यादों के पिटारे से: एक मेहमान फूल के अनेक रंग

मेरा यह लेख नवभारत टाइम्स के परिशिष्ट इंद्रधनुष में ४ सितम्बर, १९९३ को प्रकाशित हुआ था. 

हॉलैण्ड के पश्चिमी तट के पास एक छोटा-सा क़स्बा है --लिस्से. इसी क़स्बे में बसा है क्यूकेनहॉफ़. क्यूकेनहॉफ़ वसंत ऋतु के सिर्फ़ दो महीनों में सैलानियों और पुष्पप्रेमियों के लिए खुला रहनेवाला एक सुन्दर उद्यान है. हॉलैण्ड  में वसंत की शुरुआत मार्च के अंतिम दिनों में या अप्रैल के पहले हफ़्ते में होती है. और अप्रैल के महीने में ही खिलता है ट्यूलिप जिसके लिए हॉलैण्ड दुनिया भर में मशहूर है. अपने-आप में बेहद खूबसूरती संजोए ट्यूलिप के फूल पूरे साल में सिर्फ़ महीने-डेढ़ महीने ही खिलते हैं. क्यूकेनहॉफ़  में ट्यूलिप की ७०-८० क़िस्में अपने पूरे शबाब पर होती हैं और उन्हें देखने के लिए देश-विदेश से हजारों पर्यटक लिस्से आते हैं. इस उद्यान में इन्हीं दिनों में अन्य कई तरह के फूल भी खिलते हैं लेकिन ट्यूलिप के अद्भुत आकर्षण के सामने उनका सौंदर्य कुछ फ़ीका -सा लगता है.

क्यूकेनहॉफ़  ७० एकड़ क्षेत्र का एक विशाल उद्यान है. क्यारियों में रंग-बिरंगे ट्यूलिप इतने कलात्मक ढंग से उगाए जाते हैं कि तरह-तरह के रंगों के वर्ग या आयत दूर तक फैले हुए दिखाई पड़ते हैं. ट्यूलिप अपने डंठल पर बिलकुल सीधा खड़ा रहता है और ये डंठल एक-दूसरे से एकदम सटे हुए होते हैं इसलिए एक ही तरह के सौ-दो सौ या उससे भी ज़्यादा फूल हमेशा एक साथ खड़े दिखाई देते हैं. 

अन्य सभी फूलों की तरह ट्यूलिप का फूल भी सबसे ज़्यादा सुन्दर तब लगता है जब वह अधखिला होता है. कभी उसकी पंखुड़ियां सिर्फ़ एक रंग की होती हैं, तो कभी दो या तीन रंगों की. कभी पंखुड़ी लाल हुई तो उसके किनारे सफ़ेद होते हैं, कभी पीली पंखुड़ी पर बीचोंबीच बड़ा-सा लाल निशान ऐसे दिखता है जैसे किसीने  अपने अंगूठे से लम्बा लाल तिलक लगा दिया हो, तो कभी सफ़ेद रंग की पंखुड़ी पर केसरिया रंग की ऐसी बौछार होती है जैसे किसीने हाथ में तूलिका लेकर मनचाहे ढंग से छिटक दी हो. और फ़िर पचासों अलग-अलग रंग संयोजन और हर रंग की इतनी भिन्न छटाएँ कि उनके नाम किसी भी भाषा के शब्दकोष में न हों. पंखुड़ियों के किनारे कभी गोल तो कभी ऊपर से नुकीले तो कभी इतनी बारीकी और सफ़ाई से कटे हुए मानो किसी ने झालर लगा दी हो. प्रकृति का यह चमत्कार जब इतनी विविधता लिए हजारों-लाखों फूलों के रूप में हमारे सामने आता है तो सृष्टि के रचयिता के प्रति मन आस्था से भर उठता है. 

हॉलैण्ड में बारिश का कोई मौसम नहीं होता. साल भर थोड़ी-थोड़ी बारिश होती रहती है. लेकिन बारिश के बावजूद क्यूकेनहॉफ़ का लुत्फ़ उठाने आए लोगों का उत्साह ख़त्म नहीं होता. हजारों की संख्या में लोग सर्द हवा के थपेड़ों को सहते अपनी छतरियों और रेनकोटों को संभालते इस "ट्यूलिप तीर्थ" की यात्रा करने आते हैं. 

