A British-era tower clock here will be silenced forever to enable widening of a road.
Looking to widen Kalmath Road to 45 feet under its master plan, the Belagavi City Corporation has instructed authorities of the Pioneer Urban Cooperative Bank to raze the %part of the building where the tower clock stands. The bank authorities have secured a week’s time to do so.
The clock on the bank’s building on Kalmath Road sounds its bell every half an hour. Residents of surrounding areas, like %Kalmath Road, Ganapati Galli and Maruti Galli, have an emotional attachment with it. The clock helps some manage their schedules.
The building was constructed 110 years ago. In 1939, the bank management awarded the contract to manufacture the clock to Mumbai’s Swadeshi Electric Clock Company. A large bell from John Tailor Company was fitted into the clock 75 years ago.
The bank has employed a person to wind the clock once a week, and to maintain the tower.
Speaking to STOI, bank manager D R Jadhav lamented that the antique will soon become part of history.
In 1940, the management spent around Rs 40,000 on constructing the bank building. Now, the bank pays a like amount %as property tax, the manager said.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Bengaluru / by Ravindra Uppar, TNN / June 14th, 2015
The other day I saw two nuns at a stationery shop in Mysuru — one dressed in a simple brown sari, with a crucifix around her neck and the other in a dress with a veil half covering her head. They were so different from the nuns I had known in 1943, when, as a five-year-old, I joined the Good Shepherd Convent of Mysuru as a day pupil.
In those days, the nuns were mostly English women, wearing the traditional nun’s attire… a white habit belted at the waist with a woollen cord to which a rosary was fixed, a long panel of cloth over the habit called the ‘scapular,’ a tight fitting wimple framing the face, topped by a black veil. A chain bearing a heavy crucifix hung over the scapular. Stockings and sensible flat shoes completed the outfit which was stiff and crackling with starch. Mother Dominic was a stern disciplinarian and could use her cane too. Mother Martha taught the piano and was given to outbursts of temper. Young Mother La Salatte was gentle and sweet tempered allowing small children to sit on her lap, hold the crucifix or even to stroke her clipped hair under the wimple.
I had special piano lessons with Mother Martha and learnt to sing and play two lines:
‘Little birdie on a tree
Shakes his head and
looks at me.’
The notation as I remembered it, went C B C D C B C. But I am told that could not be right. The lessons ended in floods of tears after Mother Martha ‘accidentally’ poked me in the eye. Another song that all the children sang together was, as I later learnt, a hunting song.
‘Do you ken John Peel, do
you ken John Peel,
At break of day, with his coat
so gay,
Do you ken John Peel?’
The last line went into the upper octave and I loved shouting it out with no idea what it all meant.
In those days of the World War, some Anglo-Burman children lived in the Convent. I was fascinated by Pauline, who always wore white stockings. I so longed for such a pair that they were ordered from Bengaluru for me. I put them on without a belt or garter and by the time I walked into class they were forming pouches at the knees and soon drooping down in sagging folds. I began to cry. Children then had their faces powdered with talcum, the popular one being Johnson’s. Soon my face was streaked with runnels of grey and brown where teats washed away the powder. Pauline was beside herself and everyone was tittering until Mother Dominic settled them in neat rolls around my ankles. One remembers a shame into old age!
Years later one of Mother Martha’s successors, a nun who was an excellent pianist, did some innovative work on the piano. This was Sister John Britto. She belonged to a Railway family of the Dorechettis, who had Pondicherry connections. Years ago when we went to visit her at the Convent, she received us in the Music Room and played a few bars of Raga Hamsadhvani for us. The tune was recognisably that of the Kriti, ‘Vatapi Ganapathim Bhaje,’ the room with the cross and the pictures of saints on the wall, an unusual place to hear this composition. Sister John later held a full concert of Karnatak music in Jaganmohan Palace. The piano was set at an angle so that the pianist had her back partially to the audience but her hands were visible to the listeners. She was accompanied by musicians on the mridanga and the ghata as well as a sari-clad lady who kept the tala. Surely this was a Catholic with very Catholic tastes. At 91 years of age, she no longer plays the piano but lives in Bengaluru with a community of nuns who work for St. Martha’s Hospital.
