ISSN 2321-659X izkx~ leh{kk
PRĀG SAMÍKSHĀ (A NATIONAL REFEREED JOURNAL FOR HISTORY, CULTURE AND ARCHAEOLOGY) VOLUME- 5 February - 2018 No. 10
Chief Editor: Dr. Shantidev Sisodia
Jiwaji University, Gwalior Madhya Pradesh
VOL. 5/No.10/ February/2018 ISSN 2321-659X
PRĀG SAMÍKSHĀ
RESEARCH AREA: HISTORY, CULTURE AND ARCHAEOLOGY
PRINTED AND PUBLISHED BY: Dr. Shantidev Sisodia Assistant Professor, Department of Ancient Indian History, Culture and archaeology Jiwaji University, Gwalior (M. P.)- 474011, India Phone No. 0751-2442720, Mobile No. +919425742232, Email ID: [email protected]
MONTH OF PUBLICATION: FEBRUARY AND AUGUST FRONT COVER PAGE: Sati Pillar, Vidisha BACK PAGE: Vishnu Patt, Vidisha
SUBSCRIPTION/MEMBERSHIP CHARGES (Rs.)
CATEGORY ONE ISSUE ONE YEAR TWO YEAR LIFE TIME INDIVIDUAL 700* 1400* 2500* 5000 INSTITUTIONAL 700* 1400* 2500* 7500 * Those who are sending their papers from outside Gwalior have to pay extra 110 Rs.
©COPYRIGHT BY THE EDITOR All right reserved, No part of this publication may be reproduced or transmitted, in any form or by any means, without prior permission of the editors and the publisher.
DISCLAIMER: . Editorial board/Editor retains the right to accept/decline the article/Research paper/note etc. for the journal. . Plagiarism is illegal and editorial board/editor will not be responsible for any plagiarized matter used in the article. . Editor will not be responsible for the views of the author expressed in the published research paper/article etc.
VOL. 5/No.10/ February/2018 ISSN 2321-659X
PETRON Prof. S. K. Dwivedi, HOD, Department of Ancient Indian History, Culture and Archaeology, Jiwaji University, Gwalior, M. P., India.
EDITORIAL BOARD Prof. J. N. Pal, Department of Ancient Indian History, Culture and Archaeology, Allahabad University, Allahabad, U.P., India Prof. S. N. Mishra, Department of Ancient Indian History, Culture and Archaeology, Rani Durgavati University, Jabalpur. M. P., India. Prof. S. K. Dwivedi, Department of Ancient Indian History, Culture and Archaeology, Jiwaji University, Gwalior, M. P., India. Prof. S. K. Jaiswal, Department of Ancient Indian History, Culture and Archaeology, Lucknow University, Lucknow, U. P., India.
ADVISORY BOARD Prof. B.Labh, Department of Buddhist Studies, University of Jammu, India. Prof. Ishwar Sharan Vishwakarma, Deen Dayal Upadhyaya Gorakhpur University, Gorakhpur, India. Prof. Birendra Nath Prasad, Department of History, Jawahar Lal Nehru University, Delhi, India. Prof. M. P. Ahirwar, Department of Ancient Indian History, Culture and Archaeology, Bhu, U. P. India. Prof. Rahul Raj, Department of Ancient Indian History, Culture and Archaeology, Bhu, U. P. India. Prof. Mukesh Kumar, Department of History, Magadh University, Bodhgaya, Bihar, India. Prof. Avkash D. Jadhav, Department of History, St. Xavier’s College, Mumbai, India. Prof. Alok Shrotriya, Department of Ancient Indian History, Culture and Archaeology, Indra Gandhi National Tribal University, Amarkantak, M. P. India. Prof. Ramkumar Ahirwar, Department of Ancient Indian History, Culture and Archaeology, Vikram University, Ujjain, M. P. India. Prof. Rashmi Jeta, Department of History, Govt. P. G. College, Damoh, Sagar, M. P., India.
VOL. 5/No.10/ February/2018 ISSN 2321-659X
Editorial orZeku v”kksduxj ftys dk {ks= egkHkkjr dky esa f”k”kqiky ds psfn jkT; dk Hkkx Fkk ,oa tuin dky esa psfn tuin FkkA NBoha “krkCnh bZ- iw- esa pansjh {ks= ¼v”kksd uxj dk {ks=½ voarh] n”kkZ.k ,oa psfn tuinksa esa vkrk Fkk] tks fd uan] ekS;] “kaqx ,oa ex/k jkT;ksa dk Hkkx jgk FkkA ;g ekuk tkrk gS fd lezkV v”kksd mTtSu dks thrdj tkrs le; ,d jkr bl {ks= esa :ds Fks] bl dkj.k bl {ks= dk uke v”kksduxj iM+kA e/;;qxhu dky esa pansjh jkT; dk Hkkx FkkA
8&9 oha “krkCnh bZ- esa ;g izfrgkjksa ds v/khu gks x;kA pansjh ds dY;k.k eafnj vfHkys[k ls izfrgkj oa”k ds 13 jktkvksa dh lwph izkIr gksrh gSA bu izfrgkj “kkldksa esa izkjafHkd “kkld xksHkV vkSj nqHkZV ds uke dnokgk ds [kf.M+r izLrj vfHkys[k ls fofnr gksrs gSA gfjjkt dk Hkkjr dyk Hkou rkezi= ¼fo- la- 1040½] gfjjkt dk Fkqcksu vfHkys[k ¼fo- l- 1055½] j.kiky dk pansjh vfHkys[k ¼fo- la- 1100½] j.kiky dk ijpbZ vfHkys[k ¼fo- la- 1122½] dhfrZiky dk dnokgk izLrj vfHkys[k] tS=oeZu pansjh vfHkys[k vkfn ls izfrgkj oa”k ds “kkldksa dh tkudkjh izkIr gksrh gSA mijksDr vfHkys[kksa ls ijorhZ izfrgkjksa dh oa”kkoyh fu/kkZfjr dh tk ldrh gSA tks fuEu izdkj gS& Øe”k% uhyd.B] gfjjkt] Hkhe] j.kiky] oRljkt] Lo.kZiky] dhfrZiky] vHk;iky] xksfoUnzjkt] jktjkt] ohjjkt] tS=oeZu rFkk laHkor% mYg.kA uhyd.M+ laHkor% bl oa”k dk laLFkkid FkkA blds vfrfjDr dnokgk ds bdyk&fiNyk eafnj lewg ds ,d eafnj dh pUnzf”kyk ij Li’V :i ls izfrgkj fy[kk gqvk gSA yxHkx 10 oha “krh bZ- ds vUr ls ysdj 13 oha “krh bZ- ds vUr rd ijorhZ izfrgkj jktoa”k ds vfHkys[k dnok;k] pansjh] Fkqcksu] egqvk] rsjgh vkfn {ks=ksa ls izkIr gq, gSaA dqN vfHkys[kksa ls Kkr gksrk gS fd ;s xqtZj izfrgkj dh ewy “kk[kk ds lkeUr FksA muds iruksaijkUr bUgksaus viuh Lora=rk ?kksf’kr dj nh gksxhA dhfrZiky us 10&11oha “krkCnh bZ- esa pansjh “kgj dh LFkkiuk dh ,oa mldksa viuh jkt/kkuh cuk;kA izfrgkj jktoa”k ds lekIr gksus ds ckn tstkdHkqfDr ds pansyksa us Hkh ;gk¡ lais{k esa “kklu fd;kA pansjh jkT; 11 oha “krkCnh bZ- esa egewn xtuoh ds ckj&ckj vkØe.kksa ls izHkkfor gqvkA fnYyh lYrur dh LFkkiuk ds ckn rqdZ] vQxku vkSj eqxyksa us ;gk¡ “kklu fd;kA pansjh cqansyk “kkld eksjizgykn ds “kklu dky ds nkSjku Xokfy;j ds “kkld nkSyrjko flaf/k;k us pansjh ij geyk djus ds fy;s tujy TkkWu oSfIVLV dks Hkstk FkkA mlus pansjh] bZlkx<+ vkSj vklikl ds bykdksa ij dCtk dj fy;kA pansjh ds vafre cqUnsyk “kkld jktk enZu flag us lu~ 1857&58 bZ- esa ,d Lora=rk lsukuh ds :i esa loksZPp cfynku fn;kA
“kkfUrnso fllkSfn;k
VOL. 5/No.10/ February/2018 ISSN 2321-659X
CONTENTS
1. Traditional to Contemporary – The Journey of Pattachitra Paintings Dr. Smita Jain, Dr. Ranjana Upadhyay 01-04 2. National Seminar on Contribution of Folk Traditions to Indian Culture Dr. Sarmistha De Basu 05-15 3. Role of Folk Traditions to Attract Tourism in India Dr. Aruna Singh 16-21 4. e/kqcuh fp=dyk esa yksd izrhdksa dk vadu Mk- bZ'oj pUn xqIrk 22-25 5. Early Historical Archaeology of Wainganga Vally Dr. Priyadarshi M. Khobragade 30-37 6. cVs'oj % Hknkoj vapy dk iqjkrkfRod oSHko fdju nqcs 38-41 7. ckS)n”kZu esa lE;d~n`f’V
MkW la?kfe=k ckS)] 46-48 8. Dutch-Maratha (i.e. VOC-Angre) Naval Battle of 1754: Multiple aspects of a little-discussed but important incident Nikhil Bellarykar 49-66
Guide Lines for Authors 67-68 Membership form 69 Copyright Agreement Form 70
VOL. 5/No.10/ February/2018 ISSN 2321-659X
VOL. 5/No.10/ February/2018
Traditional to Contemporary – The Journey of Pattachitra Paintings Dr. Smita Jain Associate Professor (Home Science) Institute for excellence in Higher Education, Bhopal Dr. Ranjana Upadhyay Associate Professor (Home Science) Sarojini Naidu Govt. Girls PG College, Bhopal.
India is always known as the land of rich culture and traditions. Every region in India has its own style and pattern of art, which is termed as folk art. The folk art of India is very ethnic and simple, and yet colorful and vibrant enough to speak volumes about the country's rich heritage.Folk paintings are diverse in India and reflect rich cultural heritage and they are the true examples of artistic expression. Most of the Indian traditional art forms possess intense meanings apart from being a visual treat. During 20th century Indian folk art slowly emerged as a subject of study and appreciation. Before this period, only Mughal paintings were appreciated in India. These Indian paintings have their own style, designs and colours. Often developed as a mark of celebrations and rituals, many Indian art forms boast of a rich cultural heritage. One such art form is Pattachitra of Odisha. Pattachitrais a Sanskritword, when broken down into its two parts, Patta means cloth, and Chitra means picture. Hence, Pattachitra is a picture painted on a piece of cloth. These pattachtra paintings resemble the old murals of Odisha that were found in and around the religious centres of Puri, Konark, and Bhubaneswar. These murals go back to as early as 5th century BC. The most intricatePattachitra work is done in Puri, especially in the village of Raghurajpur. Raghurajpur was chosen to be developed as the state‟s first heritage village It is situated 14 km away from the pilgrimage town of Puri, on the southern banks of river Bhargabi .this painting is also done in Paralakhemundi, Chikiti and Sonepur.Pattachitra paintings are done by the artists known as Chitrakaras and they reside near temple areas of Puri.These artists use the titles Mohapatras, Maharanas, Sahoo and Swains with their names. This art is passed on to the next generation by the head of the family. Painting Process CanvasPreparation : The Process of painting Pattachitrastarts with preparation of canvas. Traditionally, cotton canvas was used; now, cotton and silk canvas are being used to makethese paintings. Cotton fabric is dipped in a solution of powdered tamarind seeds and water for 4-5 days.
1 VOL. 5/No.10/February/2018
The cloth is then taken out from this solution and dried in sun.After the fabric dries, a paste of chalk powder, tamarind and gum is applied on both side of the layered fabric and isdried in sun.Khaddar stone is rubbed several times on the canvas in order to smoothen it, this is followed by rubbing smooth surfaced stone to introduce shine. Preparation of Color : In earlier times the colours were extracted from natural source. Most commonly used colours were black, white, yellow and red. The process to prepare these natural colours was very elaborate and tough.Now these colours are prepared by using variety of stones and chemicals available in the market. Different shades of colors are made by mixing the existing primary colors, like, red mixed with white gives pink. In case the colors dry in the coconut shell then water is mixed in the color and it is reused. Painting Process: Immense patience, hard work and skilled craftsmanship is required to make Pattachitra paintings.Borders are an integral part of these paintings and are drawn first on the canvas on all the four sides consisting of two or three lines according to the size. Then the outlines of the figure are drawn with a sharp tip pencil. Next stage is to colour the body followed by coloring the attire of the figure. In the final stage black colour is used to outline the figure. Tools Used: The tools used in the process of painting are brush, locally known as tuli, container, earthen pot, etc. Brushes used to apply paint fabric are of different sizes and are made by tufts of hair tied together to the ends of bamboo twins with the help of thread. Over the knot liquid lac is applied to bind it firmly. The soft quality of brushes is made by rat and squirrel hair coarse and hard brushes are made by buffalo-hair. Bamboo tube container called Baunsanali is used to keep the brushes during the painting. Coconut shell called Sadhei is generally used as container for mixing colours. Popular Themes: The main themes of Pattachitra paintings have always been inspired by Lord Jagannath and the Vaishnava sect. Many Pattachitra paintings are amazing representations of stories of Lord Jagannath and Radha-Krishna, the ten incarnations of Vishnu, episodes from the Ramayana, the Mahabharata, Krishna Lila, Jain and Buddhist scriptures.The figures in an original Pattachitraischaracterised by long beak-like noses, prominent chin and elongated eyes as may be seen in Figure 1, 2 and 3. Some important themes of Pattachitra paintings are as follows: ThiaBadhia - Depects the temple of Jagannath; Krishna Lila - Enactment of Jagannath as Lord Krishna displaying his powers as a child; Dasabatara Patti - The ten incarnations of Lord Vishnu; Panchamukhi - Depiction of Lord Ganesh as a five-headed deity.
2 VOL. 5/No.10/February/2018
Fig. 1
Fig. 2
Fig. 3
3 VOL. 5/No.10/February/2018
Today, handicraft items are an integral part of Odisha‟s rich cultural heritage and the patta painting has been recognized as one of the popular art form with distinctive colourful designs.These paintings has a great potential in the international market because of its traditional aesthetic sensibility and authenticity. It is in much demand in countries such as Australia, UK and USA. This ancient art is being revived substantially to suit the requirements of the modern times. For this new variety of products have been introduced are in the market like bookmarks, greeting cards, folders, decorative pieces and many more articles to reach maximum people. References and Notes 1. Mahapatra, T. Patachitra an Indigenous Technique, Orissa Review, 2005 2. Folk Painting and linearity of Orissa: A profile of patachitras, p 13 3. Pathy, D. Essence of Orissa Painting, Harman Publishing House, New Delhi: 2001, p.81-84 4. SreenandaPalit&DibyenduBikashDatta,Transformation from Performative Art to Demonstrative Art: A Survival strategy for Patachitra, Asian Journal of Multidisciplinary Studies, February 2016 5. www.orissaart.com 6. www.patachitrapaintlngs.com 7. http://www.craftmark.org/ 8. http://shop.gaatha.com/Buy-Pattachitra-Painting-Orissa-8
4 VOL. 5/No.10/February/2018
National Seminar on Contribution of Folk Traditions to Indian Culture Dr. Sarmistha De Basu Independent Researcher Former Post Doctoral Fellow, ICSSR Former Research Scholar: The Asiatic Society, Kolkata
Abstract The main dance form of the state of Assam is Bihu. According to social and economic condition there are different kinds of Bihu dance in Assam within different social structure. Mainly this is the dance of celebrating the festival of Harvesting and related to the chain of festivals in north-east and south- east Asia related to fertility and harvest season. Here in this paper I am trying to find out the difference of the same dance form in different cultural background. Cachar is the southernmost district of Assam. The culture of Cachar is different and so its dance form. Mainly Bengali culture is dominating here. „Dhamail‟ and „Pata‟ dance is the main dance form of Cachar. Here we can find the form of „Bau Nach‟ or bridal dance from which we can find out the remote and almost forgotten social history of Bengali culture of this area. They have separate art of cooking and dressing. There are various social and economic conditions of the local folk to celebrate the Bihu festival in a typical ritualistic condition. The difference in cultural status of upper and lower Assam also forms a variation in celebrating „Rangali Bihu‟ with dance and music. Bihu is a national festival also. Apart from its rituals, beliefs and magic the particular dance itself is a unique representation of Indian cultural heritage. Bihu dance is usually performed in Rangali Bihu in the month of April or Bohag. It has particular symbolism to worship nature and the fertility cult. Nature and worship, ritual and dance, observation and faith, belief and magic all are perfectly blend in this folk dance. This dance is mainly performed by the peasants in their paddy field. They wear new dresses; strictly follow vegetarian diet for the whole month. There are other two Bihu festivals in other months of the year, Kati Bihu and Magh Bihu but there is not any ritual of dace in those festivals. Whereas Dhamail is the dance of the women and they perform it in every occasion when all the women can meet and celebrate. The general women perform it in the time of fetching water from river or pond, in marriages, birthday ceremony, naming ceremony, Upanayan or baptism like ceremony and in every family gathering. The songs are sung by the females only. In Cachar the males also perform Raybenshe dance in marriages and family gathering.