क्यूकेनहॉफ़ के आसपास के इलाके में ट्यूलिप के कई खेत हैं जहाँ ट्यूलिप की बाकायदा खेती होती है. पूरा खेत दूर से ऐसे दिखता है मानो किसीने रंगबिरंगा विशाल गलीचा बिछाया हो -- एक के बाद एक अलग-अलग रंग की सीधी पट्टियों वाला विशाल गलीचा। आज हॉलैण्ड में ४० हजार एकड़ भूमि पर ट्यूलिप की खेती होती है. हॉलैण्ड से बड़ी मात्रा में ट्यूलिप के फूलों और कंदों का निर्यात होता है. साल में सिर्फ़ महीना-डेढ़ महीना खिलने के बावजूद ट्यूलिप आज एक बड़ा उद्योग बन गया है. हॉलैण्ड की जलवायु ट्यूलिप के खिलने के लिए उपयुक्त तो है ही, वहाँ के निवासियों ने अंतरराष्ट्रीय बाज़ारों में ट्यूलिप के महत्त्व को पहचाना है, और वे ट्यूलिप के विकास में लगे हुए हैं. 

हॉलैण्ड में ट्यूलिप हमेशा कहीं न कहीं, किसी न किसी रूप में दिख ही जाता है. वहाँ कभी छातों के हैण्डल ट्यूलिप के आकार में बने होते हैं तो कभी पुरुषों की "टाईज " ट्यूलिप के प्रिंट से सजी होती हैं. यहाँ तक कि हॉलैण्ड का राष्ट्रीय पेय "येनेवर " जिस विशेष गिलास में पिया जाता है, उसका आकार ट्यूलिप से प्रेरणा लेकर डिजाइन किया गया है. 

ट्यूलिप की एक ख़ासियत है. जिस तरह अन्य फूलों के आकार या रंग संकरण से बदले जा सकते हैं, ट्यूलिप में यह प्रक्रिया अचानक, अपने-आप हो जाती है. ट्यूलिप उगानेवाले भी नहीं जानते कि उनके बोए कंदों में से कौनसा कंद एक नई क़िस्म के फूल को जन्म देगा, जिसका रंग और पंखुड़ियों का आकार ट्यूलिप की अन्य क़िस्मों से बिलकुल भिन्न होगा. इस नए ट्यूलिप से जितने कंद निकलते हैं, वे भी बिलकुल नए ट्यूलिप की ही तरह के फूलों को जन्म देते हैं. 

अब वैज्ञानिकों ने पता लगाया है कि ट्यूलिप में बदलाव की यह प्रक्रिया "वाइरल संक्रमण" के कारण होती है लेकिन १७वीं सदी में तो इसे "चमत्कार" ही माना गया था और  ट्यूलिप-उत्पादक सैंकड़ों कंद इकट्ठा कर इस बात का इंतज़ार करते रहते थे कि कब उनमें से नई क़िस्म का फूल खिलेगा. 

इसी वाइरल संक्रमण का नतीजा है कि आज ट्यूलिप इतनी भिन्न-भिन्न क़िस्मों में खिलता है. भविष्य में भी इसकी नई क़िस्मों के रूप में पुष्पप्रेमियों को प्रकृति का अनोखा उपहार मिलता रहेगा.

At The Spectacular Rani Ki Vav!

It is a beautiful morning. We set out from Ahmedabad by taxi. Our destination is the famed 11th-century stepwell Rani Ki Vav on the banks of the river Saraswati in Patan district about 125 kilometres away. Stepwells were built in arid regions like Gujarat and Rajasthan as a source of water for the local population and travellers. Being underground, they were cooler, providing respite from the harsh sun. Occasionally they were used as venues for gathering and celebrating festivals.

The road from Ahmedabad is comfortable and we reach in about two-and-a-half hours. We enter the premises after buying our tickets (Rs. 25 for Indians and Rs. 300 for foreigners). The well is situated amidst sprawling lawns that are well-maintained and very green. 

The stepwell is believed to have been commissioned by queen Udayamati in the memory of her husband Bhima I of the Chaulukya (also known as Solanki) dynasty in 1063. Its construction took 20 years. Some records show that it was made around 1032. It is certain that the stepwell was constructed about a thousand years ago. It is elaborately decorated with stunning sculptures and is seven floors deep, earning a moniker of "Inverted Temple" for itself. 