The nuns were very dedicated to their work. They asked for no favours, only asking children who had gardens for flowers for the altar, help with the reredos, or, rarely, to ask the loan of a car for medical appointments. I never knew what became of them because I myself fell ill and stayed in bed for a whole year and stopped going to school to be tutored at home. Our tradition is to acknowledge every teacher, however, short the learning period. To the distant memory of these teachers I tender my salutations.
source: http://www.starofmysore.com / Star of Mysore / Home> Feature Articles / Sunday – June 07th, 2015
A worker giving final touches to a replica of Sanganakallu gudda, said to be South India’s largest neolithic site, inside the museum
Ballari :
To preserve the stone artifacts found in South India’s “largest neolithic site” located in Sanganakallu village, Ballari, and other places such as Vijayapura and Kurnool, Andhra Pradesh, a mini museum is being readied at the cultural complex here.
The goal behind setting up this museum is preserving the neolithic stone artifacts in a scientific manner and documenting them properly to help research scholars. A few artifacts will also be kept on display for the public.
According to Prof Ravi Korishettar, who conducted research on the site in Sanganakallu for 10 years, the site is the largest neolithic site in South India.
The hilltop site is spread over 1,000 acres. However, he told Express that rampant stone quarrying has been destroying the site. At the museum, the artifacts Korishettar found during his small-scale excavations will be preserved.
He said as part of his research, he explored around 40 neolithic sites in Karnataka and Andhra Pradesh, and found artifacts after excavations in 20.
In 2008, he appealed to the Ballari deputy commissioner to take steps to set up a mini museum to preserve the artifacts. The DC approved the proposal, but work was delayed for years due to technical reasons.
But the museum is now nearing completion and according to sources, is expected to be thrown open in two months.
source: http://www.newindianexpress.com / The New Indian Express / Home> States> Karnataka / by Bhukker Madhu Kumar / June 10th, 2015
by Prof. A.V. Narasimha Murthy, former Head, Department of Ancient History & Archaeology, University of Mysore
Royal Saint Pipa or Pipadeva was the king of a small State called Gagaraunghra. Actually his correct dates are not known but he is said to have flourished in the 16th Century. He was famous as a righteous king and particularly showed great respect to saints and his position did not come in the way of serving them. His family deity was called Jagadambadevi (mother of the earth). According to stories current in that area, Pipa was capable of talking to the Goddess and he even fed her. Thus she would accept the offerings directly from king Pipa.
He led a simple life and never indulged in royal luxuries. He was very regular in reading scriptures and meditation. Ascetics who passed that way would normally visit his Palace and talk to him about dharma. Once a group of ascetics came to the Palace. He welcomed them and made arrangements for their comfortable stay. As usual he went to the temple of Jagadamba for worship. To his surprise she told him that she would take the offerings only after his guests had their food. Accordingly, Pipa offered them food and had their blessings. Then Pipa requested them to guide him to have the darshan of Lord Rama. They told him to start this procedure through a Guru and asked him to go to Varanasi and became a disciple of Swami Ramananda.
Pipa went to Varanasi and sent a message that he wanted to meet him. Ramananda sent the reply saying that his hermitage is open only to poor people and not kings. Immediately Pipa gave up his kingdom and distributed his wealth among the needy and the poor. To test his devotion, Ramananda asked him to jump into a well. Pipa was ready to do that. Ramananda stopped him and went to his Palace. Pipa was impressed by his guru Ramananda and wanted to be his follower listening to his religious discourses. Ramananda disuaded him and told him that it would be difficult for a king who had so much of royal responsibilities to be a disciple of an ascetic because of the hard life involved. He asked, ‘Can you fast for days together because you may not get food at all. Even if you get something to eat, it will be so simple and may be unpalatable because of its tastelessness. That too you have to beg and get the food. Nobody will supply the food.’ Pipa agreed.
But to test him further, Ramananda sent him to a place where no offerings were available. Pipa came back empty handed. The Saint asked him what he will do for food. Pipa replied, God wants that I should fast and try to understand how poor people led their lives days together. This is a lesson for me from the God divine. He fasted but concentrated on reading the scriptures and doing meditation.
In the meantime, Ramananda wanted to go to Dwaraka, the place of Lord Krishna. Pipa expressed his desire to go with the saint to Dwaraka. Ramananda told him that the journey by walk would be highly difficult for a king like Pipa. But Pipa was steadfast in his resolve to go to Dwaraka, the great pilgrimage centre of Lord Krishna. Then Ramananda told him that he could go with him as an ascetic and not as a king. Pipa immediately abdicates his throne and becomes an ordinary man. Hearing this news his wife too refuses to live in a Palace where her husband is not there and hence expresses her desire to accompany him to Dwaraka. Thus both husband and wife go to Dwaraka.