5 VOL. 5/No.10/February/2018
The performers are common people and generally practice these forms from their own interest. They generally dress their casual wear but there are professional variations also at the time of performance. In my paper I can discuss these socio-economical references on the mentioned dance forms. In this twenty first century also social position is controlling economic status and economic status effects on social status of the people of India. Introduction to the Dance form of Barak Valley, Cachar Region To introduce the folk dances of Bark Valley of Assam (Cachar district) and Assam, I have to say first about the aboriginal people of these areas. The dances are the earliest or primary expression of mankind to their emotions. Without knowing the societal context and the economic background from which the indigenous people develop their dance forms through a long journey of evolution, we could not evaluate their cultural background. Culture, Public life and socio-economic background of Dhamail and Bau Naach Cachar district was included with Assam in 1911 with two other districts Sri Hatta and Goalpara. Srihatta or Sylhet and Cachar were united as Surma valley and both were completing to other in language, culture, literature, politics etc. Silchar is the main city of this district. Hilakandi and Karimganje are modern towns mainly based on colony areas for the Hindu refugees after independence and division of our country. These Bengali peoples are neglected by the rest of the country and forgotten by the people of Bangladesh also. These people are originated from the Arians from East Bengal who wanted to spread their agriculture here but couldn‟t go further north for the mountain barrier on the north-east and west frontier area. In 11th and 12th century Sri Hatta was the main independent kingdom of this valley. In 10th century this kingdom was a part (Mandal) of the ancient Poundra Vardhan sub division. We can get the ancient copper plates where history was kept silently in Nidhanpur copper plate of the king Bhaskar Verma of Kamrup; Kalapur copper plate of Samanta Marundanath, Pashchimbhag Copper plate of the King Sri Candra of Banga Harikel, the first Copper Plate of Bhatera by King Govinda Keshabdeb Sri Hatta and the second Copper plate of Bhatera by Ishan Deb the successor of the same family. The Barak Valley was the part of Samatat, Kaamrup, Harikel and Banga from 5th to 10th CE. The entire Surma valley was very near to sea as the eastern part was under sea level in about 1000BCE. In general Bengali people are anthropologically grown up with three mixed group of primitive races, as, pre Austroloid or „Kolid‟, Egiptian-Asian or Melanid and Alpain; but there are some mixture of Mongoloid, Negritude, Nordic and Indic too in a very limited quantity and in some specific zones. On the basis of the „Bangladesher Itihaas (Adi parba)‟ of Niharranjan Ray and „Kiarta-
6 VOL. 5/No.10/February/2018
Jana-Kriti‟ of Suniti Kumar Chatterjee there was a huge Mongolian influence on the indigenous people of Barak Valley area can be noticed by the anthropologists. These Burmese Mongoloids from the north came to central and Suthern Burma and then to Assam and Eastern India and mixed with Aryan speaking communities. In some case the Austric speech has triumphed over Sino-Tibetan, the case of the Khasi is in point. The Tibeto Burman speakers in the Khasi and Jayantia Hills and of the plains of Sylhet, setting among the Austric speakers originally adopted their language and culture gradually and produce a mix culture. Therefore the Coch, Rava, Cachari, Garo, lalung, Mikir, Hazang all the indigenous people are basically Austro-Mongoloid in their language and culture. Evidences of the Mixed Cultural Heritage of the Region In their dances and songs we can find the evidences of their mixed cultural heritage. Before Aryan invasion we can notice the presence of matrilineal civilization among the indigenous people of Barak valley area, in Sylhet and Cachar. Peoples adopted the process of harvesting by tilling the field from the Aryans, but they know their ancient process of „Jum‟ harvesting till now. Among some ancient rituals they still follow Savitri Vrata (vow), where we can find the worship of the dead for turning back the soul to his life, myth of getting life of dead vegetation. The dead gods of Savitri and Satyaban, Behula and Lakhindar, in the myth of Osiris and Isis of Egypt, Tammuz and Ether of Sumerian and Babylonian myth, Demeter and Parsippany‟s myth from Greek legends, whoever get back their life again by resurrection are all vegetation spirit or corn spirit. They personified as god who died and rose again. It is symbolic with the regular death of vegetations and the rebirth of the dead plants after a long winter or after harvesting season. Matrilineal features of the social structure It reveals that all the ritual dances, songs, wedding songs, festive dances, all kinds of women rituals are the symbols of matrilineal features of the social structure which the people of Barak valley follow till today are very lively. The women folk are very open minded. In other part of country where dancing of women after marriage is strictly prohibited the women of Barak valley get their first entrance in their husband‟s house by showing their dance performance successfully. From their childhood they become used to for performing folk dances in every rituals and ceremonies in-house or out-house. From five year old they regularly practice their rituals and vows like Maghmadal Vrata. The ritual is for fulfilling and observing the fertility cult if though now a days they are forced to pray for their ideal husband and after marital happiness. After finishing their observation of this vow or ritual all the women go to the nearest pond or river to sacrifice some clay balls (deuls) representing their prayers. At this time they must go by dancing and singing. This dance is called Dhamail.
7 VOL. 5/No.10/February/2018
When a girl get married before entering her new home she must perform Bau Naach in front of all the women of her husband‟s family and specially she must win the passport from her mother-in-law by proving herself better than her performance. In the vow of Surya worship, Marriage ceremony, the Hindu ritual of a child‟s testing rice for the first time and in other rituals the women should perform Dhamail. The first ritual of marriage ceremony starts with Pan Kheli in this region. Here we can see the mother of groom and bride both dance before their local god in their local temple with a plate holding on their head having two silver conical cup of betel leave after putting betel nut, catechu, lime etc. by holding the cups with long silver sticks. This dance is mandatory otherwise the future generation will be physically disabled. The little girl who performed the dance at the time of sacrifice Deul she must perform the dance of Pan kheli, otherwise the future generation will be physically handicapped. Therefore dance is not a mere entertainment for the people of Cachar or Barak valley, it is their necessity. So all the females of this region are born dancer and free minded. In society people respect the ladies; there is no dowry system in their marriage. The social and economical rights are equal between sons and daughters. Various socio-economical Influences The main source of income of this region is trade through sea and river Brahmaputra. From ancient time they are mainly traders. Therefore their folk tradition is enriched with rituals and ceremonies based on water – they celebrate rowing, worship of goddess Manasa, Surya Vrata or ritual on worshipping Sun god, Maghmadal Vrata or worshipping natural eco system. So this region received the Aryan influence after long distance of time. The Aryanization affect their agriculture, trade and commerce, culture and in every mode of livelihood. Brahman culture grasped the local folk tradition, which turned up towards Tantric culture, Shakta influence, Vaishnava influence and Sufi religious structure and so on. The main feature of the culture of Barak valley is Bengali language and culture, which was the main source from the ancient time though this region is far remote than proper Bengal. Their folk songs, dance and drama all are based on regional variation of Bengali language. In 16th century the local Dimasa kings also offered the honour of court language to Bengali. We can found the old heritage of Bengali beliefs, rituals and culture in the culture of Barak Surma valley of Cachar district. Variations of folk dances of Barak valley The folk dances of Barak valley are three types, a) Work dance for particular work, b) Social group dance, c) Dance based on trade. We can classify the social group dance in three parts like, folk, religious and applied.
8 VOL. 5/No.10/February/2018
In the first group we can find Charak Dance, Ojha Dance, Rakhalar Ai, Nauka tanar Nach or Rowing Dance etc. These performers are basically worker by profession. The dances are mainly practiced among the limited groups through their generation by generation. Some dance form get popularised among them and now practiced by general mass throughout the country; such as, Charak, Ojha etc. In the second group the dance performers have no limitations to practice in their castes only or by maintaining high ranking through economic or social status. These dances help to build up unity among all castes and creeds of the society. These dances are ceremonial in the occasions of birth, wedding, first rice ceremony of a baby, land worship, lighting Akash Pradip or a ceremonial light towards forefathers in higher place from land or to kill the harmful insects for the paddy in the month of September-October, the ceremony of first entrance of newly built house, ceremony of making new boat, ploughing the field, hosting flag, finalising the deal of marriage, welcoming newly married bride to her new family and many other rituals. These rituals are observed for various gods and goddesses as god bathing, god of rain, god as age old tree etc. the dance forms are Dhamail, Badhu Baran, Nauka tanar nach or rowing of boat, Dance to offer Deul or concentrated clay in the water body, revolving the umbrella etc. on folk rituals. In this second group there are some religious dances also; such as, ritual dance of Charak (the festival of rising of Chaŕak tree or a full grown stem of the Shāl tree on the ground by entering it into the earth. It is symbolic ceremony as fertilization of earth. The worshippers sacrifice their body by piercing, beating, burning and starving for the better harvest in the next year. The festival is celebrated on the last day of a Bengali year), Fire dance, Kali dance, various dances to prevent the effect of the evil spirits or ghosts etc. These dances are mainly based on general magic beliefs. There are dances on applied field of work culture in the village area. These are mainly the media to show their amusement or happiness in the break period. Those are like the dance during the time of building the waterproof roof of the village house, dance during the period of harvesting, husking, and enjoying the holiday period etc. Except those dances there are other types of dances which are performed as to promote trades, or to income money, for only entertain others. There is no particular time or period to perform these dances. Some other types of dances practiced in this region are social ceremonial dance which are performed against honorarium but the subjects are chosen from ritualistic or war dances. These are like, Kathi Nacch (Stick dance), Dhaki Naach (dance with an instrument of percussion called Dhak), Angadaani, Ojha, Song or a farce etc.
9 VOL. 5/No.10/February/2018
These various types of dances have their different social background but all are originated in Barak valley. Except some dance form like Charak, Ojha, Husking of rice seed etc. which are found in other part of Bengal also, the special dance forms of Barak valley are Dhamail, Bau Naach, Angadaani, Rakhalar Ayi, Deul Bhasano naach, Chata ghoraano, Nauka taanaa etc. The other general dances have also their own special feature in this region. The main ritual of the ritualistic dances of this region is Sun worshipping and in consequence of the fertility cult is the main basis of these ancient Austric beliefs. Women are the main priest of religious sacrifice in these rituals or vows. Even after forcing the religious rites of Brahmans of worshipping Vishnu or Shalgram by them only, without women none can hold the flag of Lord Surya during the rally with singing and dancing. The Boat rowing dance is also a group dance by the women. Boat is the symbol of prosperity and welfare. This is a secular dancing procession by the woman folk. All the people irrespective of rich and poor, high and low caste, Hindu and Muslims all join to this great programme of worshipping boat and enjoy the beautiful procession with a beautiful fair throughout the way of the procession. Dhamail is a kind of amusement dance and song by women. This was very famous and the society became united and well constructed with this by the women before our independence and partition of the country. In any type of social function the women must dance and sing the Dhamail which was a symbol of unity and inner power of peace and prosperity of the society. Partition broke away the power; the regularity of their practice had been disrupted. After that it became unpopular. Now within their society the urge has been recovered to preserve this dance form by practicing regularly. Sri Mukunda Das Bhattacharya [researcher on Dhamail] worked hard to revive their consciousness. Basically it is derived from the aboriginal people of this area and within lower economical background the popularity and variety is significant. Within the upper caste or higher economy group the practice was sustained but in a sublime manner. In their social occasions the lower caste women came to their house to celebrate with their songs and dances but the upper class women didn‟t follow all the varieties in their own in-house practice. In modern period people are alert of their dignity and do not bother much about their heritage. They became happy with their own earning and commercial ready to consume amusement. They are not bothered to dance for other people against some food and new cloths only. There is special floral design or Alpana they use to decorate the place where they offer worship to Lord Surya. From early morning to evening they prepare the new rice from the newly harvested paddy by threshing, husking and then grinding it to make the offerings. The women worshippers dance the Dhamail together during the day when they
10 VOL. 5/No.10/February/2018
offer towards their lord. Otherwise in all religious and social functions Dhamail is the main entertainment in this area among the women folk. This type of dance is popular among the tribal culture in all over India. Here we can find the women or men and women both or only men perform this type of ritual dances in same type of manner to enhance their fertility. Most of the rituals are for Sun god. Such as, Kaikettikali of Kerala, Thirubhadirakali dance on the Thrubhadila festival of Kerala, Garba of Gujrat, Raag dance of Sourashtra in Gujrat, Kummi dance of Tamilnadu and its variation is Kolattam. All are group dances, round wise moving from left to right with clapping in hands and using alternate feet. Introduction to Bihu Now I shall discuss about Bihu dance of Assam. Bihu is a secular ritual of fertility cult practiced among the lower caste Hindus, aboriginal tribal people and among the farmers. This ritual is full of social duties for land, cattle animal and human welfare and observed in three parts in the three seasons and in three types of ways. Only among the Bohag Bihu which is observed in the month of April [Baishakh in Bengali] we can find the Bihu dance to perform everywhere in Assam. This ritual is not religious but secular, as it is based on fertility cult of the tribal people who mainly depends upon farming. Here Muslims also take part in Bihu ritual and dance. There is no process of worshipping to follow but some strict rules – such as the time of observing three Bihus [Bahag Bihu = Vernal Equinox or Chaita Samkranti, Kati Bihu = Kartik Samkranti (end of the month) or Autumnal Equinox and Magh Bihu = the winter solstice]; no cooking on those days, taking care of the domestic animals, testing the special kind of home-made sweet pie, to smear the paste of turmeric and pulses in whole body, to smear or dab the same thing to the cattles also, special dinner for those days, dancing on the open field in Bahag Bihu, firing out the straw hut in the Magh Bihu etc. The every ritual has a significant magic belief and the every magic is related to fertility cult. Therefore the word „Bihu‟ is very significant. Source of the Name ‘Bihu’ Sri Prafulladatta Goswami in his „Springtime Bihu‟ said (pg. 7-8) that, “Vishuvan denotes in the Atharva Veda and later the middle day in Sattra or Sacrificial session of a year‟s duration. The Aitareya Brahmana refers to rites observed on this important day. Those who observed this day‟s performance (during the year) obtain (enjoyment of the) year.‟ The rites were meant to control the movement of the sun and thus secure reproduction” – (the fruit of) those seeds which are produced after ten months or a year.” Bihu now means not only the two equinoxes; it has also come to signify winter solstice.” Sri Bijay Bhushan Ghosh Chaudhury also admits that in his „Assam Prasanga”. Sri Prafulladatta Goswami in his other book „Folk Literature of Assam‟ said that, the meaning of the
11 VOL. 5/No.10/February/2018
word „Bihu‟ is „festival‟. As he describe that Rangali Bihu is the festival of unity, Kati Bihu is the festival of gesture and the Magh Bihu is the festival of enjoyment. The general people of Assam do not agree with this kind of opinion. They strictly believe that Bihu festival cannot be derived by any Arynization. This is an ancient culture which has been followed by the aboriginal people following their heredity. This same festival has been followed by all the indigenous people of entire north east Indian states, Sylhet, Kacgar of northern part of Bangladesh and the Chakmas, Myanmar, Ladakh, Indonesia, Sumatra, Java, Bali, southern part of China – it can be said that entire North-Eastern Himalayan Valley. This is a very ancient heritage of the Mongolian indigenous people of the belt, which have different name is different part of this belt. This festival is not related to vernal Equinox and the winter solstice because this vast region is not under the same time zone. From when the agriculture began in these regions the people used to celebrate this festival as the time of sowing, plantation, harvesting etc. These rituals and festivals are entirely related to agriculture and for the magic belief to protect the seeds, to fertile the land. They don‟t believe that „Bihu‟ derived from „Bishu‟, but they believe that Sun is a vital matter for agricultural growth and development. The main source of the festival is not Sun but the local beliefs. From the ancient age people believe in imitative magic. Whenever they want something from nature they generally imitate the act and this is their belief that nature return their act by revert imitation. Therefore by dancing, playing, singing they mere try to imitate the natural act of creation and by following the sacrifices and rituals they usually try to concentrate upon their acts. Therefore the Rangali Bihu becomes a festival of spring though the time of observing this festival is just the first day of the Assamese New Year. In every countries related to this festival wherever they observe this they observe it in their own regional new year. With this festival a new agricultural year began with the end of old calendar year, it is a natural circle of vegetation in nature. The famous dancer and the retired director of Cultural Affairs Sri Ananda Mohan Bhagabati commented in his book, „Samskriti Malika‟ that, Bihu is a festival of the farmers. Its believed by the Boros that Bihu is the festival of give and take between human and nature. The Mising, Darang, Rabha, Maraan tribal of Assam have their own explanation about the name „Bihu‟. All say that this is an imitating magic. The Source of Bihu Dance Boro, Luchai, Garo, Miri, Chagar and other tribes are mainly from Tibeto-Burmese or Mongoloid group. The folk dances relating to farming of the Garo are very beautiful, as Wanggala and Rangchula. Boro have the same festival by which they pray for better harvesting and growing of crops called Kherai. Same festival are enjoyed by the Khasi, Mikir, Rengma, Panga and Lakher on the same time and manner, the Punang dance of the tribal people is very beautiful and related to fertility
12 VOL. 5/No.10/February/2018
cult. The dance form of Rangali Bihu is found here in various local variations in the same time and with same type of rituals. The Assamese tribes are all from Mongolian groups and their origins are linked with the indigenous people of South East Asian Countries. Therefore we can notice that the culture, food habit, dress senses, ornaments and rituals are also the same. The same kind of Mongolian festival is „Tangcha‟, where they use same kind of instruments like Bihu, such as gaganaa, takaa made of Bamboo, pepaa, flute etc. The „tharkaa‟ of Bodo and the „takaa‟ of the Assamese Bihu are the same instrument. Therefore it can be concluded that though the word „Bihu‟ is originated from „Bishub‟ but it has a contextual similarities with „Baishagu‟ or „Baihagu‟ of the Bodo group. There are opinions like „Bihu‟ is derived from „bi-hou‟ of the Bodo or from „baikhu‟ of the Rava. In Bodo language Bihu means „Binanai Hukhang‟ = bi + hu = bihu; to achieve something by prayer or through fetching it out and restore it for future. Bihu Dance and Bihu Festival Bihu dance and Bihu festival is same in the sense both are originated from the same magical belief and both are related with each other. Bihu festival has been observed for three times in a year but Bihu Dance has been performed in only Bahaag or Rangali Bihu. This is a festival of celebrating new year and also to worshipping land and cow for improvement of fertility; with this in Manuh Bihu the young girls and boys dance on the necked field with some symbolic gestures with the prayer for fertilization for nature and animal, better friendship, prosperity and revival of new life. Therefore this is the national festival of Assamese. With Bihu dance, newly weaved „gamocha‟ and betel leaf and betel nut they welcome all kind of giests in their home in the time of Rangali Bihu. The Bihu dance form is unique with fully bended waist, revolving the middle part of the body the step hardly their foot on ground. They dance like the tree movement in wind blowing with forward and backward step and movement of their hand are symbolic with the movement of the leaves. Except that we can find the gesture of intercourse in the dance. The boys dance to attract the girls and the girls dance for to create attraction for the boys. We can find the Bidu dance abruptly in lower Assam before the year 1960, but in upper Assam this festival is originated among the tribal aborigines long before with the development of civilization. In lower Assam people generally worship bamboo plants. Some acrobatically dance forms they perform in this occasion called „kharmaari nachaa‟. With every different beats of „dhol‟ (kind of drum) the dance forms and styles of Bihu has been changed. There are various types of „cheo‟ or rhythm they has in their dhol beat; such as „nachni cheo‟, khara cheo‟, dighali cheo‟, „adarani cheo‟ etc. among all these cheo most beautiful and various
13 VOL. 5/No.10/February/2018
forms we can find in „kachaari cheo‟ and „buḍha cheo‟. We cannot find these cheo normally; only in the houses of mukhiyas or murubbi (village head) they can arrange the dance form by special Bihu dancers. But these forms are generally mixed product of different forms. We can find fine and original Bihu in Sibsagar only and Huccauri in lakhimpur, Shibsagar, Naugaon and Darang only. Otherwise we can find mixed form of Bihu in entire Assam. After 1960 when in Guahati this folk form became the item dance to show on stage many other dance forms included by the dancers and choreographers to enhance its attraction. Hussouri Mainly Bihu is a ritualistic dance and Hussouri/Huchari is a ritual of Bihu which is must in the first seven day after the beginning of the festival. As the Deuri tribe don‟t start Bihu without Bihu worship and Huchari in their Namghar in the morning and the end is also celebrated in their temple or namghar with Huchari. This ritual is connected with the influence of Vaishnavisation. Huchari means the blessings received from the community. Dr. Prafulladatta Goswami explained it is Hari ucchari, after taking the name of Hari (crying Hari) while Dimasa Kacharis of northern Cachar use the term Huchari and explain it to moving over land. It was a traditional dance of the Mongolian tribes of North east India, Myanmar and South East Asian countries. They usually dance for fertility of land from the Manuh Bihu. They usually go with a group of dancers mainly males to the house of village head and show their joy and festive mood to him and after that call the participants from every home. With betel leaf and betel nut and gamosa or hand woven new cloth they felicitate their chief and welcome him in this festival. They dance by stumping hard on ground and in their language Huchari menace to dance by stumping the land. This ritual was not much popularized before Shankardev in nineteenth century popularized the Vaishnav religion among the Assamese. He took this ritual as his way of popularization by taking the name of Hari and makes it Samrirtan or special type of dance and song performance by a group to call Lord Vishnu as Hari. By taking His name they organize the mass. From then it became must as religious part of Bihu and the procession starts from Naamghar or the open temple or room of Lord Vishnu. In north Assam the women performed Huchari at night. It was there ritual. From 20th century when the Bihu conferences have started to arrange the women started to dance Bihu as performance. From this time Bihu and Huchari merged together on stage. Conclusion Bihu dance has to sacrifice much for its up-liftment from road to court of the king and then to public stage. Society hated it with its sense of conservativeness, but it didn‟t leave a chance to humiliate the lower caste people. This dance form is magical form to call the rain for fertility. There are many such tribal groups have the similar type of ritualistic magic dance form. In present day this
14 VOL. 5/No.10/February/2018
magic and ritual could not be found in the dance functions. They eat the special sweet pie made of Badah rice and drink the rice bear till now. From Ahom period we can found the form in Bihu dance to please Lord Shiva. Ahoms were worshipper of Shiva and some of them are followers of Lord Buddha. Their local god Chomdev transformed into Lord Vishnu or Shalgram Shila and Langcuri became Lord Shiva. Various Gods also worshipped by them and in this way local religious belief was influenced by Hindu and Buddhist gods and goddesses. Reference and Notes 1. Barua, Kanaklal. “Studies in the Early History of Assam”. Compiled and Edited by Maheswar Neog, Assam Sahitya Sabha, 1973, Assam 2. Bezbarua, Lakshminath. “The Religion of Love and Devotion: Four Lectures on Bhakti Movement of India”. Assam Sahitya Sabha, 1968, Jorhat. 3. Choudhury, Sujit. “Folklore and History: A Study of Hindu Folk cults of the Barak Valley of Norheast India”, K K Publisher, New Delhi. 4. Chatterji, Suniti. “Kirata-Jana-Kriti” (The Indo-Mongoloids: Their Contribution to the History and Culture of India). Asiatic Society, 1974, Kolkata. 5. Goswami, Prafulladatta. “Bihu Songs of Assam”. Lawyers Book Stall, 1957, Gauhati. 6. Goswami, Prafulladatta. “The Springtime Bihu of Assam: A Socio-Cultural Study”. Gauhati, 1966, Assam. 7. Goswami, Prafulladatta. “Folk Literature of Assam: An Introductory Survey”. Department of Historical & Antiquarian Studies in Assam, 1954, Gauhati. 8. Bhagabati, Anadamohan.”Samskriti Malika”. Manikut Prakash, 1988, Gauhati. 9. Bhattacharya, Mukundadas. “Barak Upatyakar Loknritya: Gramin Nrityakala”. 1995, Silchar, Assam.