At some point in time, the stepwell was flooded by the river Saraswati and silted over. It is not known for how long the well remained hidden underground, perhaps for some centuries. It was noticed during excavations carried out in the 1940s. The Archaelogical Survey of India (ASI) restored it in the 1980s. Now it is protected by the ASI and is one of the UNESCO World Heritage Sites in India.

A bit overwhelmed by the size of the huge stepwell, I start descending it. Wearing comfortable shoes is a must. The stairs are somewhat tricky and require taking firm steps with full attention. There are no handrails or supports, so one has to be slow and steady. At every level, there is a wide platform to stand and admire the sculptures around you before climbing down to a lower level. You cannot go all the way down to the water level. The access is closed for the last two levels or so.

As you go down, it gets cooler and more pleasant. The hats and sunglasses come off as the stepwell turns into a comfortable retreat. The pillars, beams and walls are adorned with numerous carvings. They depict Gods and Goddesses in their traditional forms as described in the epics, animals, flowers, scenes from daily life and geometrical patterns. The proportions, postures and facial expressions in the sandstone sculptures tell us a lot about the sculptors' excellence in their craft. And the sturdy structure of the stepwell is a testimony to the architectural mastery of builders of that time. It withstood the silt, clay and sand that the floods deposited inside it for centuries!

Some panels in Rani Ki Vav feature intricate geometrical designs. The patterns in the well-known patola sarees that are woven in this region are inspired by these designs. Isn't it amazing? 

Photos by Lata

One of the several panels with exquisite carving! If queen Udayamati built Rani Ki Vav, her husband Bhima I constructed the Sun Temple at Modhera a few kilometres away. Read about it here.

Incidentally, the Rs.100 currency note features Rani Ki Vav on the reverse side.

Revering The Sun At Modhera!

Modhera Sun Temple lies at a distance of about 100 kilometres from Ahmedabad in Gujarat. Situated in Mehsana district, the temple was built a 1,000-years ago by Bhima I of the Chaulukya (also known as Solanki) dynasty. It is not used for worship anymore. Now it is a protected monument, managed by the Archaeological Survey of India. I was highly impressed with its grandeur and beauty when I visited it recently. There are trains and buses to reach Modhera from Ahmedabad. One can also use a taxi which takes about two-and-a-half hours. 

There is an entry ticket for Rs. 25 per person to enter the temple complex. The premises are well-maintained with greenery and landscaping. There is a museum inside the complex. The path to the museum is bordered by several sculptures that were excavated from this location. Inside, the museum houses more such sculptures that represent the Maru-Gurjara style from the 11th century.

The temple is a short walk away from the museum. It comprises three separate parts: a stepped reservoir (kunda), an outer assembly hall (sabhamandapa or rangamandapa), and the innermost sanctum (garbhagriha) situated inside a hall (gudhamandapa). All the structures feature intricate carvings on their walls, pillars and ceilings. The figures in the carvings are derived from epics such as Ramayana or Mahabharata. Also, there are images of other Gods and Goddesses, animals, floral motifs, geometrical patterns and scenes from daily life. 

The garbhagriha is vacant and locked now, but at one time it housed an idol. The temple is designed in such a way that the first rays of the sun illuminate the sanctum during solar equinoxes. And when it is the summer solstice, the rays touch the first step of the kunda at sunrise, while at noon the sun is directly above the temple so there is no shadow.  It is amazing to see how architecture and astronomy were used together to worship Sun a thousand years ago.

The walls are chock-a block with awesome art. My guide pointed out several panels depicting well-known instances from epics. I might have missed them if it was not for him. Sometimes a particular sculpture may get overshadowed by surrounding sculptures, at other times it could be placed high up on the wall making it difficult to see it properly. I recommend hiring a certified guide to understand and appreciate the beauty of this awesome monument.

This is one of the many images of the Sun God at the Modhera Sun Temple. The Sun is depicted in a standing position in his chariot that is drawn by seven horses.

Photos by Lata

If the visit to the temple was very fulfilling, the light and sound show in the evening was the icing on the cake! The commentary was well-researched and informative. And the lights projected on the monument in different hues were mesmerising. It was a memorable audio-visual experience. A board in the temple complex described it as the "First Solar Powered 3D Projection Mapping Show & Heritage Lighting On Modhera Sun Temple". 