After reaching Dwaraka. Pipa is supremely happy and worships Lord Krishna with all devotion. He refuses to take food and is simply immersed in meditation at the holy feet of Lord Krishna. Lord Krishna is pleased with Pipa, gives him darshan, blesses him and tells that he would get moksha or salvation if he continued in the same path uninterrupted by worldly desires. Pipa returns to his place.
The people of the State to whom he was a king were surprised and adore him as a great saint. They come in large numbers and pay respects to him. He tells them not to bring any worldly offerings but to come with devotion to Lord Krishna. Some jealous people kidnap his wife but Pipa prays to Lord Krishna who saves her through some pious people. Pipa was very happy and his devotion to the Lord increased manifold.
Another incident is equally interesting. Once Pipa and his wife were passing through a forest and suddenly a lion accosted them. His wife was afraid but Pipa told her that God would reside in a lion also and we should not be afraid of him. Pipa spoke to the lion as if he was his friend and advised him not to trouble the people who did not harm him. The lion came nearer Pipa and licked his feet showing friendship and affection. Pipa patted him and prayed to the Lord to give him a human birth next time and whispered Rama- Krishna mantra in his ears. The ferocious lion became a tamed animal and local people were surprised at this sudden change in the lion. They knew it was the magic of Pipa. It is said, this lion was born as Narsi Mehta in the next birth.
Once Pipa found a vessel full of gold coins. When he mentioned this to his wife, some thieves overheard this and went there to take away the gold coins. But to their disappointment they found a snake in the vessel. But when Pipa went there, he found the gold coins which he distributed among the poor people.
Pipa had a cow which supplied milk to the ascetics. One day some thieves stole the cow and ran away. Pipa ran after them along with the calf and shouted, ‘Friends, you will not get the milk without the calf, please take the calf also.’ The thieves were taken aback and ran away leaving the cow.
Once Pipa went to a friend’s house for food. He noted the absence of his wife as the husband alone was serving food. Pipa understood that she was hiding herself because she did not have decent clothes to come out. Immediately Pipa blessed her and there was no dearth of clothes and food at her house thereafter. Impressed by this, the friend and his wife became devo- tees of Pipa.
Many devotees came to Pipa for advice and guidance. He refrained from giving them discourse or lecture but asked them to lead a simple life following ethical principles. He specially told them to avoid luxury. Rich people can see God if they can serve the poor. God is a friend of the poor people. Many rich people came to him and offered gold and money to exhibit their richness and show their vanity. The first advice of Pipa to such people was to come with empty hand after distributing all money to the poor and needy. Then only one would understand the secret of life. Thus many rich people went away disappointed and Pipa felt sorry for their ignorance of the divinity.
Once a rich merchant came to Pipa and requested him to visit his mansion so that he could show him his wealth. But Pipa did not accept his invitation because he did not want to disappoint the common people. The rich merchant tried to entice Pipa by telling him that his visit may enrich his wealth. Pipa did not go to his house and told him to distribute his wealth to the poor. A disappointed merchant went back cursing him. In the meantime, the merchant incurred heavy losses and became poor. Even then his greed for wealth did not diminish. He came to Pipa and requested him to bless him with original wealth and in return he would give him some wealth. Pipa advised him to pray for permanent divine wealth and not temporary monetary wealth. Ultimately he became his disciple.
Thus Pipa became a household name in 16th Century for his simplicity and religious life. Though he is not known widely in South India, his impact on dharmic way of life is felt in North India. That is the greatness of king Pipa.
source: http://www.starofmysore.com / Star of Mysore / Home> Feature Articles / Sunday – June 07th, 2015
1) The Royal staircase, constructed using white marbles was used by VVIPs at the Lalitha Mahal Palace. 2) The bed room of the Viceroy’s room. [Pics by Ramesh Sarkar]by S.N. Venkatnag Sobers
One of the must visit places in Mysuru is the famous Lalitha Mahal Palace which is located in Siddharthanagar. Lalitha Mahal Palace is the largest Palace in Mysuru after Amba Vilas Palace.
Lalitha Mahal Palace was built by the then King Nalwadi Krishnaraja Wadiyar in 1921 for the Viceroy of India, who visited Mysuru. Built on a raised ground, the Palace was fashioned on the lines of St. Paul’s Cathedral in London and is one of the imposing structures of Mysuru city.
