; ;g Hkh gS fd xzUFkdkj dh n`f"V esa bl m¼j.k ls ;g rF; loZFkk Li"V gS fd eqdqyHkV~V n'kfo/ vfHk/ko`Ùk ds }kjk ldy okDifjLiUn dks dh jpuk dk uke vfHk/kekr`dk gSA bldh fu"ifÙk bl O;kIr fd;k gqvk crk;k gSA ;gk¡ n'kfo/ vfHk/ko`Ùk ls izdkj le>uh pkfg,& vfHk/k ekr`dk ,o vfHk/k& O;kIr okDifjLiUn okXO;ogkj gh gS vkSj mlds fy, ekr`dk] vFkkZr~ vfHk/k gh ldy okXO;ogkj dh ekrk ;gk¡ o`fÙk 'kCn gh leqfpr gks ldrk gS] u fd o`Ùk 'kCnA gSA bls ^eq[ka pUæ%* ds leku le>uk pkfg, vkSj bR;srnfHk/ko`Ùke~] rFkk n'kfo/ksukusukfHk/ko`Ùksu esa mlh ds leku ;gk¡ vfHk/k bl mies;Hkwr fo"k; ij o`Ùk 'kCn dk vFkZ pfjr ;k vkpfjr gS% ekr`dk bl miekuHkwr fo"k;h dk vkjksi gksdj xkS.kh o`Ùka Lo:is pfjrs o`ÙkkS NUnksfo/klq p8A lkjksik esa vfHk/kekr`dk ;g leLr :i cuk gSA ;gk¡ ;|fi mi;qZDr nksuksa LFkyksa esa pfjr vFkZ esa iz;qDr o`Ùk vfHk/k fo'ks"; rFkk ekr`dk fo'ks"k.k gSA ^fo'ks"k.ka 'kCn o`fÙk (O;ogkj) vFkZ esa Hkh iz;qDr gksrk gSA rFkkfi fo'ks";s.k cgqye~*11 ds vuqlkj fo'ks"k.k&fo'ks"; lekl ;g pfjr vFkZ esa gh O;ogkj vFkZ dh vis{kk vf/d dh jhfr ls rks ^uhyksRiye~* ds leku ;gk¡ Hkh fo'ks"k.k izfl¼ gSA vr% vFkZlkad;Z u gks] ,rnFkZ xzUFkdkj us ekr`dk 'kCn igys vkuk pkfg, Fkk ,oa vfHk/k 'kCn pfjr vFkZ esa o`Ùk 'kCn dk iz;ksx dj O;ogkj vFkZ esa ckn esaA ijUrq D;ksafd fo'ks"k.k&fo'ks"; Hkko gksrs gq, Hkh iqu% mlh dk iz;ksx u dj o`fÙk 'kCn dk iz;ksx fd;k ;gk¡ eq[ka pUæ% eq[kpUæ% ds leku :id lekl gSA gSA ;fn o`fÙk ds LFkku ij iqu% o`Ùk dk iz;ksx djrs rks vkSj :idLFky esa fo'ks"k.k ds ijfuikr o fo'ks"; ds mls bR;srnfHk/ko`Ùka bl iwoZ iz;ksx ls fHkUukFkZd vFkkZr~ iwoZfuikr ds fy, ^e;wjO;aldkn;'p*12 ls lekl ekuk O;ogkjkFkZd crkus ds fy, i`FkD'k% O;k[;k djuh iM+rhA tkrk gSA bl izdkj eq[kpUæ% ds leku ;gk¡ Hkh fo'ks"k.k ;fn mls iwokZFkZ esa gh iz;qDr djrs rks ;g nks"k gksrk fd dk iwoZfuikr u gksdj fo'ks"; dk iwoZfuikr gSA bl jhfr tc vfHk/k dk n'kfo/ o`Ùk crk gh pqds gSa] rks iqu% ls vfHk/kekr`dk ;g leLr 'kCn cuk gSA ml vfHk/k dks mDr o`Ùk dh ekr`dk crkuk rqjUr dh ;gk¡ izfri{kh }kjk ;g iz'u Hkh fd;k tk ldrk gS gqbZ [kVdus okyh iqu#fDr gksrhA vr% xzUFkdkj us vUr fd & ;fn vfHk/kekr`dk esa eq[kpUæ% dh rjg :id esa tkucw> dj gh O;ogkjkFkZd o`fÙk 'kCn dk iz;ksx lekl fd;k tk ldrk gS rks& vfHk/ko`fÙk% ekr`dk fd;k gS rFkk bldk ladsr izd`r 'yksd dh vorjf.kdk vfHk/ko`fÙkekr`dk ;g :id lekl Hkh gks ldrk gSA esa okDifjLiUn o ldyO;ogkj inksa ls fd;k gSA fÝQj ^vfHk/k o`fÙkekr`dk* bl vleLr fLFkfr ds fy, vr% 'yksd dk ;g vFkZ loZFkk Li"V gks x;k gS gh vkxzg D;ksa\ rks bldk mÙkj gS fd bl izdkj Hkh ;g fd xzUFkdkj us ;gk¡& o`fÙkekr`dk vFkkZr~ loZfo/ lekl fd;k tk ldrk gS] ijUrq ,slk djds bls vkids okXO;ogkj dh ekrk vfHk/k fu:fir dh gSA vuqlkj iqLrd dk uke ekuus ij ogh ^fu:firk* in ekr`dk 'kCn ekrk ds i;kZ;okph ds :i esa dks"kksa esa dh vlaxfr okyh iwoksZDr leL;k vk tkrh gSA vr% & fufnZ"V gS% o`fÙkekr`dk vfHk/k fu:firk ;g vleLr :i ekuuk ^ekr`dk /kr`dkek=kksnsZohfHk}.kZeky;ks%*9 gh Js;Ldj o funqZ"V gSA bl izdkj ;g fuf'pr gqvk fd