A temple erected to honour the Sun God featuring a show powered by solar energy...what could be more fitting than this! When the bit about solar power was mentioned in the commentary at the end of the show, the audience applauded in appreciation.

A Scrapbook Of Photos From Ahmedabad!

Here are some pictures from my recent visit to Ahmedabad. They say, a picture is worth a thousand words, so I will let the pictures do most of the talking. However, I am adding a few words to each picture to give it some context, and to make it relevant and more meaningful.

Atal Bridge runs across the Sabarmati River, occupying a pride of place along the Sabarmati Riverfront. Meant only for pedestrians, this is 300 metres long. Inaugurated in 2022, its design is inspired by kites underlining the importance of Uttarayan, or Kite Festival celebrated in Ahmedabad every year in January. I enjoyed crisscrossing the bridge on foot. I visited it in the early evening. Missed out on the illuminations that make it look like a sparkling necklace once it gets dark.

This store was more like a warehouse! Crammed with food products from floor to ceiling, it offered a variety of dry sweets and savouries--farsan in Gujarati--, that Gujarat is famous for. I ended up picking up more than I had planned for.

These little charkhas look neat, don't they? And surely they could not have been on display in a better location! Their vendor has laid them out for customers just outside the Sabarmati Ashram. 

Historic Bhadra Fort built in 1411 by Sultan Ahmad Shah in the walled city of Ahmedabad. The much revered Bhadrakali Temple is situated in this complex. The fort functioned as a royal court and a British prison.

Bhadrakali Temple in the early morning sun with the turrets of the fort in the background. I happened to visit it on a Tuesday, a special day for worshipping the Goddess. A group of people was busy singing bhajans to the accompaniment of musical instruments. The atmosphere was festive as the temple was getting ready to celebrate the 615th foundation day of the city of Ahmedabad. 

A stall inside the temple selling flowers, coconuts and red chunaris that visitors buy as an offering to the Goddess. 

The imposing Bhadra Fort. It was not possible to capture both the turrets in the picture.

This amazing gateway stands tall in the walled city. A relic from the past connecting the present with yesteryear.

This is Tankshal-ni-Haveli situated in a narrow and busy lane. This area housed the coin mint in olden days. The haveli was probably built in the 1800s. It features stunning woodcarvings. It was converted into a girls' school in 1925, but has been in disuse for a long time now. Passersby and residents are unaware of the importance of this structure and it is a pity to see it stand amidst the chaotic environment of its surroundings.

The fine carving on the upper floor of the haveli!

Mannequins in the cramped lanes of Ratan Pol. This is a bustling market selling fabrics and garments. 

Photos by Lata

I chanced upon this group of women dressed in their finery inside the Adalaj stepwell. Their bright attire provided an interesting contrast to the light coloured backdrop. At the same time the reds and pinks in the foreground accentuated the beauty of the exquisite setting.

Adalaj Stepwell: A Marvel In Sandstone!

Stepwells ( vav in Gujarati and baoli, bawdi in Hindi) have been a part of arid regions like Gujarat and Rajasthan for many centuries. Some were used as luxurious baths by the royalty, while others provided water to the travellers and local residents for their daily needs. They also served as gathering spaces where people got together for social and religious events. Very often, they were large structures, several floors deep, with ornate carvings.

I got an opportunity to visit one of the very beautiful stepwells in Gujarat recently. Situated in Adalaj near Gandhinagar, it is a five-storeyed sandstone structure built in 1498. Called Adalaj Stepwell or Roodabai Stepwell, it is a popular tourist spot easily accessible from Gandhinagar and Ahmedabad at a distance of about five and 18 kilometres respectively.

It is hard to tell from the outside that this is the site of such an important heritage structure. The surroundings are dusty and ordinary, just like one would find in a small town. As you enter the premises, there is a ticket window (Rs. 25 for Indian visitors and Rs. 300 for foreign tourists). Done with the ticket, you walk to the area where steps lead you down towards the bottom of the well. The well is completely covered, but for a circular opening above the water body.

The steps are in good shape and easy to use. I start climbing down, stopping on each floor to appreciate the carvings. There are deities, human figures, elephants, geometrical designs, trees, flowers on the walls and the pillars...all of them exquisite in their proportions and symmetry. The sheer scale of the intricate art fills you with awe and amazement. One can climb down almost to the level of the water which stands in a rectangular pool. It gets a bit dark and cooler as you go down, a welcome respite from the bright sun and warm temperatures outside. 