15 VOL. 5/No.10/February/2018
Role of Folk Traditions to Attract Tourism in India Dr. Aruna Singh Assistant Professor, Shri Radha Vallabh College of Education, Gwalior (M.P), India
Abstract Our folk traditions are the pivotal point of India‟s cultural diversity. Exploration of Indian culture and its various cultural sites had always been travellers favorite. India is the land of immeasurable diversities which offers unique opportunity of culture exploration. The concept of unity in diversity is omnipresent in religions, traditions, cultures, customs and languages practiced by people from various states. Indian travel and tourism sector generated Rs 14.1 trillion in year 2016, which is world‟s 7th largest in terms of absolute size and equivalent to 9.6% of India‟s GDP. Indian governmentcampaign of Incredible India has boosted nation‟s image at international stage. Folk culture tourism also aid in providing job opportunities by community skill empowerment. Folk tourism in India apparently has a great potential because of its traditional aesthetic sensibility and authenticity. Cultural entrepreneurship is one area which needs to be developed by Indian government. Some of the cultural entrepreneurship areas could be fairs, heritage walk, heritage trails, cultural workshops and developing rural home stays. Key Words Folk traditions, folk culture, culture tourism, cultural heritage andcultural entrepreneurship Introduction Tourism is an important activity for a country. It is not only a source of revenue generation but also showcases the country values, ethos and traditions.Tourism is economically important for India also and as a sector it is growing rapidly. As per Min. of Tourism, India received 23.3 million foreign and domestic tourists in 2016[1]. The World Travel & Tourism Council calculated that tourism generated 14.02 lakh crore (US$210 billion) or 9.6% of the nation's GDP in 2016 and supported 40.343 million jobs, 9.3% of its total employment [1]. As per the Travel and Tourism Competitiveness Report for the year 2017, India ranked 40thout of 136 countries in attracting the tourists and promoting tourism as a sector[2].Cultural tourism is an important part of tourism and it generates major share of overall revenues generated by tourism sector. Indian folk traditions and folk culture has played momentous part in promoting cultural tourism. There are 36 World Heritage Sites in India that are recognised by the United Nations Educational, Scientific and Cultural
16 VOL. 5/No.10/February/2018
Organization (UNESCO) as of August 2017[3].These are places of importance of cultural or natural heritage as described in the UNESCO World Heritage Convention, established in 1972 [3]. Folk can be in very simple form defined as a small homogenoussocial group having common traits, who express their shared identity through distinctive traditions. Folk culture is traditionally practiced by such groups generally in rural area. The word culture has been derived from Latin word „cultura‟, meaning cultivation. Somewhere in the 19th century and thereafter, the term finally evolved and started being termed for referring betterment or refinement of the society and, subsequently to fulfilment of national ideals or aspirations. Culture is always transmitted by the society not by an individual.When referring to a country‟s folk culture, it‟sall about referring to its various art forms practiced by the folks. It could befolk dance, folk music and folklore, folk tales, folk craft and folk culture food related to them. Tradition is the passing down of statements, beliefs, legends, customs, information, etc., from generation to generation, especially by word of mouth or by practice. Through traditions the current generation gets the chance to re-connect with the beliefs of the past. Traditions do not remain same forever. Passing down of various form of folk arts, folk dance, folk music, folk medicines, folk diety worship, etc is folk tradition. It is all about the way the something or some activity had been continued to be done or performed. Folk traditions have played an important role in attracting both domestic and foreign tourism in India. Foreign tourist comes to India to have a glimpse of heritage sites like Tajmahal, FatehpurSekri, Khajuraho temples, etc., observe Indian traditions of celebrating festivals like Holi, Deepawali, Rakshabandhan, etc. and various other religious practices other than site seeing. Whereas, the domestic tourists also find the traditions of different areas very enchanting and mysterious Objective The objective of the study work is to review thevarious types of folk traditions of India and to ascertain how folk traditions are giving boost to tourism. Review of Folk Traditions of India Different parts of the Indian mainland have different folk traditions. These folk traditions are linked to their folk culture and habits. The folk traditions and folk culture practiced in northern, western, eastern and southern part of India are totally distinct. Each of these regions further has area specific folk traditions and folk culture. For example in Kashmir the Kashmiri people has a tradition of performing special ritual dance called „Kud‟ in the praises of lok devatas, Kashmiri men and women from Wattal region perform famous dance „Dumhal‟and„Rouff‟, Jodhpuri „Ghoomar‟ dance and Jaisalmeri dance „Kalbeliya‟ have gained international recognition. Likewise each of the Indian
17 VOL. 5/No.10/February/2018
mainland regions has its own folk tradition and folk culture. Some of the prominent folk cultures of India attracting tourism are as listed. Folk Festivals Not only domestic but foreign tourist also wants to witness and be part of India‟s some of the vibrant and colourful festivals. The most sought after festivals are Kumbh Mela at Prayag in Uttar Pradesh, Haridwar in Uttrakhand, Ujjain in Madhya Pradesh and Nasik in Maharashtra, Holi of Nandgaon and Banaras, Janmasthami of Mathura and Vrindavan of Uttar Pradesh, Durga Puja of West Bengal, Deepawali, Pushker Camel festivel in Pushker Rajasthan, Taj Mahotsav Agra, Dandiya and International Kite festival in Gujrat, Kerala‟s temple festivals, International Yoga Festival in Rishikesh, etc. Folk Art and Craft Indian art and craft is yet another area where tourists have keen interest. Art and culture in India is classified in various periods where each period is related to particular cultural development. Some of the prominent examples are Surajkund International Craft Mela, Government initiatives like “Export Emporium‟ and “Delhi Hatt‟,Madhubani, Kalamkari and Mithali art, Tanjore and Thanjavur paintings, China clay Potery of Khurja Uttar Pradesh, wooden furniture work of Assam and other northeast states. Folk Dance Indian folk dances have high catchy tunes and speed rhythm which even forces even foreign tourists to shake their legs. Some of the folk and tribal dance practiced in various parts of India are devotional folk dances e.g. Dhamali dance of Jammu & Kashmir, Chham and Chhanak dance of Ladakh, Karagram dance of Kerala, social folk dances e.g. DandiyaRaas and Garbha of Gujarati, DhunuchiNritya of West Bengal, Corridinho dance of Goa, Lavani dance of Maharashtra, Chrew dance of Mizoram, agricultural folk dances e.g. Rouf of Jammu & Kashmir, Nabanna dance of West Bengal, Lambadi dance of Andhra Pradesh, Bihu dance of Assam, Bhangra of Punjab, Tonyamel dance of Goa, seasonal folk dances e.g. Giddah and Teeyan of Punjab, Bhadu dance of West Bengal, Thiruvathirakali of Kerala and community folk dances e.g. RajasthaniKalbelia, Kachchi-ghodi and fire dance, Koli dance of Maharashtra, etc. Folk Music Each country has its own type of music which is loved by their countrymen. Likewise, India also has a variety of folk music to classical notes. It has wide variety of traditional style. Various forms of regional folk music are so soothing to ears that one gets mesmerized hearing them. A few of the examples are devotional folk songs like West Bengal‟s BaulSangeet and ShyamaSangeet,
18 VOL. 5/No.10/February/2018
Rajasthani Krishna Bhajans, Kerala‟s Sopana music, social folk songs like West Bengal‟s Baromashya, Kavigaan and Bair, RajasthaniPanihari, Bihar‟s Ropnigeet and Katnigeet, community folk song of West Bengal called Bhatiyali and songs by Manganiyar musicians in Rajasthan, etc. Folklore and Folk tales Folklore and folk tales are the stories and anecdote of real time incidents which are being narrated by elders form ages to younger generations. The main aim of such story telling is multifold which include making the younger generation aware about respective social group history and culture, to pass on the traditional heritage and imparting wisdom to younger generations. The Important storytelling traditions from India can be summarised as stories of Panchatantras, Hitopodeshas, JatakasTenali Rama, Akbar Birbal, regional stories related to the epics Ramayana and Mahabharata etc. These tales indirectly attracts tourists to physically see and feel the archeological sites and areas of historical significance, traditions, costumes, dances, festivals, music, art and craft glorified in the stories. For example the book Jungle Book by Rudyard Kripling incited may foreign travellers to visit India and experience the Indian topography. Folk Games Folk games not only domestic but foreign tourist also. A very apt example of Indian traditional sports attracting maximum tourist is „JalliKattu‟celebrated in Tamil Nadu as a part of „Pongal‟ festival celebration and „Snake Boat Race‟ of Kerala as part of Nehru trophy. Other folk games of India are Gatika (Sikh Martial Art), archery games of Meghalaya, Kho Kho, GilliDanda, PithooPhode and Kanchas, etc. Folk Pilgrimage Many tourists come to India looking for devotional and divine experience. While the foreign and domestic tourist visits devotional places like Haridwar, Rishikesh, Mathura, Ajmer, Bodh Gaya, the domestic tourist also visits folk pilgrimage sites associated to regional folk deities. Some of the folk pilgrim sites are Mansa Devi temple of Chandigarh, Karni Mata temple of Deshnoke Bikaner, GoluDevta temple of Uttarakhand, Ganga Jatara of Tirupati associated with the deity Gangamma, etc. Cultural Tourism Culture tourism can be defined as that form of tourism that focuses on the culture of a destination – heritage, arts, social customs, religious traditions, the life style, industries and the local population leisure pursuits [4]. Tourism is the second largest foreign exchange earner in India. In the tourism sector, cultural tourism is turning out to be one of the major revenue generators. It is slowly spinning transformation in the tourism sector and has established India as a brand. Folk tourism has also been identified as major role player in development and economic growth of the particular
19 VOL. 5/No.10/February/2018
region. Every region is identified with its folk dances, folk art, handicraft, fairs, music and its people. In year 2002, Government of India had started Incredible India campaign and promoted cultural tourism [5]. Since then, the cultural tourism has been the game changer in the Indian tourism scenario. Folk Traditions Giving Boost To Tourism Our folk traditions are the pivotal point of India‟s cultural diversity. A visit to India to explore Indian culture and its various cultural sites hadalways been travellers' favourite.According to a study around 90% of foreign traveller‟s visit India fascinated with its cultural diversity and with the wish to explore it further [6]. This cultural diversity exists in different forms such as history, archaeology, festivals, music, dance, art and craft, etc. It need no further emphasis that developed nations have been subservient to modern technology and their masses have somewhere got cut off from the historical traditions. It is matter of great mystery for them that know and see how Indian has nurtured their traditions, culture and customs. Tourists from across the globe come to India to experience Indian vibrant cultural mysteries of this holy land.As per World Travel and Tourism Council (WTTC) data, Indian travel and tourism sector generated Rs 14.1 trillion in 2016, which is world‟s 7th largest in terms of absolute size and equivalent to 9.6% of India‟s GDP[7]. In this revenue share, 94.6% of the total revenue accounts for leisure travel spending which are directly and indirectly related to cultural tourism activities [7]. Only 5.4% of the total revenue share amounted to business travel expenditure [7]. WTTC has estimated that the leisure travel spending is expected to grow by 7.0% pa to INR 25,391.1bn in year 2027 [7]. Conclusion Folk traditions and folk culture of India has helped the tourism industry to establish itself as major contributor in nations GDP. However, still it is largely an untapped segment in many states. Folk culture tourism also aidin providing job opportunities by community skill empowerment, Further, it is totally environment-friendly and is the means to promote India‟s image as a nation and our cultural heritage at international stage. Cultural entrepreneurship is one area which needs to be developed by Indian government. Some of the cultural entrepreneurship areas could be fairs, heritage walk, heritage trails, cultural workshops, developing rural homestays. References and Notes 1. https://en.wikipedia.org/wiki/Tourism_in_India 2. Anumeha Chaturvedi, ET Bureau, The Economic Times, Apr 04, 2017. 3. http://whc.unesco.org/en/statesparties/in 4. International Council on Monuments and Sites (ICOMOS) Charter for Cultural Tourism, Draft April 1997.
20 VOL. 5/No.10/February/2018
5. Min of Tourism, Govt of India, F. No.: 5-TP(60)/2007 Date June 7, 2011 6. http://www.transindiaholidays.com/blog/foreign-travellers-visit-india-just-to-explore-the- indian-culture.html 7. Travel & Tourism Economic Impact 2017 India, World Travel and Tourism Council, London SE1 0HR, United Kingdom, www. wttc.org, p.1, 3 & 6.