24 National Mission for Manuscripts ;gk¡ izfrik| fo"k; dk gh funsZ'k gS] xzUFkuke dk ughaA vk/kj ij gh vfHk/kekr`dk uke fy[kk izrhr gksrk gSA vfHk/kekr`dk uke ds ihNs dk'ehj 'kSo n'kZu dk ;gk¡ Jh gsepUækpk;Z KkuHk.Mkj ikV.k (xqtjkr) izHkko Hkh Li"Vr;k ifjyf{kr gksrk gSA bl n'kZu ds ls miyC/ ekf.kD;pUæ lwfj ds dkO;izdk'k&ladsr ds vk| vkpk;Z olqxqIr us okDrRo ds fo"k; esa dgk mu nks fHkUu&fHkUu gLrys[kksa dh ml iafDr dks Hkh LdSu gS & Kkukf/"Bkua ekr`dk13] bl izdkj okd~ dks djds izLrqr fd;k tk jgk gS] ftlesa eqdqyHkV~V dh bl ldy ij&vij (lw{e&LFkwy) Kku dk ewy ekurs gq, jpuk dks ^vfHk/kekr`dk* uke ls fufnZ"V fd;k gS% ekr`dk uke fn;k gSA vfHk/kekr`dk ukedj.k djrs gLrys[k&fooj.k& Mkñ & 5912] i=k&150] gq, eqdqyHkV~V Hkh blh Hkko dks izdV dj jgs gSaA ;gk¡ dkO;izdk'k&ladsr (35osa i=k ij) ijEijk dk izHkko rks gS gh] lkFk esa ;g Hkh LÝQqVr;k gLrys[k&fooj.k& Mkñ & 169] xzUFk&6651] |ksfrr gks jgk gS fd vfHk/k dks gh ekr`dk :i esa dkO;izdk'k&ladsr izLrqr djrs gq, eqdqyHkV~V us xzUFk dks ;g uke fn;k gSA vr% ;gk¡ eè; esa ^o`Ùk* ;k ^o`fÙk* j[kuk loZFkk ;gk¡ miU;Lr nksuksa gLrys[kksa dh ;g iafDr izkphu fujk/kj gSA nsoukxjh esa fy[kh gS] ftlesa dqN v{kjksa dh cukoV o ek=kk vkt dh nsoukxjh ls fHkUu gSA vr% okpulkSd;Z eqdqyHkV~V] olqxqIr dh jpuk ds :i esa ekuh tkus okyh ds fy, ;gk¡ gLrfyf[kr iafDr ds uhps Vafdr :ikUrj LiUndkfjdk ds O;k[;krk lqfofnr dk'ehjh fo}ku~ HkV~V ns fn;k gSA dYyV ds lqiq=k FksA vr% bu ij dk'ehj 'kSon'kZu dh ijEijk dk iSr`d izHkko lgt ,oa vifjgk;Z FkkA gekjk fopkj gS fd ekf.kD;pUæ lwfj (13oha 'krh) rd eqdqyHkV~V dh bl jpuk ds izkjEHk esa xzUFkuke ekr`dk 'kCn o.kZekyk ds fy, Hkh blhfy, iz;qDr ds :i esa ^vfHk/kekr`dk* gh fy[kk tkrk FkkA ijUrq gksrk gS fd og lEiw.kZ okÄ~e; dh ekr`:i gS] ewy miknku gSA laLd`r dk ;g ekr` 'kCn ysfVu esa MATER vuUrjorhZ dky esa iwoZpfpZr vfUre 'yksd dk HkzkUr :i esa ekrk ds vFkZ esa gh iz;qDr gksrk gSA ;gh bafXy'k vUo; dj rnuqlkj 'yksdxr vfHk/ko`fÙkekr`dk@ esa MATERIA, MATERIAL rFkk MATTER ds :i vfHk/ko`Ùkekr`dk 'kCn dks gh lk{kkr~ xzUFkdkj }kjk esa foLrkj dks izkIr gqvk gSA orZeku esa bafXy'k esa fufnZ"V uke ekudj izpfyr dj fn;k x;k] tks fd MATTER 'kCn inkFkZ ;k ewy miknku ds vFkZ esa iz;qDr xrkuqxfrdr;k vkt Hkh py jgk gSA iwoZizLrqr foospu gksrk gSA bl izdkj laLd`r dk ekr` 'kCn gh ysfVu ls ds vkyksd esa bldk la'kks/u visf{kr gSA ,rnFkZ gksrs gq, bafXy'k esa mDr :i esa ifj.kr gqvk gSA blls gh foosd'khy fo}Ttuksa dh lsok esa ;g 'kks/fucU/ Li"V gS fd ekr` 'kCn ysfVu esa ekrk (MATER) o fouezrkiwoZd izLrqr gSA bafXy'k esa ewy miknku (MATTER) ds vFkZa esa vkt vUr esa vfHk/kekr`dk ds ikB ds fo"k; esa dqN Hkh izpfyr gSA fuosnu djuk vizklafxd ugha gksxkA vc rd izdkf'kr izLrqr xzUFk esa Hkh vfHk/k lEiw.kZ okXO;ogkj dk ewy laLdj.kksa dk ikB vusd LFkkuksa ij nks"kxzLr o foi;ZLr miknku gksus ls ekr`dk :i esa dgh xbZ gSA ekr`dk 'kCn gSA geus miyC/ gLrys[kksa ds vk/kj ij egÙoiw.kZ mDr vFkZ esa dkO;ksa esa Hkh iz;qDr gqvk gS% ikB'kks/u dj bldk leh{kkRed&laLdj.k rS;kj fd;k r=k jktiqjh uke jkt/kuh fojktrsA gS] tks ;FkklEHko 'kh?kz gh jkf"Vª;&laLd`r&laLFkku] jktjktiqjhl`"VkS lz"Vq;kZ ekr`dk;rsAA14 osnO;kl&ifjlj] cykgj (dkaxM+k) fgekpy izns'k ls izdkf'kr fd;k tk,xkA blesa ikB'kks/u ds vfrfjDr bl izdkj mDr foospu ls ;g Li"V gks x;k gS fd xzUFk vUr esa dqN 'kks/ksi;ksxh ifjf'k"V Hkh jgsaxsA ds izpfyr uke ds LFkku ij dkO;izdk'k&ladsrdkj vkpk;Z ekf.kD;pUæ lwfj ds izek.k ls vfHk/kekr`dk gekjk fopkj gS fd vfHk/kekr`dk dh ,d iaftdk dks gh xzUFkuke ekuuk mfpr gSA vkpk;Z ekf.kD;pUæ (fo"keinHkaftuh Vhdk) fy[kh tk,] ftlls xzUFk ds lwfj ,d egku~ dfo] mPpdksfV ds lekykspd o fof'k"V LFkyksa ds vocks/u esa lgk;rk fey ldsA ;fn vxk/ 'kkL=kh; ikf.MR; ls foHkwf"kr izkS< fo}ku~ FksA os lq;ksx jgk rks HkxoRd`ik ls bl ladYi ds iw.kZ gksus ik'oZukFkpfjre~ o 'kkfUrukFkpfjre~ egkdkO; ,oa dh vk'kk gSA dkO;izdk'k&ladsr tSlh xEHkhj jpukvksa ds jpf;rk gSaA muds ys[k dks vJ¼s; ekuus dk dksbZ dkj.k ugha fOkTk;iky 'kkL=kh izpsRkk fn[krkA lkfgR; foHkkxkè;{k] jkf"Vª;&laLÑRk&laLFkku tSu vkpk;ksZa dh ijEijk esa cM+s gh le`¼ xzUFkHk.Mkj jgs OksnO;kl&ifjlj] cykgj] dkaxM+k gSaA vr% ekf.kD;pUæ lwfj }kjk izR;{kn`"V ewyxzUFk ds fgekpy izns'k