It is a pleasant morning and visitors are trickling in continuously. I meet two large groups of pre-teen school students, led by their teachers. They bring a lot of colour and positive energy to the ancient monument. Tourist guides are at work pointing towards significant carvings, and doubling up as photographers capturing their clients' images against the magnificent backdrop. Soon, the images will find their way to different social media platforms!

I find a nice spot on one of the steps and soak in the ambience. I recall the poignant story behind the making of this well. 

Photos by Lata

The story goes that Rana Veer Singh of the Vaghela dynasty ruled this area in the 15th century. It was a dry region and his subjects often faced water scarcity. As a helping gesture to them, he took up the construction of this stepwell. But as luck would have it, he got killed in a battle with Mahmud Begada, the Sultan of a neighbouring kingdom before the stepwell was completed. The Rana's wife Roodabai (also known as Roopba) wished to commit sati, but Begada, who was attracted to her beauty, stopped her from committing sati and proposed to her. She agreed to his proposal on the condition that he would complete the construction of the stepwell. Begada readily took up the project and brought it to its completion. Perhaps this explains the fusion of Hindu and Islamic styles in its making. Roodabai, satisfied that her husband's wish got fulfilled, jumped into the same well and ended her life. 

The story gets sadder with the account of Begada killing the masons who made this stepwell. It is said that he did not want them to make something as wonderous as this well so he sentenced them to death. One can see their graves in the premises. They did not live, but their creation continues to live in all its grandeur and splendour.

Footprints of Indian Freedom Fighters in London: 3

Photo by Lata

The house which  sports Lokmanya Tilak's blue plaque is next on my list. The address said 10, Howley Place, Paddington. I reach there after walking along the canal in the beautiful Little Venice area. The neighbourhood has some lovely houses in Maida Vale. The quiet residential street called Howley Place features large houses with tall trees and lush vines in their front yards. I walk up to house number 10. The house stands behind a white boundary wall and most of it is hidden by the dense foliage in the yard. I look for the blue plaque, but to my dismay, I do not see it anywhere. Perhaps it is obscured by the overgrown vegetation. Disappointed, I pay my respects to the memory of the great patriot and leave.

I look up for the blue plaque online and find a good image. When Tilak was described as "the father of Indian unrest" by the Times correspondent Sir Valentine Chirol, he went to London in 1918 to file a defamation case against Chirol. Unfortunately Tilak lost the case. But his stay in London was fruitful in a different way. He led a campaign for Home Rule in India from the front and was instrumental in mobilising support towards this cause. As a result, his residence at 10 Howley Place was nicknamed "India's 10 Downing Street"!

Today London remembers him in the form of the commemorative blue plaque (hopefully something will be done to make it visible from the street) placed on his house. According to Peter Pendsey of the Tilak Memorial Plaque Committee, "It took us four years of active behind-the-scenes work to get the plaque erected". Glad to note that their efforts bore fruit.

photo by Lata

I happened to visit the house at 49 Bedford Square bearing Raja Ram Mohan Roy's blue plaque just a few days after his death anniversary on 27th September. I found flowers placed outside his house by Raja Ram Mohan Roy Remembrance Society. The tag on the flowers mentioned "191st Death Anniversary Tribute" to the social reformer. When sati and child marriage were the norms in society, Roy made significant efforts to abolish these cruel practices. He was one of the founders of Brahmo Sabha in 1828 which later developed into Brahmo Samaj, a movement that brought about social and religious reforms in India.  Looking at the plaque and the flowers filled me with a sense of pride and gratitude towards this visionary who was so much ahead of his times. 

Indian freedom fighters have left many more footprints in London. And London has preserved and maintained them with due care and respect. I managed to cover only these during my stay this time. Hopefully I will get an opportunity to visit more later.

Read previous posts in this series here:

Part 1

Part 2

Footprints of Indian Freedom Fighters in London: 2

Encouraged by a very fruitful visit to Ambedkar House, I researched for places associated with other Indian freedom fighters in London. I found many and visited several of them. First among them was the house situated at 65 Cromwell Avenue, Highgate. Vinayak Damodar Savarkar, fondly called as Veer Savarkar or Tatyasaheb lived here from June 1906 to July 1909.