21 VOL. 5/No.10/February/2018
e/kqcuh fp=dyk esa yksd izrhdksa dk vadu Mk- bZ'oj pUn xqIrk fp=dyk foHkkx /keZ lekt egkfo|ky;] vyhx<+ m- iz-A
eq/kcuh fp=dyk dk bfrgkl vfr çkphu gSA le>k tkrk gS fd ;g yksd fp=dyk jkek;.k dky ls pyh vk jgh gSA ;g dyk lalkj dh yksd dyk esa çeq[k LFkku gS ;|kfi bu vkd`fr;kssa esa vuqikr jfgr gksrh gS fQj Hkh buds ihNs mudh çeq[k Hkkouk fNih jgrh gSA ogh Hkkouk mudh lkaLd`frd xfrfof/k;ksa ds fodkl esa lnSo fgrdj jgh gSA os vius dykRed xfr ls fo”o Hkj esa fo[;kr gSA eq/kcuh fp=dyk dh ijEijk dk “kqHkkjEHk eSfFky {ks= dh efgykvksa }kjk gqvkA fo”ks’k voljksa] mRloksa] R;ksgkjksa vkSj “kqHk fnuksa esa efgyk,sa ?kj ds vkaxu ckgj rFkk nsgjh vkfn dh fyikbZ iqrkbZ ds ckn rqfydk ds ek/;e ls lqanj fp=ksa lss vkyad`r djrh gSA blh yksd ijaijk ls eq/kcuh dyk dk tUe gqvkA ;g dyk fefFkyk ds xkaoks esa izkphu le; ls gksrh vk jgh gS bldk mnHko Hkh yksd thou ls tqMk gqvk gSA iqjk.kks dks vk/kkj ekudj nhokjksa rFkk diMsa dkxt ij dh tkus okyh dyk eq/kcuh dyk dgykbZ eq/kcuh dh yksd fp=dyk ogk¡ ds yksd dykdjksa us ijEijkxr rFkk ewy Hkwr :i esa viuh dyk dks lqjf{kr j[kk gSA
bl ijEijk esa vkt fefFkyk dh dykdj&fL=;ksa vius fp=ksa dk fo’k; eq[; :i ls vknZ”koknh jke dFkk vkSj vk/;kfRed d`’.k yhyk dks gh ekurs gS ;g lgt la;ksx gS fd bu dFkkvksa ds foLrkj esa brus vf/kd jkspd n`”; vkrs gS fd budh fofo/krkvksa dks fp=.k djus ds fy, ekuks ,d dykdj&L=h dk iqjk thou dkQh ugh gksxkA
e/kqcuh fp= fcgkj jkT; ds n”kHkaxk rFkk e/kqcuh ftyksa esa rduhdh :i ls dykRedrk ls Hkjh gqbZ gSA ftls vkt e/kqcuh vFkok fefFkyk ds uke ls tkuk tkrk gSA ;g dyk ijaijk ek¡ ls csfV;ksa esa ih 22 VOL. 5/No.10/February/2018 2] fHkfRr fp=.k ftls dksgcj dgk tkrk gSA Hkwfe fp=.k esa eq[; :i ls dksgcj vkrk gSA Hkwfe fp=.k dh ijaijk fefFkyk esa vfr izkphu gSa A ;g vkd`fr;ka bruh ljy gksrh gSa fd vklkuh ls i 3] iV fp=.k& Hkkjr esa iV fp=.k dh ijaijk vfr izkphu gS fefFkyk ds iMkslh ns”k usiky esa iV fp=.k ijaijk gS lEHkor% ;gha ls izHkkfor gksdj fefFkykapy esa Hkh iV fp=ksa vkSj dqMfyr fp=ks ¼Ldksy isfUVx½ çkjEHk gqbZ gksxhA 4] rakf=d fp=dyk& ;g dyk xq: f”k’; ijEijk ds vuqlkj ;g dyk vkxs c bl dksgcj d{k dk fo”ks’k /kkfeZd ,oa izrhdkRed egRo gksrs gS tks cgqr gh egRoiw.kZ ,oa ifo= ekus tkrs gSa ;g dksgcj fp= oSls rks ?kjksa ds ckgjh ,oa Hkhrjh nksuks nhokjks ij cuk, tkrs gSA ij ?kj ds vUn:uh Hkkxksa esa cuk, tkus okys vfHkdYi loksZRre ,oa lokZf/kd egRoiw.kZ gksrs gSA3 tgka nwYgk & nqYgu “kknh esa igyh ckj feyrs gSa ml d{k dks dksgcjdgrs gSa A bl dksgcj d{k esa fofHkUu izrhdksa dk lgkjk ysdj fp=.k fd;k tkrk gSa tks ;gka ds yksx thou dh ijEijkvkas dks iznf”kZr djus esa egRoiw.kZ Hkwfedk dk fuOkkZgu djrs vk jgs gSaA ;s izrhd dsoy /kkfeZd Hkkoukvkas ,oa ijEijkvksa ij l`ftr ugh fd;s x, cfYd buds ihNs dqN u dqN /kkfeZd Hkkouk var%fufgr 23 VOL. 5/No.10/February/2018 gksrh gSA bu yksd izrhdkas dk vadu dj vius vki dks blesa tksMs j[krs gSA ftuesa dqN izpfyr vkSj yksdfiz; izrhdkas dk fcac gSA ftuesa ck¡l] rksrk ] dey dk iRrk ] dNqvk ]eNyh vkfn dh LFkkiuk fofHkUu izrhd :i esa dh tkrh gSA bues *ck¡l* iq:"k fyax rFkk oa’k&o`f} dk izrahd ekuk tkrk gSA *rksrk* Kku rFkk Kku ds fodkl dk izrhd gS tks gesa bl ckr dk Lej.k lnSo fnykrk gS fd fefFkyk dk ;g Hkw Hkkx ges”kk ls Kku dk dsUnz jgk gSA *dey dj iRrk*L=h iztuu dk izrhd gSA tks fefFkyk laLd`fr esa izpfyr gSA blh izdkj *dNqvk* ls oj&o/kq ds nh?kk;q gksus rFkk *eNyh * ls muds iq=oku gksus dh dkeuk dh tkrh gSS buds lkFk gh 4 dksgcj ys[ku esa dqN vkSj ,sls csy&cqVs rFkk vaydj.k jps tkrs tks loZFkk eaxy vkSj “kqHk ekus tkrs gaSA /kfeZd fp=ksa esa ikoZrh jk/kk&d`".k nqxkZ dkyh] fo".kq y{eh] ljLorh] fo".kq ds n”kkorkj çqe[k :i ls ns[ks tk ldrs gSaA bu fp=ksa esa nk”Zkfud rF;kas esa yksd thou dks js[kkafdr djrk gSA fHkfRr fp=.k esa gkFkh] eNyh] rksrk] eSuk] lw;ZpUnz] dey&’ak[k vkfn bu lHkh fp=ksa esa vyx&vyx n”kZu gSA ftudk lkekftd thou ls ?kfu’B lEcU/k gSA *gkFkh&?kksM+k* ,s”o;Z ds çrhsd :i esa vafdr djrs gSA yksd dyk esa bu nksuks vkdkjks dks vadu djus dh ijEijk vfr çkPkhu gSA tks ,s”o;Z ds lkFk&lkFk “kfDr lEiUurk dk çrhd gSA *lw;Z&panz%&;g nksuks “kk”orrk] fpjUrrk] rFkk ifo=rk ,ao nh?kZ thou dk çrhd gSA *gal* Hkkjrh; vk/;kRe es fon~;k dh nsoh ekrk ljLorh ds okgu ds :i dk çrhd gSA *e;wj* thou esa lkSUn;Z ,ao fofo/k dk çrhd gSA *dey&’ka[k* ;g ifo=rk vkSj Kku dk çrhd gS dey&y{eh dk vklku ,ao yhyk iq"i gS tgk¡ ;g jgsxk y{eh dk vkxeu gksxk ;g “kk”or~ “kksHkk dk çrhd gSA dey ty esa jgdj Hkh ty ls fufyIrZrk ekuo thou dks cqgr dqN laUns”k nsrh gSA”ka[k nkEiR; ifo=rk dk çrhd gSA vkt Hkh caxky fcgkj dh lqgkfxu fL=;k¡ “ka[k ds pqM+h lqgkx ds :i esa igurh gSaA blh çdkj dsys ds o`{k] lkai] eNyh] fcPNq vkfn ds fp= cuk;s tkrs gaSA ;s lHkh Hkjs iwjs ifjokj dk çrhd gSA i”kq if{k;ksa dk fp=.k eakxfyd n`f’V ls fd;k tkrk gS i”kq if{k;ksa ds fp=.k dk vk/kkj gekjh lkekftd ijEijkvkas ls Hkh lEcU/k gS D;ksafd gekjk ns”k d`f’k ç/kku ns”k gS d`f’k gh ewyr% gekjk thou jgk gSaA if{k;kas dk çrhd gekjs çse mYykl vkSj dkseyrk dks vfHkO;Dr djrh gS blh dkj.k e/kqcuh ds yksd fp=ksa esa nsoh nsorkvkas ds lkFk bUgsa Hkh egRo fn;k x;k gSA tgk¡ ikjEifjd fefFkyk ds fp=ksa esa ty jxkas dk ç;ksx fd;k tkrk gS bu lHkh fp=ksa esa js[kvksa dk lkSUn;Z vius pje lhek ij gS ftlds dkj.k viuh ,d vyx igpku cuk;h gqbZ gS js[kkvksa dh eksVh ;k eghu losanukvksa ls ,d lk{kkRdkj rks fn[kkbZ iM+rk gh gS ysfdu lcls eq[; ckr gS fd vkdkjksa vkSj js[kkvksa dh iqujko`fRrA ;g e/kqcuh dyk ds eq[; rRo gSa e/kqcuh fp=ksa dh ckgjh js[kkadu dks xk 24 VOL. 5/No.10/February/2018 cukdj pV[k jaxksa ls Hkj fn;k tkrk gSA vkSj js[kkadu vf/kdrj dkyh L;kgh ls cuk;k tkrk gS] xksnuk ;k gfjtu fp=ksa dks ijaijkxr :i ls gfjtu efgyk, xkscj ds irys ysi djus ds i”pkr dkys jax dh L;kgh ls e/kqcuh fp=ksa dh jpuk dh tkrh Fkh bu fp=ks es jaxksa dk iz;ksx ns[kus dks ugh feyrk gSA fcgkj esa mith e/kqcuh yksdfp= “kSyh dks fL=;ksa us lhfer lalk/kuks ds lkFk fofHkUu izsdkj ds jaxksa dk lek;ksftr fd;k gS vkjEHk esa xzkfe.k fL=;ka izkd`frd Jksrksa ls [kqn jaxks dk fuekZ.k fd;k ;Fkk ihys jax ds fy, gjflaxkj ds Qwy ls] yky jax ds fy, dqlqe ds Qwy dk jl] gjs jax ds fy, fofHkUu yrkvks ds ihldj] dkyk jax dkfy[k ls dqN [kfut jaxks esa xksan feykdj cuk;k tkrk] rqfydk ds fy, vukj dh dye ;k lhd ds vxz Hkkx ls js[kkadu cuk, tkrs gSA ysfdu vkt vk/kfqud ;qx esa fofo/k jxksa dk mi;ksx fn[kkbZ nsrk gSA ;s dyk ls çkphu ;qx dh nsu gS blesa gekjs ns”k dh iw.kZ lH;rk dh >yd fn[kkbZ nsrh gSA bu dykvksa dk ewy vk/kkj gekjh lkekftd o /kkfeZd vkLFkk esa jgh gSA ifjokj vkSj lekt dks ,d lw= esa cak/kus okys ;gh ?kVd gaSA tks gekjs ekuoh; /kjkry ij ,d nwljs ls tqMs j[kus esa lgk;d gSA ;s dyk;sa thou ls fudyh gSa] thou ls tqMh gSa vkSj thou i;ZUr pyus okyh ,slh /kjksgj gS tks laLd`r ifjorZu ds ckn Hkh ih<+h nj ih<+h pyus okyh vifjorZu&“khy vkLFkk gS A bl fy, ;gk¡ dh yksd dyk ,ao laLd`fr dk yksd&i{k vR;Ur mnkRr] çdf”kr rFkk dY;k.kdkjh jgk gSA yksd fp=ksa es ;s çrhd gekjs eu ls laLd`fr vkSj ijEijkvksa ds çfr vkLFkk J}k vkSj fo”okl dk lekos”k djrs gaS blh lekos”k ls çkphu ;qx ls ysdj vk/kqfud ;qx dh viuh dyk dks ltkas; j[kh gSA lUnHkZ lwph 1. vo/ks’k feJk] vatw flUgk] xkserh uxj&y[kuÅ] i`- 11A 2. vo/ks’k veu] fefFkyk dh yksd fp=dyk lQyrk,¡&vlQyrk,¡] yfyr dyk vdkneh y[kuÅ] ubZ fnYyh i`- 25A 3. Impression, Year Book (2007-08) College of Art, Govt. Of Nct Of Delhi, P. 36 4. vo/ks’k veu] fefFkyk dh yksd fp=dyk lQyrk,¡&vlQyrk,¡] yfyr dyk vdkneh y[kuÅ] ubZ fnYyh i`- 24A 5. dyk =Ssekfld yksd dyk fo’ks"kkad vad tuojh ls ekpZ 2002 izdk’ku yfyr dyk vdkneh m0iz0A 6. Hkkjr dh yksddyk,a laiknd ,oa izdk’kd&vpZuk jkuh esjBA 25 VOL. 5/No.10/February/2018 Early Historical Archaeology of Wainganga Vally Dr.Priyadarshi M. Khobragade Associate Professor Departmentof A.I.H.C. & Archaeology, RTM Nagpur University, Nagpur The source streams of the Wainganga river of Vidarbha rise in the Chhindwara and Seoni (Madhya Pradesh)plateaus of Maikal ranges of Durg district in Chhattisgarh, the river flows westerly and then south through the Balaghat district, before entering Bhandara district (Maharashtra) at its northern extreme. It initially flows west along the northern boundary, then turns south-west and gradually southwards through the Bhandaratahsil. Before leaving the district to enter Chandrapur the river runs south-east. Thus the Wainganga drains mainly the Western parts of the district, having an overall length of about 200 km within the Bhandara district. The entire Bhandara district falls within the Wainganga drainage with its tributaries viz., Bagh, Bawanthari and Chulband.1 The eastern two- thirds of the Nagpur district belong to the drainage system of the Wainganga River. The chief rivers of this tract are the Pench and the Kanhan, both of which meet near Kamptee, where they are also joined by the Kolar. The Kanhan, after receiving the Nag near the hills of Bhivakund, finally empties itself into the Waingang at Gondpipri in Bhandara district.2 Before entering the Chandrapur district in the Brahmapuritahsil; the Wainganga has a large number of tributaries. Of the tributaries the majors on the right bank are the Buti and the Andhari and those on the left bank are the Garhvi, the Khobragadi, the Kathani, the Potphodi and the Pohar. The Wainganga crosses 360 mls. in Maharashtra from part of Bhandara, Nagpur, Chandrapur3&Gadchiroli district of Vidarbha region. Many Archaeological sites of pre-history, proto-history & historical periods were discovered in this vallys by Archaeologists& Historians. Like other major river systems of India, the Wainganga contributed significantly to the growth of the culture. In recent years some important explorations and excavations were carried out in the cradle of Wainganga River. Some discovered early historical sites are as follows, with the information about their geographical & historical importance. Adam The Buddhist stupa site is situated about 60 km south-east of Nagpur on the left bank of the Waghor of the Wainganga drainage system. Other than early historical materials, evidence contained the remains of a stupa, locally known as Devihudki. In order to understand the general plan of the stupa, trenches were laid on the southern half of the stupa. It was noticed that the earthen stupa was 26 VOL. 5/No.10/February/2018 built over made up earth in two distinct phases of construction. Circular on plan, the stupa consisted of medhi (radius 17.30 m) and anda (radius 10.30 m) which tops the basal remains of square harmika (3.50 m) built out of random rubble; in its centre was noticed a ring-stone once supporting the yashti of a chhatravali. A shaft was cut in centre of the harmika but it did not yield any object. After a more or less uniform basal treatment of clayey soil, the earth of habitation deposit, murrum, rubble, stone chips, sand, etc., were heaped up without following any uniform pattern of dumping. After the formation of circular medhi in stepped fashion, the core of the anda was reinforced with heavy duty rubbles of uneven sizes, which was ultimately covered by earth and murrum to form a hemispherical dome. The surface of the stupa was treated with rammed murrum in order to defuse the periodical erosion. Assigned to Period V, the stupa of Phase I was built over layer (5), whereas towards the later phase restoration took place on the top of layer(4). In earlier phase, the L-shaped pathway (9.80 x 0.40m)leading to the stupa was demarcated with a single coursed shale stone wall whereas in the later phase the same was indicated by brick wall (22.20 x 1.20 m); mud mortar was used in both the phases. The inner width of the pathway was 4.90 m. The PMC& inscribed variety of cast copper coins assigning the stupa to the beginning of the Christian era.4 Adegaon A site of Buddhist monastery, having a large area of brick structuralevidencelocated at Kuhitaluka of Nagpur district, this site is presently disturbed by irrigation dept. for canal. In about February 1998 a hoard of Silver Punch Marked Coins, much more than a kilogram in weight was discovered.5 AmbhoraKhurd Site of early historical mound, located on left bank of Wainganga river at Kuhi taluka of Nagpur district.6 Belgaon Site of early historical mound, located on Wainganga river at Bhandarataluka of Bhandara district.7 Bhivkund A group of Buddhist caves, early types of cave architecture noticed on right bank of Nag River a tributary of Wainganga, located at Kuhitaluka of Nagpur district. Chandala A site of Buddhist cave and having an inscription of donation, located on a tributary of Wainganga River at Bhiwapurtaluka of Nagpur district 27 VOL. 5/No.10/February/2018 Chowa Site of historical mound, located on Wainganga River at Bhandarataluka of Bhandara district.8 Deotek Meaning the hillock of Gods 6.43 k.m. north-east of Nagbhir, It has one small temple and the remains of a second. There found a stone slab containing two different inscriptions, the characters of one being of the kind known as those of the Asoka edicts and those of the other belonging to the Vakatka period. Both of them fragmentary but mention a name Chikambari, which Mr.Hira lal has identified with Chikmara, a village close to Deotek. The slab has now been removed to the Nagpur museum. Chikmara may thus boast of being over 2000 years old. At Chikmara and Panori, both of which are about 3.21 k.m. from Deotek, there are old statues and other ancient remains like those at Deotek.9 Eduranga The site of early historical, located on a tributary of Wainganga river in Etappalitaluka of Gadchiroli district. At this site brick structures are explored.10 Gogaon The site located on a tributary of Wainganga river in Chandrapur district. There is an apsidal brick structure. At present a modern apsidal temple stands on the ancient apsidal plinth.11 Hamalapuri The site of early historical, located on a tributary of Wainganga River in Ramtektaluka of Nagpur district. This site is known for the findings of Buddhist bronzes. Kahali Site of early historical habitation, located on a tributary of Wainganga river in Brahmapuritaluka of Chandrapur district. Residential complex of Satvahana period were found there. Kawadsi Site located on the river Wainganga, in Paunitaluka of Bhandara district, having historical mound with iron slag.12 Khapri An early historical site located on the river Wainganga, in Paunitaluka of Bhandara district.13 28 VOL. 5/No.10/February/2018 Kolitmara A site of early historical brick architecture, located on Pench, a tributary of Wainganga river in Parshiwnitaluka of Nagpur district. There has founded a stucco head of Buddha. Brick size of this site belongs to Maurya period. Korambhi A site of early Buddhist cave, located on west bank of Wainganga river at 7 km west of Pauni, in Paunitaluka of Bhandara district. This cave belongs to early rock cut example of Satavahana period. Kunghada A site of early Buddhist rock cut cave, located on a tributary of Wainganga river in Nagbhirtaluka of Chandrapur district. Inscription of present cave belong to lateSatavahana period. Kunwara Bhimsen A site of early historical located on Pench, a tributary of Wainganga river in Parshiwanitaluka of Nagpur district.14 Mandhal An early historical site exposed by State ArchaeologyDeptt.