National Mission for Manuscripts 25 Songs of the Cowboy Melody that Enthralled Southern Assam for Centuries
Mrinmoy Chakraborty
N. Howard Thorp, nick named Jack Thorp (1867- a brief survey into the cultural background 1940) collected cowboy songs and poems of the region where these songs developed across western USA for nearly twenty years and would be appropriate. published his first book, Songs of the Cowboys in 1908. Thorp travelled more than 1,500 miles Barak Valley region of the North-East State in New Mexico and Texas, seeking out cowboy of Assam, for most of the time during known songs at ranches, immigrant camps, saloons, history, has maintained a distinct identity. medicine shops, and variety of theaters. He Therefore the culture developed there, which seldom met anyone who could recite all the for convenience may be identified as indigenous verses to a particular ballad, but he faithfully culture of the Barak Valley, had the features of an jotted down what he could find in a small island culture. This culture has its unique flavor, notebook. By the end of his journey, he had distinctly different from the two predominant pieced together such cowboy classics as Sam cultures – Bengali and Assamese – of Eastern Bass, The Grand Round-up, Top Hand, The Gal I India, though it has assimilated in it the cultural Left Behind Me and Bucking Bronco. Jack Thorp elements of both of them. was cowboy music's first collector and thus he made a significant contribution to western Cultural history of Barak Valley can be divided music history (www.cowboypoetry.com). into two distinct periods – pre-independence and post-independence. In the pre-independence This is the tale of the exploration of cowboy era the present Cachar and Hailakandi districts songs by an inquisitive mind in western were part of Cachar district which also included America. The author of this piece made one Dima Hasao district. In the post-independence such endeavor to trap the dying rhythm of period, three and half thana areas of the then songs of the cowboys in the easternmost Sylhet district have been joined together to part of India. In his endeavour to explore and form the Karimgunj subdivision and later on comprehend the songs which nourished the Karimgunj district and a part of Cachar district sense of people of this south Assam region has been developed as a separate district of of Barak Valley, he came across written Hailakandi. The present Barak Valley owes its documents, a few of which are more than name to the river Barak and comprises three 75 years old and for good reasons can be districts of Cachar, Hailakandi and Karimgunj. considered as ‘manuscript’. As most of the manuscripts are either lost or decayed Ahi or songs of cowboy to the extent of making it hardly possible to decipher, he had to rely mostly on oral A very interesting ritual of Barak Valley worth sources. Before going into analyzing Ahi mentioning, though not directly related to or the songs of the cowboys of this region Ahi, is offering of swad to the peddy land on