Savarkar was active in the freedom movement from a young age. He went to England on a scholarship arranged by revolutionary fighter, lawyer and journalist Shyamji Krishna Varma with additional support from Lokmanya Tilak. Savarkar enrolled at the Gray's Inn to study law. 

Krishna Varma founded India House at 65 Cromwell Avenue in 1905 with an aim to use it as a hostel for Indian students. It also functioned as headquarters of Indian Home Rule Society, soon becoming a centre for visiting Indian activists. 

Today the house stands quietly in a beautiful residential area. I visited it on a lovely day and spent a few moments looking at the blue plaque bearing Savarkar's name, imagining all the events this house must have witnessed in those times. It was quite overwhelming!

 

Another blue plaque that aroused my interest was the one put up at 23 Aldridge Road Villas in Ladbroke Grove. First deputy prime minister and home minister of India from 1947 to 1950 Sardar Vallabhbhai Patel resided at this address when he went to England to train as a barrister in 1910. This was a modest boarding house then. Patel was funding his own education using money he had saved working back home in India. He used to walk to the Middle Temple where he was enrolled for his studies. He completed his course in good time and returned to Gujarat in 1912 to start practising as a barrister.

Photos by Lata

He got involved in the freedom movement as one of Gandhiji's chief aides. He had very good organising skills. Also, he was an exceptional leader. This quality earned him the title Sardar. His contribution towards the unification of India earned him another sobriquet: Iron Man of India.

The blue plaque displayed on the house in his memory fills me with gratitude and respect for this venerable statesman. The plaque was put up by the Greater London Council in 1986. It got damaged due to some construction work. Later English Heritage replaced it with a replica in 1991.

Footprints of Indian Freedom Fighters in London: 1

During a recent visit to London, while looking up something online, I came across some interesting information about Ambedkar House, a building where Dr Bhimrao Ambedkar, the architect of the Constitution of India had lived in 1921-1922. The house comprising a basement and ground plus two floors was purchased by the government of Maharashtra in 2015 to turn it into a museum. Later in 2023, the central government took control of the property. It is being maintained as a memorial to the great crusader, and is open to public for visits. I was thrilled with this information and made a plan to go there soon. 

It materialised on a bright sunny morning. The house is situated at 10 King Henry's Road in north London in a leafy residential neighbourhood. Standing outside the house and looking at the blue plaque (according to Wikipedia, a blue plaque is a permanent sign installed in a public place in the United Kingdom, and certain other countries and territories, to commemorate a link between that location and a famous person, event, or former building on the site, serving as a historical marker) displayed at the entrance, I was filled with awe. 

Ambedkar arrived in London somewhere around 1915 to study at the London School of Economics and Political Science. He also enrolled at the Gray's Inn to study law. In 1922, he was called to the bar by the Gray's Inn and became a barrister-at-law. Later he returned to India and started practising law in Bombay.

His stay in London, his education and his experiences must have certainly played a role in shaping his personality. This house and the well-maintained museum inside offers us a peek into his life and times. The house has a lovely garden at the back which is accessible through the basement. But unfortunately this part was closed due to maintenance work. I noticed from the first floor window that a bronze statue of Ambedkar stood in the garden. Railway tracks run just outside the boundary wall of the house.

An attendant ushers us inside the house on the ground floor. This floor features a bronze bust of Ambedkar against a large window. It is adorned with garlands and flower pots. Pictures from various events in his life are on display on the walls. It is a bright day outside and the sun streaming through the windows fills the house with positive vibes. 

We take the wooden staircase to go to the first floor. The room facing the street outside has a comfortable sofa in it. The walls are lined with shelves where books in blue covers are arranged neatly. The fireplace and more pictures on the walls give a warm and cosy feel to the place.

The other room features a large dining table. It is strewn with bound copies of the Constitution of India and laminated copies of letters written by Ambedkar to friends and associates in English and Marathi. The letters offer us a glimpse into the ideas and thoughts of this stalwart. Going through some of them gave me goosebumps. In a letter written from London on 30th December 1932 in Marathi to someone called Bhaurao, Ambedkar has expressed his deep disappointment and sadness about the fact that back home, people belonging to community A thought that he favoured community B, while people belonging to community B felt that he sided with community A. Another one addressed to the same person and written in English on the 29th October 1930 mentions the upcoming Round Table Conference on November 12. The collection of letters is quite fascinating!