& Nagpur University located in Kuhitaluka of Nagpur district.15This site is of habitation and religious importance and also near Adam, Pullar and Chandala. Mansar A famous site of early historical period, located on a tributary of Wainganga river in Ramtektaluka of Nagpur district, discovered Stupa, Temple and a Mahavihar called Buddhist Monastery in the excavation, which is conducted by BodhisatvaNagarjun Memorial Sanstha, Nagpur. Markanda A site of early historical, located on right bank of Wainganga river in Chamorshitaluka of Gadchiroli district.16 The brick size of this locality belong to Maurya period. Mendha Site located on the river Wainganga, in Pauni taluka of Bhandara district, having historical mound.17 Mulchera 80 km south of Gadchiroli a taluka place of Gadchiroli dist. In the trial excavation of State Archaeology deptt. revealed a brick built stupa. Two brick built walls running in circle, one within the other and of 65 cm thickness and two walls bisecting these two circular walls are also exposed. The mesurment of brick was 36x18x17cm.18 29 VOL. 5/No.10/February/2018 The structure of Mulchera is oblong on plan, measured 6.40 m. at least in longer axis in N.S. direction and 2.60 m. in the E.W. direction. Around this structure were found a number of walls farming boxes. The overall thickness of the wall was 65 cm with murum mixed with lateritic soil. The main oblong structure was also filled with the same material. Approach to the main structure was from the east. The steps of the earlier period provided to reach the entrance, were covered with earth and murum at the later period to prepare a ramp. The entire structure stands on a well rammed foundation. The area was first rammed properly, over which stone, rubble pebbles and chips, were laid evenly. There seems to have been cyclopean wall around the structure meant for protection. These remains can be assigned between second & fifth c.A.D.19 MulurRit The site of early historical located on a tributary of Wainganga river in Gadchiroli district.20 Nagara An early historical site spread over about 3 kms with ancient habitation. Number of Brick structures noticed & exposed by State Archaeology deptt.21 Nagardhan Number of early historical brick structures noticed from present site which is located on a tributary of Wainganga River in Ramtektaluka of Nagpur district. Pachkhedi Site of early historical located on a tributary of Wainganga river in Kuhi taluka of Nagpur district.22 Pathari An early historical site, located on east bank of Wainganga river in Pauni taluka of Bhandara district, having brick structure of Mauryan period brick size. Pandhrabodi The site of early historical located on Wanganga river in Ramtektaluka of Nagpur district.23 Pendhri Site of Early historical mound, located on east bank of Wainganga river in Pauni taluka of Bhandara district. There are noticed a large foundation of brick structure of Mauryan period.24 Parsori Site of early historical mound, located on Wainganga river in Bhiwapur taluka of Nagpur district.25 30 VOL. 5/No.10/February/2018 Panori Site of early historical located near of Deotek in Nagbhir taluka of Chandrapur district. Name of this site founded in the inscription of Kunghada, an early Buddhist rock cut cave. Pauni A site of early historical period is located on west bank of river Wainganga. Pauni is a taluka place of Bhandara district. The history of the site, on the discovered evidence as indicated by the finding of the Northern Black Polished ware affiliated with the Ganga-Yamuna area, goes back to the pre-Mauryan period to the Satavahana period as far as the Buddhistic remains are concerned. The remains are scattered over a wide area locally known as the JagganathTekdi, the ChandakapurTekdi and HardolalaTekdi.26 Pimpalgaon A site of early historical located on a tributary of Wainganga river in Kuhi taluka of Nagpur district. Here everywhere noticed brick bets of early historical period.27 Pullar A site of early Buddhist cave and inscription as well as a large deposit of Buddhist monastery. Large number of brick bets spread in the eastern foot of the hill in the bank of a tributary of Wainganga River. Repanpalli The site of early historical located on a tributary of Wainganga river in Aheri taluka of Chandrapur district.28 Salebhatti Site of early historical mound, located on Wainganga River in Bhiwapur taluka of Nagpur district.29 Savner Site of early historical period is located on a tributary of Wainganga River in Ramtek taluka of Nagpur district. There are founded Kshatrapacoins and structural remains.30 Sumera The site of early historical period is located on a tributary of Wainganga River, near of Mansar in Ramtek taluka of Nagpur district.31 Tilorakhedi The site of early historicalperiod is located on a tributary of Wainganga River, 12 km from Mansar, in Ramtektaluka of Nagpur district.32 31 VOL. 5/No.10/February/2018 Udapur An early historical site on a small tributary of Wainganga River in Brahmapuri taluka of Chandrapur district, having noticed Black & Red ware and legged querns.33 Vag The site located on a tributary of Wainganga River in Kuhi taluka of Nagpur district, having exposed severally disturbed brick structures.34 Vairagad A site of early historical, located on a tributary of Wainganga River in Aheritaluka of Gadchiroli district.35 Vivekanandpur A site of early historical, little far away from Mulchera, locally called Vivekandpur in Mulcherataluka of Gadchiroli district. In the trial excavation of State Archaeology deptt. revealed a brick structure of Buddhist monastery. The brick size was 60x30x7 c.m. The remains of this site can be assigned between second & fifth C.A.D.36 Conclusion Wainganga and its tributaries give importance to growth settlement with culture, habitation as such Indus Valley and Ganga basin. Settlement evidences of early historical period were found in different nature, such as residential complex with fortification and religious as Stupa, Brick structure or Chaitya, Rock cut caves & antiquity. Reference and Notes 1. Maharashtra State Gazetteers, Bhandara District, Bombay 1979, p.7-8. 2. Maharashtra State Gazetteers, Nagpur District, Bombay 1966, p.4 3. Maharashtra State Gazetteers, Chandrapur District, Bombay 1973, p.10-11. 4. I.A.R.1988-89, p.62. 5. Khobragade, P.M., Sanshodhak, Sept. 1999, p.24-29. 6. Khobragade, P.M., Sanshodhak, Sept. 1999, p.24-29. 7. I.A.R.1990-91, p.43. 8. I.A.R.1990-91, p.43 9. Cunninghum, A., Tour Report, Vo.9, p.133-135. 10. Sali, C.S., Sanshodhak, March 1998, p.18. 11. Sali, C.S., Sanshodhak, March 1998, p.17. 12. I.A.R.1989-90, p.58 13. I.A.R.1989-90, p.58 32 VOL. 5/No.10/February/2018 14. Sali, C.S., Sanshodhak, March 1998, p.20. 15. I.A.R.1975-76, p.36, 1976-77, p.39 16. Cussins, H., List of Antiquarian Remains in the Central Provinces and Berar, Cullcutta 1897, p.24. 17. I.A.R.1989-90, p.58. 18. I.A.R.1987-88, p.84 19. I.A.R.1988-89, p.49. 20. Sali, C.S., Sanshodhak, March 1998, p.18. 21. Sali, C.S., Sanshodhak, March 1998, p.13. 22. I.A.R.1987-88,p.87; Sali,C.S.,Sanshodhak, March 1998, p.13 23. Sali,C.S.,Sanshodhak, March 1998,p.19 24. I.A.R.1989-90,p.59 25. I.A.R.1989-90,p.59 26. Joshi,J.P. & Deo, S.B., Pauni Excavation, Nagpur 1972; Nath, A., Further Excavation at Pauni, Delhi 1992 27. Sali,C.S.,Sanshodhak, March 1998,p.15 28. Sali,C.S.,Sanshodhak, March 1998,p.17 29. I.A.R.1989-90,p.59 30. Sali,C.S.,Sanshodhak, March 1998,p.19 31. Sali,C.S.,Sanshodhak, March 1998,p.19 32. Sali,C.S.,Sanshodhak, March 1998,p.19 33. I.A.R.1975-76,p. 35 34. Sali,C.S.,Sanshodhak, March 1998,p.13 35. Sali,C.S.,Sanshodhak, March 1998,p.19 36. I.A.R.1987-88,p.84 33 VOL. 5/No.10/February/2018 cVs'oj % Hknkoj vapy dk iqjkrkfRod oSHko fdju nqcs 'kks/kkFkhZ] izkphu Hkkjrh; bfrgkl] laLd`fr ,oa iqjkrRo v/;;u'kkyk] thokth fo'ofo|ky;] Xokfy;jA ;g iqjkLFky mRrj izns'k ds vkxjk ftys dh ckg rglhy ls 5 fd-eh- nf{k.k&if'pe] ;equk unh ds rV ij fLFkr gSA cVs'oj 77˚- 44 rFkk 79˚ js[kka'k ns'kkarj ds e/; fLFkr gSA vkxjk ls bldh nwjh 70 fd- eh- vkSj f'kdksgkckn ls 26 fd-eh- gSA fHk.M ls 80 fd-eh- nwj gSA ckg] vkxjk vkSj f'kdksgkckn ls fu;fer clsa pyrh gSa ijUrq orZeku esa Hkh bl dsUnz ds igq¡p ekxksZa dh fLFkfr vR;ar n;uh; gSA ;g Hkkjr esa egRoiw.kZ vk/;kfRed vkSj lkaLd`frd dsUnzksa esa ls ,d gSA Kku] ;ksx vkSj deZ ds vf/k"Bkrk Hkxoku Jh d`".k ds firkeg egkjkt 'kwjlsu dh jkt/kkuh 'kkSjhiqj cVs'oj Hknkoj {ks= dk lokZf/kd pfpZr ikSjkf.kd] /kkfeZd] ,frgkfld fl) {ks= vkSj rhFkZ LFky gSA cVs'oj ds eafnj lqcg ds lwjt dh jkS'kuh esa ;equk esa iM+rs vius izfrfcEc ls ,d eksgd fp=ekyk izLrqr djrs gSa ,slk vkbuk rks ikl gh fLFkr fo'o vk'p;Z rktegy ds ikl Hkh ugha gS iwjk ifjn`'; csgn lqUnj vkSj 'kkafriw.kZ gSA izkd`frd egRo cVs'oj dh HkkSxksfyd fLFkfr lkefjd n`f"V ls cgqr egRoiw.kZ gSA pkjksa vksj cgus okyh ufn;k¡ bldh izkd`frd lhek cukrh gSA ;g fdonarh gS fd uUnoa'k ds fouk'k gsrq pUnzxqIr us viuh lsukvksa dks dqN dky rd ;gk¡izf'k{k.k Hkh fn;k Fkk¼1½A oLrqr% ;g {ks= viuh izkd`frd cukoV ds fy,vkt Hkh egRoiw.kZ gSA pwafd HknkSfj;k ujs'k f'ko dsmikld Fks] ftlds dkj.k cVs'oj 'kSo /kekZoyafc;ksa dk ,d egRoiw.kZ dsUnz LFkkfir gqvkA tSu /keZ ds 22 osa rhFkZadj usfeukFk dh xHkZ vkSj tUe dY;k.kd Hkwfe gksus ds dkj.k ;g tSu /keZ dk Hkh egRoiw.kZ LFky gSA 480 bZ- iw- ds yxHkx ;gk¡ ckS) /kekZoyach voarh iq= dk 'kklu Fkk blds ifj.kke Lo:i ;g ckS) /keZ dk Hkh dsUnz jgk gSA bl rF; dh iqf"V ;gk¡ ls izkIr iqjko'ks"kksa ls Hkh gksrh gSA ;gk¡ ls izkIr [kkst lkexzh esa tks oLrq,sa izkIr gqbZa gSa muesa tSfu;kas] ckS)ksa vkSj fgUnqvksa dh ewfrZ;k¡ Hkh lfEefyr gSaA iqjkrkfRod losZ fjiksVZ¼2½ ls irk pyrk gS fd ;gk¡ ds oSHko dks u"V djus esa vykmn~nhu f[kyth dk cgqr cM+k gkFk jgk FkkA blh us tSu] ckS)] oS".ko rFkk 'kSo eafnjksa dks /oLr fd;kA 1871&72 esa dkykZ;y uke ds vaxzst iqjkrRo'kkL=h us 'kkSjhiqj&cVs'oj esa tks O;kid [kqnkbZ djkbZ Fkh mlesa vusd nqyZHk oLrq,sa feyh Fkh] ftuesa ckS) /kEe pØ vkSj tSu ewfrZ;k¡ Hkh izkIr gqbZ FkhA mR[kuu esa 4 QhV dh ,d fo".kq dh ewfrZ vkSj ,d ukx dU;k dh ewfrZ rFkk dey feyk gSA bl dky dh bZaVs eki dh FkhA blds vfrfjDr ,d f'kykys[k Hkh feyk Fkk] ftl ij la0 1084 ;k 1094 vafdr 15"X12"X13” gSA blls ;g Hkh fl) gksrk gS fd ;g losZ /keZ leUo; dk dsUnz Hkh dgk tk ldrk gSA 34 VOL. 5/No.10/February/2018 losZ ds QyLo:i 'kkSjhiqj&cVs'oj ds chp iqjkrRo fo"k;d vR;ar egRoiw.kZ vo'ks"k izkIr gq;s gSaA buesa egkHkkjr dky ds pkd feV~Vh ds cus gq, isUVsM xzafo;j fdLe ds crZu lcls egRoiw.kZ gSaA ;s LysVh jax ds cgqr gYds vkSj fpdus gSaA brus yEcs le; dk mu ij dksbZ izHkko ugha iM+kA os viuk ewy Lo:i cuk, gq, gSaA cVs'oj ds laca/k esa i`Fohjkt jklks esa Hkh of.kZr fd;k x;k gSA dfo pancjnkbZ us fy[kk gS fd] i`Fohjkt pkSgku tc ey[kku ij vkØe.k djus ds fy, fljlkx<+ tk jgk Fkk rc og cVs'oj vk;k FkkA fnYyh ls xksikpy ¼Xokfy;j½ vkdj ey[kku dks /kks[kk nsus ds fy,] mlus ?kks"k.kk dh fd og cVs'oj f'ko iwtu dks tk jgk gSA mlds ckn og cVs'oj igq¡pk vkSj iwtk dh] fQj mlus fljlkx<+ ij vpkud vkØe.k fd;k& dw¡p fd;ks mTtSu rSa] njl cVs'oj pkg laHkhj ns okbZ losZ] cVslqj yS jkg vyxkju u`Ik vkb;c] tgk¡ cVslqj nso czãyky vLuku dfj] djh lIr fnu lsoA¼3½ izkpkhu T;ksfr"k ds izfl) xzaFk ** tkrd nhid** dh Hkwfedk esa Hkkjr ds uo m[kyksa esa cVs'oj dk uke vkrk gS& *js.kqd 'kwdj% dk'kh] dky dkyks cVs'oj%A dkfyatjksa egkdky] m[kyk uo dhrkZ;%AA* cVs'oj esa vkLFkk dk dsUnz gS Å[ky & dk'kh dkyh dky cVs'oje~A dkfyatj egkdky] mD[kyk uo izdh™;q%AA bldh iqf"V ckS) xzaFk vonku dYir: esa ns'k ds ftu ukS Å[ky {ks=ksa dk mYys[k fd;k x;k gSA muesa ls nks czt dh dk'kh cVs'oj esa gksus ls rhFkZ J)kyqvksa dh vkLFkk dk dsUnz cuk gqvk gSA lkfgR;dkj MkW- ch-ih- feJ dgrs gSa fd cVs'oj esa nks Å[ky {ks= mRrj vkSj nf{k.k esa gSaA ¼Å[ky {ks= esa izy; dky esa /kjrh ls Lor% gh ty dh /kkjk QwVrh gSA cVs'oj esa vkt Hkh nl ls iaUnzg gkFk dh xgjkbZ ij Hkw&xHkZ ty ekStwn gSA½ e/kqjkeaMy esa clS] ns'k Hknkoj xzkeA Å[ky rgk¡ izfl) efg] {ks= cVs'oj ukeAA nks Å[ky {ks= gksus ds dkj.k cVs'oj n'kZu fo'ks"k iq.; Qynk;h gksrk gSA nks Å[ky gksus ds dkj.k gh dkfrZd iwf.kZek ij ;gk¡ Luku ds fy, J)kyqvksa dk lSykc meM+rk gSA ikSjkf.kd ekU;rk gS fd ;gk¡ ij Luku n'kZu iwtu ls ,d gtkj xk;ksa ds nku dk iq.; Qy feyrk gSA orZeku cVs'oj ds eafnj ;equk unh ds fdukjs fdukjs ,d fo'kky cka/k ij cus gq;s gSaA v)Z panzkdkj :i esa cuk ;g cka/k vR;ar HkO; vkSj euksgkjh gSA bldk fuekZ.k Hknkoj ujs'k egkjktk cnu flag twnso us 35 VOL. 5/No.10/February/2018 djok;k FkkA ;gk¡ fd;s x;s iqjkrkfRod losZ{k.k ls ;g ckr fl) gks tkrh gSA lu~ 1646 esa jktk cnu flag us cVs'oj eafnj o cka/k dk fuekZ.k djok;k Fkk vkSj ;equk dh /kkj dks eksM+k FkkA vkt Hkh ;g cnu cgko ds uke ls izfl) gSA cVs'oj dk f'kykys[k& tujy dfua?ke dks cVs'oj esa ,d f'kykys[k feyk Fkk] tks cVs'oj f'kykys[k ds uke ls izfl) gSA ,ihxzkfQd bf.M;k Hkkx&1 ds i`"B 270&274 esa bldk foLr`r fooj.k fn;k x;k gSA vksd dh dYiuk&cVs'oj ds bl f'kykys[k dks ysdj Jh ih- ,u- vksd us viuh iqLrd *rktegy % ,d fgUnq Hkou* esa fofp= dYiuk dh gS] mudk dguk gS fd Losr LQfVd dk cuk ;g eafnj vkSj dksbZ ugha vkxjk dk rktegy gSA orZeku fLFkfr& orZeku esa cVs'oj esa dqy 101 eafnj gSa ftuesa czg~eyky th dk eafnj] xkSjh'kadj dk eafnj] efu;knso dk eafnj] uk:'kadj dk eafnj] jketkudh eafnj] n'kkorkj eafnj] ujflag th dk eafnj] dkyh eafnj] Hkhes'oj eafnj vkSj tSu eafnj vkfn izeq[k gSaA ts- ,l- fuxe ds losZ{k.k ds nkSjku *fpf=r /kwlj Hkk.M vkSj dkys vksinkj mRrjh Hkk.M ds VqdMs+ cVs'oj esa izkIr gq, FksA tuZy VkWM dks 'kkSjh cVs'oj ls dqN flDds izkIr gq, Fks] tks viksyk MkWV~l vkSj ikfFkZ;u jktkvksa ds FksA buesa ls budh izkphurk dk irk pyrk gSA dkykZ;y dks cVs'oj ds fudV fLFkr vkS/k[ksM+k vkSj iwoZ esa *vfu:) [ksM+k* dgykrk Fkk] ds ikl [kqnkbZ esa tkss ewfrZ;k¡ feyh mudk fooj.k fuxe us fuEukuqlkj fn;k gS& 1- fo".kq ds iwjs vkdkj dh [kf.Mr izfrek] vfr izkphuA 2- nks cMs+ izLrj [k.M] ftu ij 17 tSu norkvksa dh rhu iafDr;ksa esa cSBh gqbZ vkd`fr;k¡ mRdh.kZ gSaA 3- mM+rh gqbZ eqnzk esa fdlh xa/koZ dh vkd`fr A 4- ckS) /kEe pØ dk ,d [kafMr va'kA 5- ckS) 'kSyh dk dqfpr ds'kksa dk ekun eLrdA 6- ,d gkFkh flj vkSj iSj [kafMrA 7- ,d f'kykiV~V] ftlesa pkj vkd`fr;k¡ mRdh.kZ gSaA 8- vusd fo'kky tSu ewfrZ;k¡ vkfnA bu ewfrZ;ksa ds v/;;u ls ;g fofnr gksrk gS fd cVs'oj tSu] ckS) vkSj fgUnq /keZ dk dsUnz jgk gSA cVs'oj ds bu eafnjksa dks Jh ts-,l-fuxe us nks Hkkxksa esa ckaVk gS& xqEcnkdkj vkSj f'k[kjkdkjA vf/kdka'k eafnjxqEcnkdkj esa gSaA buesa ls dqN eafnjksa esa izR;sd dksus ij ,d&,d LraHk gS] ftuesa fgUnq&eqfLye okLrqdyk dk izHkko ifjyf{kr gksrk gSA vf/kdka'k eafnj esa v'ouykdkj rksj.k gS] ijUrq dqN esa fuf'krkx`g ;qDr rksj.kksa dk Hkh iz;ksx gqvk gSA dqN eafnjksa esa fp=dyk ds n'kZu gksrs gSaA bu fp=ksa esa iq"ikofy;k¡ js[kkafdr d`fr;k¡] laxhrK] urZd rFkk ia[k;qDr ekuoh d`fr;k¡ cuh gqbZ gSa] vusd eafnjksa esa cht+d yxs gq;s gSa 36 VOL. 5/No.10/February/2018 ftuds fuekZrk ds uke ds lkFk fuekZ.k frfFk vafdr gSA lkekU;r% bu eafnjksa ds ryPNn oxkZdkj gSaA bu ryPNnksa esa dqN v"Bdks.kh;] ckjgdks.kh; vkSj ;gk¡ rd fd iphldks.kh; Hkh gSaA fu"d"kZ&cVs'oj vU; uxjksa dh rqyuk esa HkkSfrd izxfr esa fiNM+ x;k gSA vko';drk gS fd dsUnz ,oa jkT; ljdkj bl dsUnz dks ,d i;ZVd LFky ds :i esa vf/klwfpr djs ,oa ;gk¡ ij fLFkr lHkh eafnjksa dks lajf{kr djsA D;ksafd orZeku esa cVs'oj dks tksM+us okys lHkh ekxksZa dks Bhd fd;k tk;s] ftlls fd Hkkjrh; ,oa varjkZ"Vªh; i;ZVdksa dks vkokxeu esa lqfo/kk gks ldsA blds lkFk gh ;gk¡ ij i;ZVdksa gsrq ewyHkwr lqfo/kk;sa tSls is;ty] 'kkSpky; ,oa foJkex`g dh lqfo/kk Hkh miyC/k djkbZ tk;sA cVs'ojukFk th dk f'ko eafnj lanHkZ lwph 1- HknkSfj;k bUnziky %Hknkoj dk laf{kIr bfrgkl] i`- 237A 2- ftYn&4 i`"B la- 200 3- pancjnkbZ % i`Fohjkt jklks i`"B la- 256 4- dVkjs f'ko'kadj % Hknkoj dk bfrgklA 37 VOL. 5/No.10/February/2018 ckS)n”kZu esa lE;d~n`f’V MkW la?kfe=k ckS)] ckS) v/;;u foHkkx] fnYyh fo”o fo|ky;] fnYyhA ckS)n”kZu esa ^lE;d~n`f’V^ dk fof”k’V egRo gSA lE;d~n`f’V ls gh dY;k.k dk ekxZ iz”kLr gksrk gSA ckS)n”kZu esa vk;Z v’Vkafxd ekxZ dks nq%[k fujks/kxkeh ekxZ dgk x;k gSA ;g ekxZ vkB vaxks ls leUukxr gS rHkh bldk uke vk;Z v’Vkafxd ekxZ gSA ;g e/;ek izfrinkHkh gSA bl vk;Z v’Vkafxd ekxZ esa izFke lE;d~n`f’V gSA ;gk¡ n`f’V ls iwoZ ^lE;d~^ “kCn iz;qDr gS D;ksafd n`f’V ;k n”kZu feF;k Hkh gksrk gSA ^lE;d~^ “kCn ls feF;kn`f’V dk ifjgkj gks tkrk gSA lE;d~n`f’V tho] vtho vkfn lHkh rRoksa dks ;FkkFkZ xzg.k djus okyh n`f’V lE;d~n`f’V gSA ;g n`f’V ftls izkIr gksrh gS] og lE;d~n`f’V dgykrk gSA lE;d~n`f’V ftl O;fDr dks izkIr gks tkrh gS mls fuokZ.kxeu dk vkj{k.k i= miyC/k gks tkrk gSA lE;dRo,d izdkj ls vkRefodkl dh lqn`<+ i`’BHkwfe gS] ftl ij vk:<+ gksdj gh O;fDr iw.kZ fodkl dh fLFkfr rd igqap ldrk gSA izeq[k :i ls n`f’V rhu izdkj dj crykbZ xbZ gSA lE;d~n`f’V] feF;kn`f’V] lRdk;n`f’VA u”oj “kjhj dks vkRek ekudj mlds izfr eksg j[krk gS] og 1 lRdk;n`f’V gSA feF;kn`f’V tks n`f’V tho] vtho vkfn rRoksa dks v;FkkFkZ xzg.k djrk gS ogfeF;kn`f’V gSA ;g n`f’V ftl O;fDr dks gksrh gS og ^feF;kn`f’V^ dgykrk gSA ftl izdkj /krwjk vkfn Qy ds [kkus okys O;fDr dh n`f’V nwf’kr gks tkus ls og oLrqvksa dks foifjr ns[krk gS] mlh izdkj eksg ls o”khHkwr tks inkFkksZa dks foifjr 2 ns[krk gS] og feF;kn`f’V dgykrh gSA ckS) ijEijk esa lE;d~n`f’V lE;d~ n`f’V gS lE;d~ n”kZuA Hkxoku~ cq) dk n”kZu lE;d~n`f’V ewyd FkkA ;gk¡lE;d~n`f’V ls rkRi;Z ;FkkFkZ Kku ls gS] blesa ge cq) ds n”kZu dks ikrs gSA ;g mudk ;FkkFkZ Kku pkj vk;ZlR;ksa ds :i esa Fkk] ftlesa /keZ n”kZu lHkh izR;;ksa dk lekos”k gks tkrk gSA vFkkZr~ tks vdq”ky dks tkurk gS] vdq”ky ewy dks tkurk gSA dq”ky dks tkurk gS] dq”ky ewy dks tkurk gS og lE;d~ n`f’V gSA tks /keZ LoHkko dks tkurk gS og lE;d~ n`f’V gSA ;g /keZ LoHkko D;k gS \ cq) ds n”kZu esa fryD[k.k dh nsluk lHkh /keksZa ds lR; LoHkko dks izdkf”kr djrk gSA fryD[k.k gS rhu y{k.kA fdldk y{k.k \ /keZ dkA tks dqN Hkh /keZ gS mldk LoHkko gh y{k.k gSA blh ds vk/kkj ij Hkxoku~ cq) }kjk dgk x;k gS & 38 VOL. 5/No.10/February/2018 lHkh laLdkj vfuR; gS] lHkh laLdkj nq%[k gS] lHkh /keZ vukRe gSA tks dqN Hkh /keZ yksd esa gSA os nks izdkj ds gSs& laLd`r vkSj vlaLd`rA ?kj] iqLrd] oL= bR;kfn /keZ fufeZr gSaA vusd /keksZa ls os lEHkwr ¼tqM+ ds½ gSaA rHkh ;s /keZ laLd`r gSaA fuokZ.k fdlh Hkh