26 National Mission for Manuscripts the last day of Asvin. This is solemnized on a village form a troupe and visit house to house, the last day of Asvin, the preceding month of generally after the fall of evening till mid-night. Kartik. This is the special offering given to the Their objective is to collect rice, coconut and paddy, pregnant with new corn. The offering, money for organizing Rakhal Seva on the last the guis as it is called, is prepared out of sunda day of Kartik. One group generally covers all (the aromatic root of a aquatic plant), methi the households of a village in a single evening. and bel pata. All the ingredients are put inside In this way, a group may cover ten to fifteen chailta pata and folded and pierced with a kush villages during the second half of Kartik. On the stick in a particular way. This guis is offered to other hand, a household is visited by three to the paddy field by a boy child just after the five groups in one evening. They sing: sunset uttering the following lines: Nanda gela bathane Yashoda gela jale Sunda methi beler pat Sunya griha paiya bacha lani churi kare Chada mele adai hat Asvin jaite kartic aite, Ke khailo ke khailo lani bole Nandarani Bhui mage devi pute Gopale uthiya bole aamito na jani Chailta patai dharche kadar Haste badi Nandarani nilore khadaiya Ek dhane nai bhadar Lampha mari uthe bacha kadam dal baiya
The wish of farmers is embodied in this, which is Lamo lamo ore bacha paida dimu phul purely in local dialect. Through this, farmers wish Gachthaki padile bacha majaibay gakul that there would be prolific growth of grains and a rich harvest. Here the paddy is treated at Age maa satya karo pajain thaiya pache par with a pregnant lady. Guis is also offered to Lamile khadaiya nibay tomar mane aache coconut trees and other trees from which the Aaore rakhal bhai aar badite jai farmer expects a rich harvest. It is believed that this ritual ensures rich harvest and thus adds to Ayi badir garu mahish bhalo thake sadai the prosperity of the farmer household. (Nanda is gone to the cowshed, Yashoda has gone to fetch water Ahi is a particular type of ballad or fable sung by the cowboys of the Barak valley. In Barak Valley, Finding the home lonely, Gopal steels cheese the month of Kartik (Kati in Assamese) is the “Who usurped the cheese”, Nandarani enquires month of pleasant morning, golden red sun, Gopala responds, “I don’t know” paddy field in dream for the forthcoming crop and aroma of dried mud. The Valley rises with Nandarani, with a stick in her hand chases him the Prabhati tunes and plunges into evening He jumps and climbs a kadam tree siesta with Ahi or Ayi. The cowboys sing: "Come down, come down", shouts Nandarani Hai hai Lakhinder, kiba karma kaile "I will pluck you flower", my dear Kartika mashera dine, chaul kadi magaile Make promise to discard the stick (What a misdeed done by you, Lakhinder. We You have a hidden intent to chase me, when I are begging for rice and money in the month climb down of Kartik.) This is a piece, rich in motherly affection of When thin mist heralds sweet cold weather, Nandarani for her little child, Gopal. The term flocks of cowboys tread the cow dung coated ‘gopal’ has two meanings: go means earth yards of the rural households. The cowboys of and therefore ‘gopal’ means protector of the
