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DAK 34 Fall 2019 Daak in Indian Languages Daak in Indian Languages Daak in Indian Languages Hindi Hindi Hindi Daak in Indian Languages Daak in Indian LanguagesHindi Hindi Daak in Indian Languages Daak in Indian Languages Sanskrit Malayalam Hindi Hindi Sanskrit MarathiMalayalam Punjabi Sanskrit Malayalam Marathi TeluguPunjabi Tamil Marathi Punjabi SanskritOdiya MalayalamKannada Telugu Tamil Sanskrit DaakMalayalam in IndianMarathi Languages Punjabi Telugu Tamil GujaratiSanskrit Malayalam Bangla Odiya Kannada ഡാക് Telugu Tamil Marathi Hindi Sanskrit Punjabi MarathiDaak Malayalam in Indian Languages Punjabi Tibetan ڈاک Odiya Kannada HindiDAKTelugu Tamil Telugu GujaratiMarathi Tamil Odiya PunjabiBangla Kannada ڈاک The Newsletter of theUrdu American Institute of Indian StudiesOdiya Kannada Telugu Tamil Number 34 GujaratiFall 2019 Bangla Gujarati Odiya Tibetan Bangla Kannada Gujarati Bangla Odiya Kannada TibetanTibetan Gujarati Bangla ڈاک Urdu Tibetan ڈاکGujarati Bangla ڈاک UrduUrdu Tibetan Tibetan Sanskrit Malayalam ڈاک Urdu Marathi Punjabi ڈاک ڈاک Urdu Urdu Dr. Susan Bean, Professor Sumathi Ramaswamy, Mr. Arun Goel, Ambassador Kenneth I. Juster, Mrs. Purnima Mehta AIIS Convenes All India Museum Summit The All India Museum Summit 2019, organized by the American Institute of Indian Studies (AIIS), was held at the India International Centre in New Delhi, JuTeluguly 22-24, 2019. Under the theme “India’s museums in the new Tamil millennium,” the Summit emphasized the importance of museums in enriching the lives of India’s people and the continued on page 7 Odiya Kannada Gujarati Bangla Sanskrit Malayalam Tibetan Punjabiڈاک Marathi Urdu Telugu Tamil Odiya Kannada Gujarati Bangla Tibetan ڈاک Urdu AIIS Language Students Masters Level Capstone Projects In the summer of 2019, for the first time, AIIS Deccan. First, with the help of a Sanskrit specialist, awarded funding for its summer language students to Dr. Kirti Kulkarni, she translated the Rudradaman carry out masters level capstone projects in India. inscription of year 72. The text appears on a rock at This funding which was awarded on a competitive the site of Girnar, on which Aśoka’s Prakrit edicts basis, was given to four students: and Skandagupta’s later Sanskrit inscription also appear. After translating the Rudradaman inscription, Anne Briggs, a graduate student in the School of she placed the three inscriptions in conversation with Music at the University of Minnesota, participated in each other in an attempt to assess how the the summer Konkani program in Pune. She carried inscriptional praśasti formula demonstrated in the out her capstone project in Goa, which lived under Rudradaman and later Skandagupta inscriptions Portuguese colonial occupation for nearly 450 years, could have emerged through the physical and being liberated in 1961 and formally added as an ideological acknowledgement of Aśoka’s edicts. Indian state in 1987. As a result, the musical, Preliminarily, she hypothesized that the physical gastronomic, and social fabric of the area continues present of the edicts transformed the rock into an to be represented as a linked and blended history of ideologically powerful space, which other rulers, East and West. Many Goans even discuss their even centuries later, would utilize to spread their own Portuguese-influenced heritage with pride and offer it messages. She continued exploring the notion that as evidence of their difference from other groups in inscriptions can create ideologically powerful spaces India. Ms Briggs encountered a small, but strong through the next phase of her research which revival of Fado performances especially in the capital involved visiting archaeological sites. Due to time city of Panaji (or Panjim). Fado—an urban musical constraints, she focused on the following sites in song usually consisting of voice, Portuguese guitar, Maharashtra — the Naneghat cave and surrounded and bass guitar—is often represented as a cornerstone monastic sites in Junnar as well as the caves of of Portuguese identity. Similar revivals have Ajanta and Ellora. Guided by Dr. Shreekant Jadhav, appeared across the Lusophone world; however, she visited these sites, taking special care to unlike revivals she documented in Lisbon, Coimbra, photograph any visible inscriptions. The Naneghat and Norther California, Goa’s Fado community is re- inscription remains the highlight of her travels, as the introducing the genre with local, community-focused paleography of the inscription was so clear and education through workshops, concerts, and events. reminiscent of Aśokan Brahmi, that she had little And while revivals in other Lusophone diasporic trouble discerning the text. However, the rest of the communities stress their saudade—longing and Junnar inscriptions as well as