Painted in pure white, Lalitha Mahal Palace was converted into a heritage hotel in 1974. The hotel is now run by the Lalit Ashok Group belonging to India Tourism Development Corporation (ITDC), Government of India. Despite the hotel being taken over by the Government, it has made sure retain the royal ambience.
Set amidst sprawling landscaped gardens below the Chamundi Hills, the Lalitha Mahal Palace was planned by E.W. Fritchley, the architect from Mumbai and constructed by B. Munivenkatappa. The Palace built in Renaissance architectural style is considered as an adaptation of the St. Paul’s Cathedral in London, particularly the central dome. The architecture of the Palace reflects English manor houses and Italian Palazzos. It is a two storied structure. The supporting structure of the Palace is of Ionic double column. At the ground level, there is a projecting porch. Spherical domes with the dominating central dome sets the front elevation of the Palace. Decorative stained glass has been extensively used to enhance the elegance of the Palace, both in the exterior facades and in interiors doors, windows and ceilings. A lovely view of the Chamundi Hill to the left and in front the Mysuru city is seen from the balcony.
The Palace has exquisitely designed Viceroy Room, a Banquet Hall, a Dancing Floor and an Italian Marble Staircase and is also embellished with small ornamentations, which are said to be replicas from various Palaces in Britain. The full length portraits of the Wadiyar Kings, Italian Marble Floors and Belgian Crystal Chandeliers, Cut Glass Lamps, Heavy Ornate Furniture, Mosaic Tiles and a couple of exquisite Persian carpets gives the Palace its regal ambience. With conversion of the Palace into a heritage hotel, interiors have been modified to provide modern conveniences but most of the earlier sections of the Palace such as the dancing and banquet halls have been retained in their original elegance but adopted as dining halls and conference halls for holding meetings and conventions; these have polished wooden flooring and three stain glass domes in the ceiling. The ballroom in particular, which has been converted into the Dining Hall, is a baroque hall with immensely high ceiling with domed skylights made of Belgian glass. The floor of the ballroom is also fitted with springs that are adjustable. The ballroom was used by the British for organising parties. The floor was made adjustable to the type of dance they wished to perform on that day. A swimming pool is now an additional provision. The elevator which was installed here in 1921 is still in working condition and is used by the guests who visit the hotel.
Unique features of Lalitha Mahal Palace
Lalitha Mahal Palace is known for some unique features which are not seen in any hotels in city. Paintings of Nalwadi Krishnaraja Wadiyar and Jayachamaraja Wadiyar which are displayed here are unique as they are three dimensional. One can see the painting turning towards us as we move to different directions in front of the paintings displayed in the lobby area. This was discovered only when the paintings were sent for restoration at Regional Conservation Laboratory a few years ago. The paintings were done by artistes A.R. Vasu and Nagaraj in 1944.
The ITDC has also maintained the fittings in the bathroom which were installed during the construction of the Palace.
Speaking to Star of Mysore, Lalitha Mahal Palace Hotel General Manager Joseph Mathias said that the ITDC had taken up restoration works of the Palace since it was old. “The Palace was constructed using the mixture of limestone and mud. For the Palace to be restored, we need experts to take up the restoration works. The ITDC had approached the Regional Conservatory Laboratory (RCL) for the restoration works, they have prepared a Detailed Project Report (DPR) which has been submitted to our head office in New Delhi. The works will be taken up soon after an approval is given for the same”, said Joseph Mathias.
The ITDC plans to take up the restoration of the domes of the Palace in the first phase soon after the monsoon season ends and in the later stages it will take up the renovation of rooms and other works.
No information on disinvestment
Joseph Mathias said that neither he nor ITDC had received any information with respect to Central Government’s decision to disinvest in Lalitha Mahal Palace Hotel. He added that though the Minister had expressed his opinion, no official communication had been received.
Further, he added that the Lalitha Mahal Palace had earned a net profit of Rs. 27 lakh in the past couple of months after he took over the charge as the General Manager of the hotel. He also said that the ITDC had earned a total profit of Rs. 40 crore in last fiscal year.
The reason for the Lalitha Mahal Palace Hotel to incur loss in the last fiscal year was due to expenditure on repair works. The ITDC has spent Rs. 54 lakh on repair of roads within the hotel premises, Rs. 26 lakh on Effluent Treatment Plant (ETP) and Rs. 10-15 lakh on electrical works, said Mathias.