National Mission for Manuscripts 27 earth or king. But there is another meaning Baigna badir chaular macha to this term. ‘Go’ means cow and ‘pal’ means Ek chaule nai macha protector or ‘Gopal’ means protector of cow Nai machay nai man or cowboy. Gopal or Shrikrishna, believed to Aamay dila katek dhan be the incarnation of Lord Vishnu, was a king Aami to khujia khai and a cowboy at the same time. Cowboys feel Aami to magia khai proud of Shrikrishna, who, besides being a Lamar gram bedaiya jai ----“ cowboy, was also a king and regarded as the incarnation of the Lord. 2. Sonar langal, heiyo Roopar phal, heiyo In Indian literature, most talked about personality is undoubtedly, Lord Krishna. In 3. Ai re ai, baner bhai Indian music, whether it is classical or folk, Shri Ban jale, lakkhmi phale Krishna is the most prominent figure. Songs of Hale langale jiban chale Indian cow-boys are for obvious reasons replete Ek raite nai kiyar phale with eulogies of their hero Gopal or Shrikrishna Dainar aashan bauye thaiya in one way or the other. In the Southern Assam Air janam dilam kaiya region, there is a popular perception that a song devoid of Krishna is unthinkable. 4. Aamurutu, jamurutu chanchala bhai Aamar rakhal bhai Aimani Rai So far as the subject matter is concerned, Aimani Rai nare bidyaro sagar Ahi reflects the thoughts and imaginations of Bidyaro sagar nare roope Lakhinder the rural farmers, who give utmost priority to their cattle. The songs are replete with Ahis are not free of obscene contents in them. the well wishes for the cattle and sung by the In the couplet here under, cowboys enjoy rakhals or cowboys who look after the cattle something which may be considered obscene. all the year round. After every Ahi (song) they express their well wishes for the health and Aar bagh, aar bagh, aar bagh haiya fertility of the cattle: Aar baghe khay tar maugar buchi chuiya
Aao re rakhal bhai aar badite jai Ahi also contains expression of self-respect. Eyi badir garu mahish sukhe thake sadai They pronounce the words of caution for them who cherish ill-will towards the cowboys, (Come ‘o’ cowboys! let us move to another in this way: home. We wish the cows and buffaloes in the Rakhal jania tare jeba kare hela possession of this family live happily forever.) Nicchay janiya tar kabhu nai bhala They also envision prosperity and express it in (Considering cowboys if any one looks down their songs. As prosperous life is far away from upon them, it will not bring any good to him.) their reach, desire towards pomp and glory has a strong influence on their imagination. They This shows that they are suspicious of long for prosperous life in their own way and the intent of the society and think that visualize this aspiration in these songs: discrimination may be meted out to them. So they warn people of the consequences that 1. “Shiki lade Shiki lade may follow, in their song itself. Jhar jharaiya teka pade Ekta teka pailam re Ahis are the sources of enjoyment, self Baigna badi gelam re respect and inspiration for the cowboys. These