inkFkZ ls fufeZr ugha gSaA rHkh fuokZ.k vlaLd`r gSA bu /keksZa ds LoHkko dk dFku fryD[k.k ds }kjk fd;k x;k gSA 1- lHkh laLdkj vfuR; gS & bl dFku ds }kjk dgk x;k gS fd tks dqN Hkh laLd`r /keZ gSa os vfuR; gSaA lHkh laLdkj {k.k&{k.k mRiUu gksrs gSa ,oa fou’V gksrs gaS tks mRiUu gksrk gS og fou’V gks tkrk gSA lHkh laLd`r /keksZa dk ;gh LoHkko gSA 2- lHkh laLdkj nq%[k gS& vFkkZr~ lHkh laLdkj nqD[ktud gSA euq’; oLrqvksa ds izfr r`’.kk j[krk gSA ;fn og ml oLrq dks izkIr ugha djrk rks mls vR;Ur nqD[k gksrk gSA bl rjg tgk¡ ge r`’.kk djrs gSa] eksg mRiUu djrs gSa og gels {k.k&{k.k nwj pyk tkrk gSA ftUgsa ge fiz; :I esa xzg.k djrs gSa] os Hkh vfuR; gSA rHkh Hkxoku~ ds }kjk dgk x;k gS ^^lHkh laLdkj nq%[k gSA ^^ 3- lHkh /keZ vukRe gS &vFkkZr~ lHkh /keZ vkRe ,oa vkRe;h;Hkko ls fojfgr gSA cq) us dgk gS fd ftUgsa ge iq:’k] iqn~xy ;k euq’; dgrs gSa os iapLdU/kksa ds lewg gSa] os iapLdU/k gSa & :iLdU/k] osnukLdU/k] laKkLdU/k] laLdkjLdU/k ,oa foKkuLdU/kA lHkh ifj.kke /keZ mRiUu gksrs gSa ,oa fou’V gksrs gSa muesa u dksbZ LdU/k vkRek gS u muesa vkRek gSA fuokZ.k vKkr ,oa vfufeZr gS ogk¡ Hkh vkRek ugha gSA blfy, lHkh /keZ vukRe gSA blizdkj Hkxoku~ cq) }kjk f=yD[k.k izdkflr gSA mldks tkudj euq’; r`’.kk dks fou’V djrk gSa r`’.kk dks fou’V djds og ije lq[kz fuokZ.k dk lk{kRdkj djrk gSA oLrqr% lE;d~n`f’V dk {ks= foLr`r gSA la{ksi esa cq) dh f”k{kk dks ;FkkFkZ :i esa /kkj.k djuk lE;d~n`f’V gSA bldh O;k[;k djrs gq, HknUr vkuUn dkS”kY;k;u th us dgk gS & ^^nqjkpj.k dks nqjkpj.k le>ukA lnkpj.k dks lnkpj.k le>ukA yksHk] eksg] }s’k dk ewy dkj.k le>ukA vyksHk] veksg] v}s’k dks lnkpj.k dk ewy dkj.k le>ukA pkj vk;ZlR;ksa dks le>ukA nl la;kstuks ls eqDr gksu dk iz;kl djukA vkRek dks ysdj fdlh n`f’V esa ugha yxukA izrhR;leqRikn ds Kku dks ;FkkFkZ 3 :i esa le>kuk lE;d~n`f’V gSA^^ lE;d~n`f’V ds lkFk vk;Z v’Vkafxd ekxZ rFkk izrhR;leqRikn dk ikyu djuk vfuok;Z gSA ftl izdkj dksbZ Fkdk O;fDr ekxZ esa dqvka ik tk,] ysfdu ckYVh ,oa Mksj ds vHkko esa I;kl ugha cq>k ldrk gSA4 izrhR;leqRikn ds Kku dks vk;ZKku dgk x;k gS] vPNh rjg ns[kk tkuk dgk x;k gSA5 izrhR;leqRikn ds Kku ds ckn vk;ZJkod dh n`f’V lE;d~ n”kZu lEiUu l)eZ dks izkIr] “kS{;] Kkuksa ls ;qDr] /keZ ds lzksr esa 39 VOL. 5/No.10/February/2018 vk;k gqvk] ve`r ds }kj ij [kM+k gqvk dgk tk ldrk gSA Je.k vkSj czkã.k dgykus dk vf/kdkjh gksrk 6 7 gSA lE;d~n`f’V dks fuokZ.k dh vksj ys tkus okyk dgk x;k gSA bl izdkj ge ns[krs gSa fd ckS)n”kZu esa ^lE;d~n`f’V^ dk fo”ks’k egRo gSA lE;d~n`f’V gesa lgh fopkj nsrk gSA tSls xUrO; esa igq¡pus ds fy, igys ekxZ pquk tkrk gSA ;fn ekxZ gh xyr pquk tk,xk] rks xUrO; rd ugha ig¡pk tk ldrkA blfy, lE;d~n`f’V ds egRo dks Lohd`r djds ;FkkFkZKku dks lE;d~n`f’V ekuk x;k gSA lUnHkZ lwph 1- rhFkZadj] cq) vkSj vorkj&,d v//;u] MkWjes”k pUnz xqIrA 2- ikfy ,oa izd`r fo|k&,d rqyukRed v/;;u] MkW fot;dqekj tSuA 3- ckS) /keZ % ,d cqf)oknh v/;;u] HknUr vkuUn dkS”kY;k;uA 4- la;qÙkfudk; ikfy] Hkkx 2] i`++ 98&101A 5- ogh i`+ 58A 6- ogh i` 38&40A 7- la;qÙkfudk; ikfy] Hkkx 4] i` 162A 40 VOL. 5/No.10/February/2018 Dutch-Maratha (i.e. VOC-Angre) Naval Battle of 1754: Multiple aspects of a little-discussed but important incident. Nikhil Bellarykar. Abstract On 6th January 1754, on the Malabar coast, The three VOC ships Wimmenum, Vrede and Jacatra sighted numerous ships belonging to the Angre clan, which owned and operated the biggest and most powerful fleet of all the Maratha Navies eg. Peshwa, Gaikwad, Kolhapur, Sawantwadi. An intense fight between the two sides ensued; which caused Jan Louis Philippi, the Captain of the ship Wimmenum, to explode his own ship rather than letting it become a part of the Angre Navy, then commanded by Tulaji Angre. Most of the shipmates were taken prisoners by the Marathas, although a few escaped and made their way to Batavia and The Netherlands. The story of the battle appeared in the contemporary Dutch Newspapers multiple times, and was also reported in the English and French print media in the form of Newspapers and Books. The magnitude of the loss forced the authorities at Batavia to drastically change the shipping routes for VOC ships going more southerly than Cochin. Interestingly, after more than 250 years from the battle, the wreakage of the ship Wimmenum was located in 2015 on the sea floor near Anthuchengu, Kerala by the local fishermen. The discoveries were mentioned in a Malayalam book as well. This battle, while being extremely important from a lot of angles, has largely escaped the attention of scholars of Maratha History as well maritime History of India. The paper tries to bridge this gap. Keywords: VOC, Dutch East India Company, Maratha History, Background1 The Angre family became prominent with the rise of the charismatic Kanhoji Angre in the last decade of the 17th century. Kanhoji Angre was the second-in-command of the poweful naval fortress of Vijaydurg, which lies on the southern Konkan coast. He expanded the Maratha Navy considerably. This had important consequences for the sovereignty of the seas, which was hitherto enforced chiefly by the European powers present in the region. In particular, the Portuguese introduced the system of Cartazes in the Indian ocean region for the very first time. Under this system, the Portuguese had full rights over any ship and the contents therein, which did not contain their pass, called Cartaz. They also charged money for the same. Gradually, with the advent of other Europeans such as the Dutch and the English, the Portuguese monopoly of issuing Cartazes was broken, and ships normally had to purchase Cartazes from all. 1 Most of the background is taken from the book “Naval resistance to Britain's growing power in India 1660- 1800, by Philip Macdougall, as well as other books on Maratha Navy. 41 VOL. 5/No.10/February/2018 In such circumstances, it is no wonder that the newly powerful and immensely confident Maratha Navy under the Angres also started issuing passes and seizing ships which didn't have their pass. The earlier established European powers resented this, because this signalled the end of the European monopoly at sea: although the Maratha Navy never ventured in the deep sea, its influence the coastal waters were considerable. The growing influence of the Maratha Navy under Angres, as enforced by the checking the ships for passes and seizing the ones without the Angre-issued pass, was the root of most of the conflicts of Angres with Europeans. The battle under consideration in this paper may also have a similar reason, although the extant sources do not make any commentary whatsoever as to the cause of the battle. As a result, one can only speculate about the same. Let us, therefore, concentrate on what we know from the sources so as to reconstruct a plausible account of the battle. The VOC ships The details of the three VOC ships are as follows. Ship Name Ship Characteristics Wimmenum2 Vrede3 Jacatra4 Type Spiegelretourschip -- Barge (Bark) Year of building 1752 1746 -- Associated VOC Chamber Amsterdam Zeeland -- Captain Johan Louis Philippi Simon Root Name not given No. of Cannons5 36 36 20 No. of Masts 3 3 1 or 2 Tonnage 1150 850 -- Length in feet 150 136 -- Crew strength 356 606 -- 2. Dutch-Asiatic shipping, volume 2. 3. Dutch-Asiatic shipping, volumes 2 and 3. 4. https://www.vocsite.nl/schepen/scheepstypen.html cf 'Barkas' 5. From the Leydse Courant of 16th October, 1754, it is interesting that the VOC account doesn't mention the. Of cannons on the ships and the only mention of no of cannons is from a single Newspaper account. 6. Opregte Groninger Courant, 11 October 1754. 42 VOL. 5/No.10/February/2018 The Maratha fleet Various sources give different sort of information about the Maratha fleet under Tulaji Angre. The available sources don't directly mention him, but from circumstantial evidence, it is rather easy to deduce that the "Angria" in question should be none other than Tulaji Angre. It should be noted that at the time of this battle i.e. At 1754, the Angre family had split into two- one half controlled the northern Konkan coast with their headquarters at Kolaba while the other half controlled the territories on the southern Konkan coast and also ventured from time to time till the Canara and Malabar Coasts, with their headquarters at Vijaydurg. This division was done shortly after the death of the charismatic first patriarch of the family, Kanhoji Angre. The Navy headquartered at Vijaydurg was controlled by Tulaji Angre, who was arguably by far the more adventurous and influential of the two Angres at that time. Hence it is much much more likely that the head of the Maratha Angre fleet in the battle was Tulaji Angre himself. Various estimates are given in various sources about the strength of the Maratha fleet, which are summarized in the table below. Source Information on the strength of Maratha fleet VOC 8899, pp. 546-57 36 vessels in all- 9 of them being 3-masted and the rest being smaller. Nederlandsche Jaerboeken van het 36 vessels in all- 1 of them being 3-masted, 9 Koningrijk der Nederlanden. Negende deels being 2-masted and the rest being smaller. tweede stuk, 1755 (pp 1094-99). Nederlandsche Jaerboeken, Achtste deels A great number of smaller and light vessels, tweede stuk, 1754 (pp 1391-94). together with the English ship The Restoration, taken from the British sometime ago. Leeuwarder courant, 7 December 17547. Three "Grabs" (Gurab) mentioned. Leeuwarder courant, 12 October 1754. "Various vessels" mentiond, together with the English ship The Restoration of 26 cannons mentiond. Leuwarder Courant, 30 November 1754. "A bunch of small, flat vessels" mentioned. 7. All Dutch newspapers accessed from www.delpher.nl 43 VOL. 5/No.10/February/2018 To summarize, the Maratha fleet had the English ship The Restoration, a few 3-masted ships, and some 2-masted ships with the rest being smaller ones. The total no of vessels were 36. The battle There are various sources available on the battle, which ultimately boils down to two accounts. One account is by the survivors from the ship Wimmenum has been repeated in the "Nederlandsche Jaerboeken" or the Dutch annals for the year 1754 & 1755 and also in various Dutch newspapers. But that account doesn't give many other details, which are present in the fascinating account given by the Corporal Johan Andries Rood. The latter is much more detailed- both about the battle itself and the aftermath. In what follows, I will give the complete translations of both the accounts so that it would be easy to compare and contrast the two. Account 18 "In the month of January 1754, as mentioned in the annals, the ships Wimmenum and Vrede were equipped and armed at Batavia, as well as the barge Jaccatra. All three were destined to go to Surat. First of these was commanded by Captain Jean Louis Philippi, who served the VOC navy since 1753, although he was serving the Dutch Navy since 8 March 1750 with the rank of Captain in the Admiralty of Amsterdam. Captain Simon Root was in command of the ship Vrede. "These three ships arrived on the coast of Malabar between Goa and Bombay, and fell in the middle of the fleet of the famous pirates known as Angrians, after their chief Angria. The fleet of these pirates comprised of a great number of very light, slender boats, slipping on the surface of the wates, without exceeding them much by their borders. They had a big ship, The Restoration, taken lately from the English. As soon as the pirates saw the ships of the VOC, they surrounded them at short distances, so that the Dutch artillery won't be of any use. As a result, muskets, pistols and axes were used from both sides relentlessly. The boat Jaccatra succumbed first and was "amarine" (i.e. Marinated (?)/ destroyed) by the enemy, if we can give this honorable name (i.e. that of enemy) to those pirates. The ship Vrede was fired upon and burnt to the water's edge. Sixty men of the crew of Vrede, they jumped into the boat (Jaccatra) and defended themselves with their axes and pistols till they were reduced to sixteen men. "Several versions mention that the ship The Restoration, due to the flames from The Vrede, exploded at the same time as this vessel i.e. Vrede. 8. Nederlandsche Jaerboeken, Achtste deels tweede stuk, 1754. pp 1391-94. Also in the Fastes de la Marine Hollandaise depuis l'epoque la plus reculee jusq'a nos jours, Second volume; translated from the Nederlandsche Jaerboeken. 44 VOL. 5/No.10/February/2018 "However, the brave Philippi continued to defend himself with his ship The Wimmenum until the 4th day, when, having exhausted almost all his ammunition and surrounded by all the forces of the Angrians, he threw down the hook, his deck was flooded with a bunch of pirates, around 500-600 and they had captured almost all parts of the ship overboard. "But Philippi didn't budge. His determination was strong: As they say, "The real Dutch sailor dies but doesn't surrender!" he descended the stairs, set the vessel on fire, and exploded in the air with the ship and all that it contained and all that it surrounded. Two men of his crew, who jumped above the railing the moment he went down to the ammunition storage room, conveyed the news of this disaster to Surat, from where they arrived to The Netherlands after a long and adventurous journey." Account-29 "Story written by order of the noble lord Steven Vermont, governor and director of the coast of Coromandel with help of Corporal Johan Andries rood about the fact of the fight that occurred between two of the company‟s ships and the Barge Jaccatra with the pirates of Angria. "He narrates that on 24th September of the last year, they were to go from Cochin to Surat after going to Batavia with the ship De Vrede together with the ship Wimmenum and the Barge Jaccatra from the dock of Cochin. "Some days in, as he said, they sailed when they met 2 of the VOC ships and an English one, where the former were loaded at Surat as said by the director there. "On the morning of 6th January of this year, having scanned the shore, we saw 36 ships of the people of Angria – 9 of them had three masts and the rest were smaller vessels, which, on approaching, began fighting, which went on till 9 am in the next morning when they were visible, though afterwards they were lost from sight. "On the morning of the 7th, two 3-masted ships were sighted and it was assumed that they were either English or French and that some help could be expected from them, but afterwards saw the chief of the Angrians with his ship thundering and the hulls of others also rising. When they were recognized as being Angrians, the aforementioned two 'kiels' (ships), followed by some of the smaller vessels, had the ship Wimmenum 'on board' (i.e. Surrounded etc.?), though they couldn't enter it, and later the others (Vrede & Jaccatra I guess?) attacked the two aforementioned 3-masted ships which caught fire. The ship Wimmenum, due to the sails and ropes of the 3-masted ships, caught fire too. In the afternoon, the fire reached the ammunition room and the ship exploded in the air. 9. VOC 8899, pp. 546-57. The same occurs in Nederlandsche Jaerboeken van het Koningrijk der Nederlanden. Negendedeels tweede stuk, 1755 45 VOL. 5/No.10/February/2018 "That those who were stationed on it and were still alive, who, due to the threat of fire had sought to save themselves by the floating wood debris, had been chased and cut down by the Angrians and had transferred to the Angrian fleet and helped to salvage one one of their 2-masted ships from fire, were spared, although several received heavy blows. "That later on, two 2-masted ships of the Angrians sailed near the barge Jaccatra and shot the big mast of the same. In addition, they entered the barge and shot the Lieutenant in the head. "The aforementioned barge, due to hitting of the great mast overboard, was blown away and had come before the “boegspriet” (i.e. A spar reaching diagonally from a mast to the upper sail) the ship De Vreede , when the aforementioned lieutenant had come through the gally of the ship De Vreede and fell back on the vessel. "Meanwhile, from the ship De vrede to the aforementioned barge Jaccatra, such was the shooting and throwing of handgranades that the Angrians were forced to disembark the barge, which they did and shortly thereafter the tail of the ship De Vreede exploded in the air, without, as declared (in the report), some of them knowing to say what happened. "The frontal part of the barge was still above water. The hull-man, 4 sailors, 3 soldiers and 2 Muslims, who were all on the deck near the cannon, they quickly threw handgrandes from the mast on the barge Jaccatra. Many people of the Angria were dead. Further it was also seen that the frontal part of the ship De vreede, with the first (i.e. Wimmenum?) had sunk to the ground below. That they saw on board of the aforementioned barge, the captain of their ship, floating on water. They threw a rope towards him and took him in- thus only 12 people from that ship were alive. "That after the aforementioned ship De Wimmenum exploded, the Angrians seemed afraid of the canons when they first came near the ship because they still fired sometimes, owing to the fire. With a 2-masted vessel, the barge Jaccatra was towed. Her crew was brought to the port by a boat and arrested in the fortress. "That they came ashore and were trapped and beaten. 