If the hotel is privatised it will become a concrete jungle and the green space which is surrounding the Lalitha Mahal Palace will vanish. People living in surrounding areas of Lalitha Mahal Palace will have no place to go for their morning and evening walks.
The Palace is located on 46 acre land, only 10 acre of land is used for the construction and the rest has been preserved as green cover to provide fresh air for the guests as well as the people living in surrounding areas.
Training for students
ITDC has been conducting training programme for the students who have been brought from the North Eastern States of the country. The corporation has been a part of a programme called Development of North East Region (DONER) which focuses on giving exposure to the students of North-East region.
They are trained for a year in various aspects of Hotel Management such as the Front Office, Food and Beverage Department and others. ITDC also helps in placing these trained students in various hotels across the country.
New initiatives
General Manager Joesph Mathias said that he plans to introduce new schemes for the benefit of Mysureans who wish to visit the Lalitha Mahal Palace.
He added that soon, ITDC would introduce a programme where a person can visit the Palace Hotel paying Rs. 1,200 and stay till evening. The day starts at 11 am; he/she will be given a traditional welcome with a welcome drink. Later, the visitor will be taken on a tour of the Palace Hotel, lunch will be served, he/she can also use the swimming pool. Before checking-out the visitor will be served with tea/coffee and cookies. Others, who do not wish to pay Rs. 1,200 and just want to visit the Palace, will have to pay Rs. 100 as cover charge. They will be allowed to go around in the ground floor of the Palace Hotel and later will be served with coffee or tea. However, they will have to pay extra for having food and beverages.
Mathais also said that he has plans to organise ‘Steak and Sizzler’ festival during August or September and later ‘Dandiya Nights’ during Dasara festivities.
A place for marriages
Lalitha Mahal Palace Hotel is known for hosting wedding events. The elite class in Mysuru have had their marriages arranged at the Palace Hotel. The hotel rents out the entire Palace for the wedding and other events. There is also a banquet hall, ball room, swimming pool area, front area of the Palace which are rented out for wedding and other occasions.
Film Shooting
Lalitha Mahal Palace has been a popular destination for film shooting. There have been more than 600 films been shot here. Films starring Rajnikanth, late Vishnuvardhan, Akshay Kumar, Sonakshi Sinha and other superstars have been shot in Lalitha Mahal Palace premises.
With ITDC coming up with new initiatives, we only hope the Lalitha Mahal Palace Hotel continues to attract a lot of guests who will enjoy their stay at the magnificent structure in city.
source: http://www.starofmysore.com / Star of Mysore / Home> Feature Articles / Saturday – June 02nd, 2015
As a school-going boy, he saw the Mysuru Maharani’s Daimler pick his grandmother up from his house. Fascinated by the Daimler, the young boy came running out and sat on the compound wall staring at this royal beauty.
He had made up his mind. He was firm on owning this royal machine one day. Now a retired businessman, Ramanna is the enthusiastic owner of a 1951 Daimler Consort, which he has named — Betty.
“It is a Daimler passion rather than a vintage passion,” says Ramanna proudly. Recalling his school days, he says, “When I used to sit on the wall watching the Daimler, the driver of the car came up to me one day and said, ‘Boy…you will become a driver like me if you sit here and watch. Go inside and study,’ and these words thrilled me and I decided that I will own a Daimler one day, instead of sitting in my grandfather’s Austin 7.”
The original Daimler company closed down but Ramanna’s dream was still alive. Years passed, and one day, in 1998, his brother rang up saying, “There is a Daimler for sale, are you interested?” Without wasting a second, Ramanna said yes and there was his dream. “The car was in pieces. There was no wiring, no headlights. But she was a Daimler,” he says. She lay in their house in pieces for four years and the mission of fixing her began after Ramanna’s retirement.
“There were hardly any mechanics who were ready to come and she would not go out of this house. Finally, I got my father’s mechanic, Murthy. He was old and we used to work from morning to noon and take a break,” he explains.
The slow process kickstarted again when Ramanna’s daughter went to London Business School. “I did not know the technicalities of the car. As my daughter was in London, I could get in touch with ‘Daimler and Lanchester Club’ and many other Daimler owners,” he informs.
He wrote about his Daimler dream in the Club’s journal and it is then that he met a British guy who owned three Daimlers. He let Ramanna rip the parts of one of his spare Daimlers and Ramanna says, “He asked me to take all the parts I needed and I sat for four hours removing just four bolts! The British guy then came with a hammer and ripped all the parts and gave it to me,” he reminisces.