Photos by Lata

The Second floor houses Ambedkar's bedroom and his personal belongings like writing pad, spectacles and clothes. A bed occupies the centre of the room. One of the pictures on the wall mentions a silver ink pot that was presented to Ambedkar by Lord and Lady Mountbatten when they had invited him and his wife for lunch. The ink pot has a portrait of the Queen of England carved on it. The House along with important documents and pictures, contains such interesting trivia giving visitors a well-rounded experience.

We leave the Ambedkar House fully satiated and impressed. 

There are many more blue plaques in London commemorating several Indians who were a part of the freedom movement decades ago. More on them in the next post!

Bishnupur: A Marvel In Terracotta!

I have visited Kolkata several times. Loved each visit. But my recent visit was a little more special because I got an opportunity to make a trip to Bishnupur -- a lovely little town known for its magnificent terracotta temples and exquisite Baluchari sarees. I went with a group of friends, and that had its own charm. It was clear from my research that I would be in for a visual treat in Bishnupur. Not only did Bishnupur impress me, but it also lived up to its reputation beyond my expectations. 

Bishnupur has 20 terracotta temples built mostly during the 17th and 18th centuries. They were constructed by generations of Malla kings who were ruling that part of Bengal then. All of them had Krishna as the main deity, but now most of them are not functioning as temples. They are being preserved and maintained by the Archeological Survey of India for their spectacular carvings and amazing architecture. The domes, ceilings, towers and turrets of each temple are aesthetically designed, providing a glimpse into different architectural styles of that time.

We cover the 140-kilometre distance from Kolkata in about four hours by car. It is a pleasant ride showcasing the countryside of Bengal with green fields, villages and small towns. After checking into a hotel and freshening up, we set out on a tour of the temples in e-rickshaws. They are more suited for negotiating the narrow lanes of the town than cars. The ride in the rickshaw is delightful. The small houses, quiet lanes, children riding bicycles without having to worry about traffic are refreshing for us, accustomed as we are to the hustle and bustle of a city.

Our guide takes us to the Rasmancha, Jor-Bangla Temple, Madanmohan Temple, Shyam Ray Temple, Lalji Temple one after the other, all along narrating interesting anecdotes, and pointing out details from the intricate carvings. The temples look resplendent in their natural red hue. They get this colour because of the presence of iron oxide in laterite--the locally available soil that was used to build them. The walls of the temples are extensively covered with terracotta--fired clay--tiles with elaborate carvings. The artisans have carved such minute details in these tiles that one is awestruck by their beauty. The carvings depict stories from the Ramayana and the Mahabharata. Also, there are scenes of armies at war, kings on hunting expeditions, women grooming themselves and dancing, musicians playing instruments and so on. One of the tiles has Bheeshma lying on a bed of arrows, while another has Ravana with ten heads. And all these on small tiles, like miniature paintings! One wonders how the artisans created these from mythological stories when written texts were scarce and oral narrations were the only common means.

Photos by Lata

The lanes of Bishnupur are lined with small shops selling terracotta items--wind chimes, lamps, idols, cups, pots etc. What catches one's eye is the array of terracotta horses in different sizes. The horses are short, with unusually long ears. They stand out because of their elegant stance and elongated neck. All the items including the horses are in striking red colour of natural terracotta. These horses are called Bankura horses as they are made in Panchmura, a village close to Bishnupur in Bankura district. They have commonly been used in religious ceremonies in village rituals. Perhaps now they are the most popular souvenirs from Bishnupur. 

Another item that visitors like to take home with them is the stunningly beautiful Baluchari saree. The sarees have human and animal figures and scenes from the epics woven into them, all inspired from the temples. They have men and women, deers, horses, chariots, trees and flowers just like one sees them in the carvings in the temples. That is why draping a Baluchari saree is like carrying a little bit of art and heritage from this charming temple town!

Varanasi Vignettes 3

The afternoon is reserved for a visit to the Kashi Vishwanath Temple. We have already booked a slot for sugam darshan via online booking. One is not allowed to carry anything inside the temple premises. All the belongings need to be submitted to designated lockers outside the complex. 