3 to 4 days later, 24 Europeans from those people from De Wimmenum as De Vreede, which, with injuries, were awaken and were sent with 18 Muslims to the spice mills to work there and the other had to carry stones and drag the beams out of the water, and to lie near each other at the shipyard at night without standing or walking, under strong guard. "That the upper chambers of the ship De Wimmenum were forcibly used by the Angrians to remedy the barge Jaccatra and install a new mast in it. The barge, on 12th March of this year, sailed 46 VOL. 5/No.10/February/2018 away with his fleet and under others; eight of the best sailors were taken in the aforementioned fleet. As declared on 12th March, "At night, when the guards were changed, the opportunity to crawl through a gap in the wharf and follow the fishers-Negorij (fisher settlement?) who worked there during the day. There we found a vessel that they had put for escaping, though it was found that vessel's bottom was leaking. So he was forced to abandon his plan. "On 23rd March, for the aforementioned undertaking, the fishers Negorij etc. Had come there, and bound three wooden logs to each other and set out with the intention to come to the other side of the island, but we were driven into sea by the river (due to tide etc. It seems) until the evening, when the current pushed the boats back and then we reached the other side and from there marched for five nights. "And thus escaped from the land of Angrians and lay hidden (took shelter as per the original Dutch) during the day, due to fear of being discovered. "When, as related, he stopped due to hunger and other difficulties, they marched in the land of the Bassora (?), some cookies and other foods were given to him and he ate those and from there, proceeded to other places, without being able to tell their names, and Marched till on 9th May, he was brought by 5 Marathas in the French Army at “Trispedie” (Trichy?) near Thanjavur. "They then forced him to serve in the army but he didn't want to do it, so, after holding him for two days, the commander finally gave him Passport for Pondicherry. "But he told (the commander) through a sergeant of that army, that being a “German”, he didn't want to go to Pondicherry and that they would make him serve their army and thus he better ask the way to Thanjavur. He took the latter way and came to Thanjavur. His French passport was already taken back and wasn't given any further pass but was assured that nobody should hinder him on the way to Nagapattinam, whereby he followed his travel the other day and was arrested several times and was held for an hour or two till he was released again and finally reached Nagapattinam here on 20th May. "Thus prepared at Nagapatnam in the castle on 31 June 1754 by me. Noted: J. Hasselkamp, first sworn clerk." Some observations about the battle Remarks on the progress of the battle 47 VOL. 5/No.10/February/2018 The sources mention that the battle went on for 3-4 days. Only in the account by Corporal Rood do we get the actual detail for how all ships were taken or destroyed. The barge Jacatra was taken first, though with serious losses on the part of the Angres. The men of Angre had to face serious Dutch fire and were forced to disembark it. The barge had partly sunk as well, as well as the ship Vrede, which later exploded. The fighting went on for the whole of 6th and till the morning of the 7th, and the ship Wimmenum caught fire and exploded then as per Corporal Rood but other accounts mention that Wimmenum exploded after 3-4 days. The ship caught fire due to a 3-masted ship's sails etc. (this may be the EIC ship Restoration, taken by the Angres before some time) and was exploded by the captain only later, with some cannons working even afterwards. Interestingly, the ship Wimmenum stayed afloat till 12th March at least, when the Angre fleet sailed away. Number of casualties The account of Corporal Johan Rood i.e. Account 2 gives the most detailed information on this, although he mentions nothing of the casualties from the Maratha side. The other account i.e. Account 1 and the newspapers mention that some 500-600 people of Angre died. The Generale missiven mention a number of 160010. As to the casualties from the Dutch side, only a few precise estimates can be given. The ship Wimmenum had a crew strength of 356 (vide footnote no. 2), and the ship Vrede probably had 60 men in the crew (cf. Footnote 6). As to the Barge Jaccatra, one can safely estimate that the number of total crew was less than 100. The Barge was the biggest ship of the type "Sloep" in the VOC fleet. A Sloep (also called Chialoup) was typically 55-75 feet long, and with a capacity of around 160 tonnes11 at the maximum. Therefore, one can say that the crew would certainly be small, it being a rather small ship. Of these 500-600 total manpower, most died, but many were taken prisoners. The newspapers mention that 70 Dutchmen were taken prisoners12 by the Angres. In particular, there is mention in many sources is that the 60 men on the ship Vrede fought till only 16 of them remained13. In addition, the Angres cut down many from crew of Wimmenum, killing the people who floated on the debris (cf. Corporal Rood's account). Number of prisoners taken 10. Generale missiven van gouverneurs-generaal en raden aan heren XVII der Verenigde Oostindische Compagnie, Deel 12, pp. 475-76 11. https://www.vocsite.nl/schepen/scheepstypen.html 12. Oprechte Haerlemse Courant, 12 June 1755. 13. Opregte Groninger Courant, 11 October 1754. 48 VOL. 5/No.10/February/2018 The number of prisoners varies in accounts. As seen from footnote 12, around 70 people were taken prisoners. Corporal Rood mentions that the Angres transferred a few people from the crew of the Wimmenum. From the ship Vrede, The hull-man, 4 sailors, 3 soldiers and 2 Muslims, and the Captain Simon Root survived. Further there is mention of total 12 people from the ship Vrede being alive. Additionally, he mentions that a total of 24 Europeans and 18 Muslims from both ships i.e. A total of 42 people were taken prisoner. Number of survivors All accounts agree that only 2 people escaped with their life from the ship Wimmenum in the beginning, whereas 12 people were alive from the ship Vrede (cf. Corporal Rood's account). Another account14 mentions that only 3 people from the two big ships viz. Wimmenum and Vrede survived. The Leydse Courant of 3 May, 1756 mentions that 18 men of the crew and Captain Simon Root had survived- most likely released by Angres on receiving ransom. One survivor from the Wimmenum must be Michiel Everhard, whose name is engraved on the "Dutch bell" in the Janardhana Swamy temple at Varkala. The other could be John Irvine, who may have joined the Swedish East India Company later15. I am assuming this on the basis of the level of detail mentioned in his report. A glimpse of the military labour market Corporal Rood's account mentions that "eight of the best sailors" from the prisoners were taken by the Angres into their Navy. This shows how flexible the military labour market prevalent in 18th century India. Race or religion mattered little; the Hindu Angres had no qualms about using Christian sailors in their Navy- only competence mattered. This is also evident when the "5 Marathas in the Frenchfit army" pressed Corporal Rood to take up military service under the French. Repairs etc The mast of the Barge Jacatra was shot by the Angres, so they used the "oppertimmeren" i.e. Wood from the upper deck of the ship Wimmenum to repair it and installed a new mast there. The Maratha Navy sailed back to their base on 12th March, so the repairs etc. Must have taken around 2 months, starting from 10 January; since the sources mention that the battle lasted 3-4 days. Location of the battle 14. Leydse Courant, 29 November 1754 15. Ibid 49 VOL. 5/No.10/February/2018 Some newspapers mention that the battle took place "between Goa and Bombay"16 while other sources simply say that the battle occured on the Malabar coast. Corporal Rood says that the ships had departed from the "Cochimse Rheede". It would have been impossible to decide between the two, had there not been the account of corporal Rood as well as the discovery of the Dutch bell and the shipwreck of the ship Wimmenum. Corporal Rood escaped the Angres on 23rd March, and reached Trichy on 9th May- most probably he travelled this distance on foot, being a soldier with presumably little or no money with him and he also had to hide for the most part, so that must have severely limited the distance travelled by him per day. Considering the distance between Cochin/Varkala and Trichy, and the distance between the Konkan coast and Trichy, it is obvious that Corporal Rood must have gone to Trichy from Cochin/Varkala. Between Cochin and Varkala, the discovery of the shipwreck seems to point to Varkala as the more likely location for the battle. This is a hugely important detail,, being the southernmost that a Maratha fleet had ever travelled. Marathas were no strangers to the Malabar Coast, both in Angre as well as post-Angre period: but mostly their forays remained limited to the Northern Malabar Coast near Cochin, Kozhikode i.e. Calicut etc. This battle, on the other hand, was fought in the southern part of the Malabar Coast. Considering the fact that the distance between Vijaydurg and Varkala is more than 1000 km, it is extremely interesting that the Maratha Navy was capable of projecting power so far away from their base- even if they were never a blue-water Navy. Result From the sources available, we can see that the battle was a tactical as well as a strategic victory for the Angres. Tactical because the Angres destroyed the two big ships and killed most of the crew. It was also a strategic victory for them because Batavia authorities changed their shipping routes because of them, leaving the entire Malabar Coast free for them. The Angre Navy might well have consolidated their victory and captured forts along the Malabar Coast permanently, had the English and the Peshwas not made an alliance against them in 1756 and destroyed the Angre Naval supremacy forever, although this was far from being the destruction of the Maratha Navy. Comparison between the Dutch & Maratha Navies The result of the battle is unmistakable: Marathas were clearly the winners. Nonetheless, this battle, like many other battles fought by the Angres before, shows the key weaknesses in the Maratha Navy. As per corporal Rood, there were 36 ships in the Angre fleet; including one seized from the British East India Company i.e. The Restoration. Those only three Dutch ships proved to be a formidable match for the 36 vessels of Angres speaks volumes about the latter. The Angres' preferred 16. Rotterdamse Courant, 30 November 1754. 50 VOL. 5/No.10/February/2018 fighting technique17 was to avoid the broadside of the enemy as far as possible and immobilize the ships by aiming for the riggings etc. This technique clearly originated from the recognition of the enemy's superior firepower. Avoiding broadside, never venturing into the open sea far from the coast, were some of the severe drawbacks of the Maratha Navy in around 150 years of its existence (Shivaji started the Maratha Navy in 1657). Compared to them, the Dutch Navy was far more advanced in almost every aspect. The Aftermath at Batavia The loss of the three ships was acutely felt by the authorities at Batavia. The magnitude of losses was considerable- the concerned ships were one of the biggest to be constructed by the various chambers of VOC, and together the crew of the three ships numbered several hundred18. The goods in the ships and their worth is not mentioned in the known sources. Even then, the loss of trained manpower in such high numbers was reason enough for Batavia to be alarmed and take quick action. This resulted in the Batavian authorities quickly issuing orders to the ships departing for Surat from Batavia to drastically change the shipping routes. They conveyed this to the outgoing ships as well as the Heren XVII19 in the Netherlands. The translation of the extract20 is as follows. "With sadness, Batavia is mentioning that the ships Wimmenum and Vrede expldoed in the air and the Bark Jakatra were plundered by the pirates of Angria. Heren XVII must note it down. "This misfortune is caused by the superiority of the Angria, which can be seen from these encounters as to how extremely strong they are at the present. They can also prevent us on sailing the silence of the sea...And the the brave captain Philippi and other people have done everything that can be expected from them in this heavy attack. "As it is not the task of the Hoge Regeering (High government) to tell your honor the historical stories, one should know the same from the secretary of Nagapatnam as well as the letters from Surat. Batavia has much to speak about the captain Johan Louis Philippi. "He (Philippi), having killed 1600 men of the enemy before his death and beaten up the whole fleet of the enemy, such that the ships which are not burnt or shot in the ground, won't be sea- worthy again. 17. Naval resistance to Britain's growing power in India, pp. 75. 18. A case in point is VOC 6299, containing the Muster roll and daily register of the ship Wimmenum from 1752 to 1753, mention at least 269 people by name and the city of origin in the first 20 pages. The Captain Jan Louis Philippy is mentioned as being from the city of Leeuwarden in the Netherlands (vide scan no. 13 of VOC 6299, available digitally at gahetna.nl). 19. The apex body of 17 directors of the VOC in the Netherlands. Literally translates to "Seventeen Lords". 20. Generale missiven van gouverneurs-generaal en raden aan heren XVII der Verenigde Oostindische Compagnie, Deel 12, pp. 475-76. 51 VOL. 5/No.10/February/2018 "In the sixty of our men taken prisoners by Angria, the aforementioned Corporal was also present; he deserted it and came here (Batavia) via the Coromandel Coast. "To prevent such disasters, Batavia has decided... "That the ships departing from Batavia in the beginning of August should go west of the Maldives, though those departing in September and October may go to Malabar and from there, immediately take a westerly course through North Maldives and not be near the shore as well as the "Caab St. Jan". "Further, the ships coming from Surat to here (Batavia), should keep opening sea immediately after leaving Surat if their destination is not Ceylon. If, however, the ships from Surat are destined to Ceylon, then and only then are they permitted to go to Malabar Coast South of Cochin. But even then, they are not to stay close to shore, because Angria never goes in the open sea. But then one is forced to stay close to the shore because one needs fresh water as there is little space of the same due to a large number of men on the vessel, so one should sail as silently as possible. We know this from the long experience with the pirate, and most of the ships used by him in this manner and he never ventured in the coldness of the sea." The figure below clearly shows the sailing routes before and after the resolution of Batavia. Arrows for directions are not shown because the routes are same or similar for ships leaving Batavia as well as Surat. The map is only for representational purposes and the intermediate unlabeled points do not represent any actual locations. This was made using the R programming language (version 3.4.0 on 64-bit Windows machine) and using such packages as mapdata. Ggplot 2, etc. The code is fairly simple and easily reproducible. 