The parts were transported to India and he recalls, “My wife Mridula safely trolleyed the parts and no one questioned her at the customs.”
Ramanna’s Betty has undergone various stages of restoration and each part of hers has a story to tell. While Betty’s upholstery was done by a local sofa repairer riding a bicycle, her wiring was done by a mechanic who was a Dubai return.
“I had to pick up this Dubai returned mechanic in my Mercedes car. But later he did not finish the work and I completed it referring to the book given to me by the Daimler Club,” he says. The book was given to him as an appreciation for his passion by one of the British guys.
His strong passion for Daimler has also taken him to Gujarat as he says, “One
of the Daimler club members wrote to me to get the measurements of Maharaja’s Daimler in Gujarat, as he had the same model. I went till Gujarat and took the measurements and sent it to Britain. I did this, also because, I would get a ride in my dream car,” he explains.
Betty has rewarded Ramanna with a lot of new friends in the City and abroad. She has also let them be part of many vintage rallies including the ones in London.
Betty is taken out on Saturdays and Sundays on Sankey Tank Road or Cubbon Park. “We have three cars. One is Betty. The Mercedes we have is Veronica and the Esteem is Lucy. Veronica comes out for clubs and dinners and Lucy for all the regular work,” he says lovingly.
“Our children are abroad and now these three are our daughters,” the couple say. Ramanna adds that it has been a great journey with the Daimler and concludes, “Daimler was a dream and now it has become a reality after Betty came home.”
source: http://www.deccanherald.com / Deccan Herald / Home> Supplements> MetroLife / by Prajna GR, DHNS / June 02nd, 2015
1) Mysore style portrait painting of Srikanta Datta Narasimharaja Wadiyar seated on the Golden Throne based on the 2013 Khas Darbar. Artist: K.S. Shreehari, 2014. Size: 41×51 cms. Collection: Ramsons Kala Pratishtana, Mysore. 2) Portrait painting of Yaduveer Krishnadatta Chamaraja Wadiyar seated on the silver Bhadrasana. Artist: Manish Verma, 2015. Size: 37×51 cms. Gouache on paper. Collection: RKP, Mysore.
by R.G. Singh, Secretary, Ramsons Kala Pratishtana, Mysore
Peacock pavilion of the Mysore Palace is where the coronation of the new Scion of the Mysore Royal family is scheduled to be held tomorrow. In the hall adjacent to this pavilion is the portrait gallery that has on its walls the official portraits of several Wadiyar rulers along with their family members. It is here that one begins to realise the importance that a royal portrait played in private and public life of the nobility.
Nalwadi Krishnaraja Wadiyar IV
But it was also special events that were to be immortalised on canvas or photographed or painted. The Daly Memorial Hall of the Mythic Society in Bengaluru greets the visitor with a portrait officially commissioned of Nalwadi Krishnaraja Wadiyar IV on the him being conferred the honour of Knight Grand Commander Star of India on January 1, 1907.
The oil on canvas portrait shows the king partly in profile. The Honour is pinned to a sash. The bejewelled necklace covering the neck of sherwani only adds to the richness of the attire. The fluted and feathered plume with a jewelled brooch holding it in place to the turban also adds to the portrait’s grandeur.
11-year-old Krishnaraja Wadiyar IV
Royal portraits have hidden sutras embedded in them that takes the viewer back in time. The Official Coronation portrait of the 11-year-old Krishnaraja Wadiyar IV is one such portrait.
This is a stylised photographic portrait and has several artfully placed emblems; the jacquard seat of the chair, the three-legged table with a curved triangular holder, a clock and some leather covered folders. The young prince is shown resting one hand on them while the other is on his hip. A Beagle stands motionless under the table.
Photographer Buranuddin of Mysore has used all possible elements that signify royalty in composing this photograph.
Nalwadi Krishnaraja Wadiyar
The autographed official photograph of Nalwadi Krishnaraja Wadiyar to mark the Silver Jubilee of his coronation in 1927 shows the then King dressed sombrely resting one hand on the back of a chair. The single-row bejewelled necklace and the chain and fob in the upper coat pocket add a touch of elegance. Even the Mysore peta is unembellished. The photograph was printed in Germany on water-marked archival paper.