28 National Mission for Manuscripts are anonymous songs, sung in chorus, where Decline of Ahi one completes a line followed by all others repeating the same line. Ahis are mostly in Ahi is performed by the cowboys belonging local dialect, language of the agrarian society to the lower strata of the social system, of Barak Valley. Far from the madding crowd, though they perform on the yard of every cowboys sing their song in their own language, house irrespective of caste or class. Here to express their ideas and aspirations and the important thing is, as the Ahi was the enjoy themselves. domain of the lower class people, change in socio-economic status of the lower class has Rakhal Seva made this culture more and more obsolete. Educated and prosperous people with TV at The last day of Kartik is an auspicious day in their homes consider it shameful to celebrate Assam as Kati Bihu or Kangali Bihu is celebrated a tradition which is related to cowboys. Lack on this day. In the Barak Valley region of the of self respect and respect towards age old State, this day brings to an end the Niyam tradition also played havoc. The songs of Sabha month solemnized mainly among the cowboys, which ruled the sense of Barak Valley Vaishnavites and thus ends the Mangalarati people in full spirit even a couple of decades songs sung during evening and dawn. ago are almost extinct now. A question lurks in conscious mind: Is it the sheer negligence As mentioned above, on the last day of towards culture of the common people which Ashvin, rituals are observed for rich harvest. is the real culprit? On the last day of the next month certain rituals are observed for the well being of the For the example of retrieval of folk songs cattle. On that day, cattle are well-bathed of this type, we need not look towards the and well-fed. Round shapes are made with West. Dr. Bhupen Hazarika and Smt. Pratima rice paste on their bodies. It is thought that Barua (Pandey) explored the songs of mahuts through this imprint cattle are offered with (people who take care of elephants) in the pitha, the indigenous cake prepared and Goalpara district of Assam and popularized eaten during festivals. Then, in the afternoon them all over the world. Such other examples cattle, decorated with garlands, are taken to are not rare in our country. For Ahi also, Rakhal Seva sight of the village. one exemplary effort is badly needed, else songs of the cowboys, which gave voice to All the cowboys who travelled from door to the wills, aspirations and fascinations of the door throughout the month, congregate on a downtrodden of the agrarian society will die patch of land. A simple structure is made out unheard, unappreciated. of banana leaf and offerings of fruits and nuts are spread. Farmers bring their cattle and Ahis are sung in chorus. Then after dismantling the holy structure, cattle are beaten with banana leaf. They believe such beating with banana leaf adds to the fertility of the cows. Then the food items offered are distributed among the Mrinmoy Chakraborty is Editor cowboys. The entire arrangements are made Kriti Rakshana out of the collections of the month. National Mission for Manuscripts, New Delhi
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