52 VOL. 5/No.10/February/2018 The earlier shipping routes stayed close to the Malabar Coast. These are not shown in the map. Aftermath in the Netherlands There were very few Dutch survivors from this battle. Most of them died at sea, while many were taken prisoners by the Angres. As can be seen from the extract above, the Batavian authorities were full of praise for the Captain Philippy and other people. The survivors, who reached the Netherlands, were well compensated as seen from the news in the Leydse Courant of 3 May, 1756. Simon Root, the captain of the ship Vrede and 18 men of the shipping crew were given a total of 10,000 Rupees. Considering the wages etc. at that time, this was a very big amount. 53 VOL. 5/No.10/February/2018 Just how big the amount was can be seen from the salary slips in the Muster rolls of the ship Wimmenum. The total amount paid to Jan Louis Philippy, the captain of the ship Wimmenum, from 3 September 1752 to 7 July 1753 was 990 Guilders, 11 Stuivers and 9 Pennies21 i.e. Around Guilders Florins per year. To take another example from the lower income group, the amount paid from 3 September 1752 to 11 July 1757 to Michel Everhard, a soldier aboard the ship Wimmenum, was paid 320 Guilders and 11 Stuivers i.e. Around 64 Guilders per year. Now, a rupee was worth around 30 Stuivers22 while 1 Guilder was divided into 20 Stuivers, i.e. 1 Rupee = 1.5 Guilders. Therefore, the amount of 10,000 rupes is equivalent to roughly 15,000 Guilders. Assuming similar salaries for soldiers and the shipping crew, one can see that each man received a bonus that was easily multiple times of his yearly pay. Such an act speaks volumes about the importance attached to the battle by the company. There exist similar examples from the EIC, where the Admiral Watson, who successfully led the charge in the 1756 campaign against Tulaji Angre and destroyed the whole Angre Navy & captured the main Angre stronghold Vijaydurg, was awarded a sum of 6,00,000 pounds Sterling23. Leydse Courant, 3 May 1756 English translation Nederlanden. The Netherlands. Amsterdam den eersten Mey. Met de meergem. Amsterdam first May. With the two moored Twee O.I. Schepen heeft men over Vrankryk nog East Indies ships, the following news was tyding, "dat op bevel en aanschryvens van e Ed. received from France. "On the writing and Heeren Bewindhebbers van de O.I.Maatschappy de orders from the lords directors of East India schipper Symon Root en agtien man van het Company, the captain Symon Root and 18 men scheeps-volk, die alle in het jaar 1753 in de magt of the shipping crew, who fought against the der zeeroovers van Angria vervallen zyn, voor de pirates of Angria, were to rationed the sum of somme van tien duizend Ropyen gerantsoeneerd ten thousand Rupees, and it is said, that the sum waren, en, zoo men zegt, op de retour-vloot would be distributed on the return fleet to verdeeld zyn, om nog dit jaar te repatrieeren &c. repatriate this year..." 21 VOC 6299, scan no. 13. 22 VOC Glossarium, pp. 99. cf. "Ropia". 23 Nouvelles Extraordinaires de divers endroits, 28 February 1758. 54 VOL. 5/No.10/February/2018 Coverage of the battle in the Netherlands and the rest of Europe Dutch print media The battle was well represented in the contemporary Dutch newspapers.The stories from the survivors were enthusiastically reported in the "Jaarboeken" i.e. Annals of notable events of 1754 and 1755 and was covered in various contemporary Dutch newspapers for at least 16 times. Newspaper Name Date Leeuwarder Courant 12 October 1754, 30 November 1754, 7 December 1754 Leydse Courant 7 October 1754, 16 October 1754, 27 November 1754, 29 November 1754, 21 April 1755, 3 May 1756 Nouvelles Extraordinaires de 8 October 1754 divers endroits Oprechte Haerlemse Courant 8 October 1754, 28 November 1754, 12 June 1755 Opregte Groninger Courant 11 October 1754, 29 November 1754 Rotterdamse Courant 30 November 1754 English print media English newspapers24 mentioned it at least 7 times as follows. Newspaper Name Date Derby Mercury 27 September 1754 & 13 December 1754 Manchester Mercury 8 October 1754 & 24 December 1754 Caledonian Mercury 23 December 1754 Leeds Intelligencer 8 October 1754 Oxford Journal 21 December 1754 24 The English newspapers are consulted from the website www.britishnewspaperarchive.co.uk 55 VOL. 5/No.10/February/2018 French print media The two accounts of the battle were also translated into French in at least two instances albeit briefly as follows. Source no. Name Account narrated 1 Vies des gouverneurs-generaux avec l'abrege de Account of the Corporal who escaped from l'Histoire des Etablissemens Hollandois aux Angre's to Nagapatnam and thence to Batavia. Indes Orientales (pp 347-48). 2 Fastes de la Marine Hollandaise depuis Account of the survivors from the ship l'epoque la plus reculee jusq'a nos jours, Second Wimmenum bravery of Captain Jan Louis volume (pp 233-36). Philippy. The above examples should suffice to show that the battle was a well-known affair in contemporary Europe. What is most surprising is that the available Marathi sources on the History of Angre's have absolutely no mention whatsoever of this battle- but in the current state of affairs, where most of the Angre Daftar is as yet unresearched, this is to be expected. As it is, there is hardly any Marathi corroborrative evidence for any of the numerous battles fought by the Angre clan against various Europeans. It is hoped that the Angre Daftar in both Pune and Mumbai would be searched and the important documents therein published in the coming years. Discovery of the wreakage of the ship Wimmenum More than 250 years elapsed after the battle, when it was all but forgotten. Then out o the blue in 2015, there appeared a news25 in The Hindu, one of the prominent English-language Indian Newspapers, of the discovery of a shipwreck, discovered at a depth of 43 meters, 9.7 km Northwst of Anthuchengu (formerly known as Anjengo) in Kerala. What was fascinating is that the shipwreck was that of the ship Wimmenum. In addition, there was also the mention of the "Dutch Bell" in the Janardhana Swamy Temple in Varkala, which is not far from the site of the shipwreck. These details, among other information on marine life and the fishermen community, were published in a Malayalam-language book called "Kadalarivukalum Neranubhavangalum" by Mr. Robert Panipillai. 25.http://www.thehindu.com/news/cities/Thiruvananthapuram/book-unravels-several-mysteries-of-the- sea/article7388355.ece 56 VOL. 5/No.10/February/2018 Soon after coming across this news, I purchased the aforementioned book from the website amazon.com, and, as I am not familiar with the Malayalam language, showed the book to Mr. Bharat, who is an office colleague, with Malayalam as his mother tongue. He very kindly went through it and pointed out the relevant details therein. In pages 79 through 85, there are some details about the discovery, apart from the photo of the wreakage of Wimmenum. It appears that the local fishermen had always known that there is a shipwreck there. It was Mr. Panipillai who went the extra mile and connected the dots. The "Dutch bell" in the Janardhana Swamy temple at Varkala bears the inscription of one Michiel Everhard, who was a soldier aboard the ship Wimmenum. His name thus features in the muster roll of the ship Wimmenum, which can be seen below (photo of the document of footnote 11). Now, the towns of Anthuchengu and Varkala are 11.3 km apart with Varkala being in the North. Therefore, the shipwreck, which is located 9.7 kms Northwest of Anthuchengu, is practically next to Varkala and as a result, Michiel Everhard donating a bell to the local temple as a token of gratitude because of his survival makes perfect sense. The book mentions "Angrians" as being the opponents of the Dutch in the battle, but without much commentary as to who these might be. Mr. Panipillai, not being well-versed with Maratha History26, has wrongly concluded, solely on the basis of "Dutch Archives" that the word may denote 26. This is not at all meant as a jibe at Mr. Panipillai. His focus is on the local marine life and fishermen community and the discovery of the shipwreck is an incidental topic for him, so one can never blame him for 57 VOL. 5/No.10/February/2018 "a group of pirates". Actually, there exists ample literature which shows that the Angre clan were not pirates27 and owed their allegiance to the Maratha Chhatrapatis28 of Satara, albeit more and more nominally as the 18th century progressed. A personal anecdote about this won't be out of place here. I visited the Janardhana Swamy temple at Varkala on 31st December 2016, with the Dutch Historians Dr. Gijs Kruijtzer, Dr. Lennart Bes and Dr. Jinna Smit. After the Dutch sources panel discussion in the Indian History Congress of 2016 at the Karyavattom campus of the University of Kerala near Thiruvananthapuram, the participants stayed at Varkala to celebrate the New Year. It is then that I, with Dr. Bes and Dr. Smit visited thetemple, though sadly couldn't see the Dutch bell because the temple was closed at that time. Dr. Kruijtzer, who had visited the temple on the same day slightly before the closing time, succeeded in seeing the bell with the inscriptions on it. At that time, I was unaware of the importance of it then, having discovered some new records29 on Shivaji, the founder of the Maratha polity a few months before in the Dutch archives at the Hague and was talking about those to everybody. It is only in the last 2-3 months that I came across the various sources mentioning this battle and my interest was picqued, principally due to my friend Mr. Pratish Khedekar, who is one of the most knowledgeable men I know when it comes to Maratha Navy. Acknowledgements For this paper, I am indebted to several people. to begin with, all the members of the facebook group "Indo-Dutch History", in particular Prof. Markus Vink for helping me translate a tricky Dutch passage. I also thank Mr. Bharat who took time from his busy schedule to explain to me the gist from the Malayalam book. And finally, it is thanks to Mr. Pratish Khedekar that I could think of writing this paper. He has always helped me very generously when it comes to Maratha Navy as well as many other aspects of Maratha History. I hereby urge him to start publishing ASAP. not searching further about the topic. But since my focus is on Maratha History, it is important for me to discuss such issues at appropriate places. 27. Latest of which is the fascinating book Naval resistance to Britain's growing power in India 1660-1800, by Philip Macdougall. Chapters 3 to 6 talk about Anglo-Maratha naval clashes, focussing on the activities of the Angres. Page 97 contains some discussion that takes stock of such portrayals and contextualises it in the Indian Ocean Historiography. 28. Chhatrapati is the term for “sovereign emperor” in Maratha parlance. Literally meaning “Lord of the (protective) umbrella” 29. I have written multiple papers on it, which can be seen at my academia.edu profile https://independentresearcher.academia.edu/NikhilBellarykar 58 VOL. 5/No.10/February/2018 Guide Lines for Authors Preparation of the research paper. Title, name of the author, affiliation and abstract. Research papers/Article/Note etc. should not exceed 20 pages. In the research paper maps, drawing and photographs can be used and should be sent as separate files. Research paper should be typed in Hindi Script KRUTIDEV 010 with font size 14 and English TIMES NEW ROMAN with font size 010 and 1.5 line space. All references cited within the research paper should be given at the end; by following the format as under; Style of references/ format of citations. References within research paper should be cited as; if single; (Dwivedi, 1999) if more; (Dwivedi et al., 1999) if two; (Dwivedi and Kumar, 1999). For more than one reference of the same author from single year should be written as (Dwivedi et al., 1999 a, b). Reference for research article. Pradhan, Atula Kumar (2014), New light on rare coins from Pachrahi excavation, Prag Samiksha, 1(2): p Reference for newspaper article. Vijpuriya, Nandkishor (2012, December 28), Temple architecture of Padavali.“City Bhaskar, Gwalior” Dainik Bhaskar, p Government publications, reports related to the use of references. Annual Report (2011-2012), University Grants Commission, Government of India, p Twelfth Five Year Plan (2012-2017), Planning, Economics and Statistics Department, Government of Madhya Pradesh, Volume – I, p. References of edited books/Proceedings. Pandy R.P. (1994); Rock art discoveries around Gwalior, Midhra P.K. (Ed.); Heritage of India: Past and Present, Agam Kala Prakashan, Delhi, p References of book: R. N. Mishra (2002) Bhartiya Murtikala ka Itihas, ShilpiGranth, p Book Chapter: Kumar, Lallesh (2015) A Review of Sculpture in Gopadri. In: Dwivedi S. K. (Ed.) Gwalior: A Review, Samya Publication, Gwalior, p References for Dictionary. Fredrick w. Bounce (2001); A Dictionary of Buddhist and Hindu Iconography, D.K. Print world, New Delhi, p 59 VOL. 5/No.10/February/2018 Reference for Dissertation. Kumar, Lallesh (2012); Batesara: Temple architecture and Iconography, Unpublished Master of Philosophy dissertation, Jiwaji University Gwalior, p Well know abbreviations for journals e.g. EI, AI, ASI, AR, ASIR, CII, IAR, IHQ, JAS, IC etc. Web addresses should be referred in research paper in following manner http://asi.nic.in/asi_exca_imp_bihar.asp Research papers will be selected for publication on the basis of merit by the editorial board and copyright will of Prag Samiksha. Research paper/Book Review should reach the chief editor in two copies, sent through registered post and one copy to be mailed on [email protected]. Prag Samiksha accepts the paper at any time and publishes it in the upcoming issue. Subscription/membership from 60 VOL. 5/No.10/February/2018 Name of Author: Proof./Dr./Mr./Miss...... Degeneration: ...... Subject...... Name of Institute/college...... Address...... State...... Country...... pin...... Mobile/phone no...... E- mail id...... I wish to subscribe to/renew my subscription to “pragsamiksha” a half yearly research journal for one issue/annual/life time (individual/ institutional). A bank draft/cheque/cash ...... draws in favor of dr. s. d. sisodia, jiwaji university, Gwalior (m. p.). I enclose a chaque/D.D. No...... Rs...... Payable at Gwalior (m. p.) Sent this subscription/membership from: To Dr. Shanti devsisodia (Assistant professor) Ancient Indian history, culture and archaeology Applicant’s Jiwaji University, Gwalior (M. P.) 474011 recent Phone no. 0751-2442720, 9425742232 photograph E-mail id: [email protected] Disclaimer: . Editorial board/Editor retains the right to accept/decline the article/Research paper/note etc. for the journal. . My/our research paper/article/note etc. is originally written by me/us and all information is correct. I/We will fully responsible for research paper/Article etc. Signature of Applicant (Name...... ) For office use only Membershipno...... Valid up to...... category...... Receipt no...... -...... Date...... COPYRIGHT AGREEMENT FORM 61 VOL. 5/No.10/February/2018 I hereby declare, on behalf and my co-author (if any) that: . The research paper/article is original work mine and has not been published in the same form elsewhere. Also, the research paper/article does not contravene any existing copyright or any other third party rights. . Reproduction of the material published in PragSamiksha in any form by any person without the permission of the publisher is violation of copyright and appropriate action may be initiated against the person violating the copyright. . I am/We are the sole author of the research paper and maintain the authority to enter into this agreement and the granting of right to the PragSamiksha and this does not contravene any clause of this agreement. . The editor will not be responsible for the views expressed in the research paper/article etc. . I/We hereby transfer the unlimited rights of publication of the mentioned research paper/article in whole to the PragSamiksha (ISSN 2321-659X). . Plagiarism is illegal and editorial board/editor will not be responsible for any plagiarized matter used in the article. Name of Author: Prof./Dr./Mr./Miss...... Name of Co-author: Prof./Dr./Mr./Miss...... Title of paper: ...... Subject: ...... Date...... Place...... Signature of Applicant Name...... Address...... ...... 62 VOL. 5/No.10/February/2018