Chamaraja Wadiyar
Another painting at the Jaganmohan Palace is the coronation scene of Maharaja Chamaraja Wadiyar. The painting was created by the artist Venkata Subbu in 1868.
There is an official portrait of Chamaraja Wadiyar on being conferred with the Knight Grand Commander of the Order of the Star of India in 1892. The above photograph reproduced here was ‘clicked’ by the famous Raja Deen Dayal of Hyderabad.
While the English royalty painters used pastoral themes their Indian counterparts used the very ‘Indianness’ of such public events of those days to display their virtuosity.
For instance, the 1927 Silver Jubilee of Nalwadi’s coronation has been commemorated with a beautiful portrait done by artist Keshavaiah; this masterpiece is on display at the Banquet Hall of the Vidhana Soudha. Interestingly, the advent of photography did not deal a death knell to the art of portrait paintings. Instead it led to another innovation – the painted photograph.
Jayachamaraja Wadiyar
By the time Jayachamaraja Wadiyar ascended the throne, both photography and painted photographs were very much in vogue. But such was the ingenuity of the Indian photographers that their photographs of the Royalty was a marriage of these several stylisations. Thus you have photographs of Jayachamaraja Wadiyar shown in what was supposed to be a candid form. At various times you had special photographs of Jayachamaraja Wadiyar ‘clicked’ by the then well-known City Studios like Star Studio, Palace Studio and Raj Studio. The variation was of course the painted photograph of Jayachamaraja Wadiyar by M.N. Murthy.
The photograph taken by the unknown photographer of Palace Studios of Jayachamaraja Wadiyar in 1940 to commemorate the king’s coronation has been replicated as a painted photograph by artist M.N. Murthy and is now in the RKP collection. But at no stage did photographs or painted photographs replace the portrait painter.
The tradition of painting historical events continues to this day. The last scion of the Royal House of Mysore, the late Srikanta Datta Narasimharaja Wadiyar along with his sisters and their husbands have been painted as several individual portraits by M. Ramanarsayya, the former Superintendent of Jaganmohan Palace.
Keeping the art of Painted Portraits alive
Ramsons Kala Pratishtana, in its efforts to keep alive the art of painted portraits, first commissioned artist K.S. Shreehari in 2014 to paint a classical portrait of Srikanta Datta Narasimharaja Wadiyar in the Mysore style (see pic. top right) based on photographs of 2013 Navaratri Khas Darbar.
This was followed by commissioning artist Manish Verma to recreate a Mysore style painting using a photograph of the Yaduveer Krishnadatta Chamaraja Wadiyar. This classic Mysore style portraiture shows the young scion accoutred in his royal vestments and Mysore peta adorning his head while his posture follows the classic from that can be seen in many of the older Wadiyar portraits. He is seated on the silver Bhadrasana which suggests that he has just been invested with the (symbolic) royal authority of Mysore Kingdom.
source: http://www.starofmysore.com / Star of Mysore / Home> General News / Wednesday – June 02nd, 2015
Passion has little to do with euphoria and everything to do with patience,’ said American author Mark Z Danielewski. Having an unaltered passion for antique beauties is Ashwath Narayan, an automobile engineer. A collector of vintage and classic cars, Ashwath bought his first car when he was 15 years old. “My first ride was a Morris Minor,” Ashwath says proudly. An automobile consultant then, his career doubled his love for cars, which he says will never perish.
“The love for cars dates back to my childhood. My father had Dodge, Rampage and Plymouth…then. I grew up with these cars and this is the root to my enduring passion,” he explains. A youthful person, he now owns the 1936 Austin, 1956 Super 10, 1949 Morris Minor and 1964 Morris Traveller. The list does not end there as he has a unique and a popular two wheeler — Rajdoot Runabout. “This bike was not very popular at the time of its manufacture. But it became a household name after Dimple Kapadia and Rishi Kapoor’s movie ‘Bobby’. In the movie, the hero and the heroine elope on this bike. It is after the success of this movie that this bike came to be called as ‘Bobby’ bike and everyone wanted to own this then,” he explains.
Parked with utter care in his garage, the Super 10, a raven beauty with red upholstery, is as good as it was during its time of manufacture. “This car was restored completely by me from scratch. I am its only owner and I have done everything from suspension, gear box, tinkering, painting and upholstery. It was in complete clapped out condition when I bought it,” he says. The Morris Traveller, an English beauty with wooden framed doors, was directly imported from the UK in its original form. The other convertible car — Austin, is part of a family as his sons Sanjay and Rajeev say, “We have grown up with Austin.”