the inscriptions at nostalgia—about a lost Portuguese past, the Goan Ajanta and Ellora were not nearly as well preserved, Fado community represents their revival as apolitical, which made conducting a complete paleographic hoping to distance an oppressive Portuguese colonial survey difficult. However, one shared feature of these past from the Portuguese-inspired/-affiliated cultural less legible inscriptions was that they were often artifacts that mark what it means to be Goan. The located in places that are somewhat hard to read. For AIIS capstone funding provided her the chance to example, a Pali inscription outside a prominent cave travel to Goa and spend four weeks meeting with in Ajanta was placed far above eye-level, making the local musicians, connoisseurs, and students. Not only already small (compared to Naneghat) akṣaras nearly did the funding offer her the opportunity to learn impossible to read. This placement caused her to Konkani in Pune for eight weeks, but also to engage reflect on the visual effects of an inscription which with practitioners and musicians about whom little is may be quite separate from the matter of readability. written or known. This summer project formed the In fact, even a number of Aśoka’s inscriptions appear foundation of Ms Briggs’ upcoming dissertation in places that would not have been easily read. project which focuses on Lusophone music in Perhaps these inscriptions served as visual markers of diaspora. space whose ideological influence was felt rather than read. Having had the opportunity to explore this line Julia Chatterjee, a graduate student in the of inquiry at actual archaeological sites, Ms Department of Asian Languages and Literature at the Chatterjee is now well equipped to continue University of Washington, participated in the summer expanding her research on the effect of inscriptions Sanskrit program in Pune. Her summer project on the creation of ideological spaces in ancient India included two major elements which helped her gain in her current MA thesis. perspective and a deeper understanding of the inscriptional practices in the western region of the 2 Rachel Pei Hirsch, a graduate student in the Margaret Masselli, a graduate student in the Department of Architecture at the Massachusetts Department of Art History at Columbia University, Institute of Technology, participated in the Mughal participated in the Urdu program in Lucknow. She Persian program in Lucknow. She spent several used her capstone funding to travel to Patna, Kolkata, weeks in Burhanpur, a small city located near the and Murshidabad. She was able to explore the southern border of the state of Madhya Pradesh. Her collections of the Patna Museum, Indian Museum in goal was to use a surface archaeology approach to Kolkata, Hazarduari Palace Museum in Murshidabad, garner a historical understanding of the city. and several other small collections. Her capstone Burhanpur was a major Sufi center as well as a project laid a foundation for her Master’s thesis and capital of both the Farooqi and Mughal dynasties helped her to gain a greater understanding and from the late-fourteenth century, but receives little awareness of the region, in order to facilitate further attention in historical scholarship today. She was research trips in the future. Her project explores the particularly interested in its value to the rulers of the interlinked nature of artistic production in eighteenth- latter empire, most notably Akbar, Jahangir, and and nineteenth-century eastern India. Much of the art Shah Jahan, and set out to photo-document and map and culture of this period is now exhibited in the UK, the city’s architecture and spatial layout. The goal removed from its initial context. However, it is was to find new ways to interpret this seemingly- crucial to understand the cultural centers and modes marginal city. This preliminary research will serve as of production that these objects and artworks the primary data set for her master’s thesis. She is originated in. Furthermore, the eighteenth and currently in the process of outlining the contours of nineteenth-century material archive of the region, this thesis, which will likely focus on the highly ranging from in situ architecture to paintings and dynamic period of Mughal rule between 1601 and objects in public museums and small collections, 1631. This thirty-year period saw the rule of the three remains largely inaccessible online, as well as in emperors listed above, all of whom patronized publication. The images and detailed notes she was architectural projects in Burhanpur. Using able to take throughout the summer will continue to observations from this summer, she hopes to inform her research. substantiate an argument that Burhanpur was a critical tool in imperial
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