It is a shorter--not short-- queue for those availing the sugam darshan. After due security clearance, we join the serpentine queue. The newly constructed corridor inaugurated over a year ago is sizeable and spacious. Throngs of devotees descend on the ancient shrine everyday that is one of the twelve jyotirlingas and is one of the holiest sites for followers of Bhagwan Shiva. The temple has seen many renovations and gone through multiple cycles of rebuilding over last several centuries. Devi Ahilyabai Holkar of Indore who was a great devotee of Shiva, rebuilt the present temple about 250 years ago. 

The queue moves reasonably fast and we get a good darshan of the glistening black shivalinga from outside the garbhagriha. One is supposed to move quickly to make way for others behind. Later, we take a stroll through the corridor and walk up to the steps that descend to the river Ganga flowing below. The corridor connects the Ganga with the shrine along with providing many facilities for the visitors. It has decongested the temple allowing easy movement of people that fill up the premises everyday. A beautiful sculpture of Devi Ahilyabai Holkar occupies a place of pride in the corridor. Just outside the corridor, one can see old houses and structures that give one an idea of what the area looked like before construction of the corridor. The corridor has expanded the temple area from 3,000 square feet to about five lakh square feet and now it can accommodate 50,000 to 75,000 visitors. 

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The visit to Varanasi has been truly fulfilling with the Kashi Vishwanath darshan, morning and evening aartis, boat ride, and visits to the ghats and the Kabir Chaura Math. It has also been satiating in some other ways! The spicy chaats, the delightfully frothy and flavourful malaiyo, crisp jalebis, rich rabdi, and melt-in-the-mouth Banarasi paans to name a few. 

As the short visit comes to an end, it becomes clear that Varanasi will leave a deep imprint on one's mind for years to come. It is only fitting that we receive His abundant blessings on our final ride in the city...perhaps there will be an opportunity to come to Varanasi again?

Photos by Lata

                                        

Varanasi Vignettes 2

Unlike the evening aarti, the morning aarti is a less crowded affair. Part of a beautiful presentation called "Subah-e-Banaras", it takes place at the Assi Ghat every morning in a pre-dawn ceremony. When we start from our hotel to go to the Assi Ghat at an unearthly hour, the road is fairly busy with early risers. People desirous of an early morning darshan of Kashi Vishwanath make way towards the temple. Others walk to the ghats. 

We take an auto rickshaw to take us to the Assi Ghat a couple of kilometres away. The stage is set for the morning do. People take their places on the neatly arranged plastic chairs, others sit on the steps that border the area like a viewing gallery. The riverfront is ready with seven platforms which will be used by the men performing aarti. The breeze is cool and refreshing.

The proceedings start with a melodious recitation of Sanskrit verses by a group of talented schoolgirls. Their pronunciations and intonations of the complex words are bang on underlining the fact that they have taken efforts and worked hard at their presentation. The girls get a deserving applause and make way for the main event of the morning. 

Seven men dressed in co-ordinated dhoti and kurta sets take to the platforms. They start the ritual to the beat of a resounding gong. The horizon is still dark. The movements of the men holding lamps are beautifully synchronised and flowing. It was as if they  

were celebrating the start of another new day, or welcoming the sun or seeking blessings for everyone as they got ready to start their day. 

What a lovely way to begin a day! After the aarti is over, sunrise is still a few minutes away. A young woman takes the stage and starts playing the flute in what is an apt finale to the aarti. A bright orange sun makes its appearance above the horizon across the Ganga. People who have enjoyed the aarti in silence, start clicking pictures of the orange-red orb before dispersing. It is time for kulhads of piping hot ginger tea, and the tea stall outside the ghat beckons one and all!

Photos by Lata

Next stop in the morning is the Kabir Chaura Math. This is where the saint poet spent most of his life. This is a tranquil and serene place, so different from the sounds and crowds around the ghats of Varanasi. The Math is tucked in a narrow alleyway, its walls adorned with beautiful drawings inspired by the saint poet's life. Inside, amidst refreshing greenery, Kabir Sahab's relics are preserved in a temple. Some episodes from his life are illustrated in life-size metallic figures, while the walls feature some of his sayings in Devnagari text. We are fortunate to meet Shri Umesh Kabir who is a spiritual teacher residing at the Math. He shows us around and talks about the saint poet in a lucid way. Feeling completely sated after starting the day at Subah-e-Banaras followed by a visit to the amazing Kabir Chaura Math, we take his leave to get on with the rest of our day. 

To be continued.