Sanjay adds saying, “Austin is a very reliable car that has a rich heritage. We have spent our childhood in this and there were times when the car has given up on us, especially during the rallies. But the power of this car is such that people came readily to help push it to start. However, these things are very rare to be experienced now. There is no such camaraderie anymore and there is no human touch to all of it, which I sometimes miss.”
As the phrase goes — like father, like sons — Sanjay and Rajeev both share a connection with the classic machines and Rajeev puts it across as, “We have this passion in our DNAs.” While Rajeev is enthusiastic about these cars, Sanjay has added more to this inherited passion as he has developed an ultra-lightweight road bike Colnago Master, which is the only surviving bike of its sort in India. The passion bug has also smitten Ashwath’s wife Sulochana and Ashwath says, “My wife is very supportive about my passion and she is equally enthusiastic about these cars.”
The rallies are also a time for family outing in these cars. Ashwath, has also driven his Super 10 and Morris Minor till Mysuru to take part in the rallies.
Maintained in first-rate condition, Ashwath says, “I am sometimes scared to take these cars out on the roads as there is a lot of attention pouring in while driving them, which sometimes becomes disturbing.” He comments on the technology of these cars as rough and tough. “It is a costly affair. But once restored and maintained well, they will not give you any problem,” he adds.
source: http://www.deccanherald.com / Deccan Herald / Home> Supplement> Metrolife / by Prajna GR, DHNS / May 26th, 2015
On Thursday, a historical location was named after a historical figure; with the Bangalore City Railway Station rechristened Krantivira Sangolli Rayanna Railway Station. The Centre approved the name change on request from the Karnataka government.
Just like there is a story to tell about the freedom fighter who fought the British till his death in 1831, the railway station named after him too brags about a long journey that began way back in 1890. Initially part of the Mysore State Railways promoted by the princely State of Mysore, the Bangalore Division come into existence in 1981.
It was only recently that the Bengaluru division achieved its highest ever earnings under the Passenger Reservation System Rs. 10.53 crore.
As it stands today, the Krantivira Sangolli Rayanna Railway Station is connected to most major cities in the country, handling an estimated 1.5 lakh passengers and 105 trains on an average each day. Also a major coaching terminal, the railway station earned the distinction of becoming the first in the country to have WiFi facility for passengers last year. Said to be one of the busiest stations in India, it has 18 reservation counters and 25 unreserved ticketing counters to cater to the huge number of passengers.
source: http://www.thehindu.com / The Hindu / Home> News> National> Karnataka / by Staff Reporter / Bengaluru – May 02nd, 2015
Even as Bengaluru is still thinking of heritage conservation, smaller towns seem to have jumped into ACTION.
The Anekal Planning Authority (APA), which oversees development of Sarjapura, Anekal, Attibele and Jigani, has specific provisions in its master PLAN. The APA Master Plan 2031, which was approved by Bangalore Metropolitan Region Development Authority in September 2014, says any development around “heritage structures, precincts of historic, aesthetic, architectural, cultural or environmental significance and natural features and sites of scenic beauty” should be approved by a special heritage committee.
Though the region does not have any declared monument, Lakshmipathi, Deputy Director of the APA, said the rule could be APPLIED if approvals are sought close to the 17th century Sri Thimmaraaya Swamy temple, among other “old structures”.
PWD has no clue about restoration
For the Public Works Department, there is little difference between a two-century building and a recently built government office. This lack of distinction was highlighted during the restoration of the 150-year-old office of the superintendent of Lalbagh Gardens in Bengaluru. Conservation experts claimed the PWD used “modern, improper MATERIALS” to restore the limestone and mortar building.
Officials admit that there are no rules regarding restoration or protection of “heritage BUILDINGS”. “The tender process is the same, except for the High Court and the Vidhana Soudha. There are no restrictions on materials used or type of construction,” said a senior official.
source: http://www.thehindu.com / The Hindu / Home> News> National> Karnataka / by Special Correspondent / Bengaluru – April 18th, 2015
![1) The Royal staircase, constructed using white marbles was used by VVIPs at the Lalitha Mahal Palace. 2) The bed room of the Viceroy's room. [Pics by Ramesh Sarkar]](http://www.bangalorefirst.in/wp-content/uploads/2015/06/LalithaMahalBF12jun2015.jpg)
