Category Archives: Historical Links, Pre-Independence

Tale of two cities

MULTIPLE CITY

Inscribed on the grains of sand, somewhere in the hour-glass of time, is the story of Bangalore, a story that has intrigued many. There are stories within stories of the multiple city that Bangalore is.

SIGHTS OF BANGALORE in the 1900’s. Clockwise from top left: A typical street with turbaned men and women ( Photo courtesy: Jane Smith, England , Missionary Fred Goodwill’s, grand daughter and Jones Ebinesan,  Western Australia).

A common thread that runs through the City’s centuries-old history is that of the constant pete-Cantonment parallel, and the story of the City’s municipal governance occupies a special place in the existence of two separate geographical entities within the map of Bangalore.

Even 150 years after the first municipal board came into existence on March 27, 1862, one can still tell the difference between the old City area and the Cantonment. Today, the cosmopolitan nature of the City, punctuated by people of many communities, occupations and ethnic origins might have masked the difference between the two areas, but not obliterated it. The dichotomy seems to be a constant through Bangalore’s history.

Although the first municipal board was already established in 1862 for old Bangalore, drawing a line of distinction, another board was formed on August 1 of the same year, to govern the Cantonment area.

State within a state

The Cantonment was a state within the state. Its demography was largely decided by the British. Historians point out that the British had, in order to cater to their various needs, brought ‘rich’ communities like the Mudaliars and Naidoos and some Muslims. They had also brought the ‘Harijan’ community to perform menial jobs.

With higher expendable income, larger budgets, special provisions, the Cantonment was elite. But the old City area could not be left out, not even if it were not the bosom of the City in the eyes of historians. Their charms were different. The Cantonment was English; the City area, notwithstanding some resembling architecture, was local.

But they were both vibrant by virtue of enjoying separate business districts, a provision the City planners post-Independence have given little importance to.

According to H S Doreswamy, the oldest (living) freedom fighter of Bangalore, the City’s business district housed all kinds of businesses, from oil producers to potters and silk weavers to bangle makers.

The Cantonment was different. It had bazaars that sold finished products, grocery and was home to a spectrum of entertainment avenues.

In 1871, a new municipal regulation saw the appointment of J H Orr as the fulltime president for the control and direction of the affairs of both the municipal. This was the first attempt at unified governance.

But the differences were not to be wiped out. The total revenue generation of the Bangalore City Municipality was Rs 43,010 while the revenue of the Bangalore Civil and Military Station Municipality (Cantonment) was Rs 92,617.

After the conclusion of the Commissioner’s administration and the beginning of the Mysore rulers’ administration, the Cantonment area was called British Cantonment.
By 1881, the differences in the administration became very apparent and caused discomfort among the locals in the City area. The administration continued, brushing aside these differences that did not last, for Bangaloreans then, like now, 150 years later, didn’t get ruffled too much by these differences.

Home to the British automatically meant more access to many provisions that the City area did not have. The ever-benevolent (British) government’s hand meant funds for development projects.

One such key priority that came the Cantonment’s way was drinking water supply. As early as 1881, Sampangi and three Millers tanks were the chief sources of water for the Civil and Military Stations. The Millers tank, constructed in 1854, was the first step taken to meet the demand for water. For the City, before the commencement of the scheme of protected (filtered) water supply to the City initiated in 1896 by Dewan K Sheshadri Iyer, unfiltered raw water was supplied from a number of tanks like the Dharmambudhi tank, Sampangi, Ulsoor and the Sankey tank.

The British officers deputed in Bangalore during the 1890s were looking for a new source of water supply. Major Grant worked at four sources––Maligal valley, Hebbal, Rachenahalli and Hessaraghatta––and M C Hutchins, the chief engineer of Mysore preferred Hessaraghatta.

More equal than others?

While people residing in the limits of the Bangalore City Municipality were levied three per cent-four per cent water tax, buildings and land used for military purpose were exempted from tax.

In 1892, for the first time, elections were conducted for these boards.
Voting rights were restricted only to male property owners and even among them, only those who have paid property tax, according to provisions of the Central rule of 1883. Both civil and military areas saw 18 members in all.

The differences between the two though, had to continue. Unlike in the City area, only in the Cantonment, women were allowed to vote. It was not until 1923, when the City board submitted a memorandum that women in the City area were allowed to cast their vote.

The differences continued even after Independence, as historians have described.
On December 8, 1949, post-Independence, both the boards were legally merged as one. But the most immediate challenge for the new administrators was to find the much needed co-operation for common administration. For the lines had to be “undrawn.”
The path taken after that needs little recalling. Bangalore has grown, it has a fresh identity. But the two separate identities that the Cantonment and City areas have given to Bangalore will continue to add to the charm of this City in its own way.

source: http://www.DeccanHerald.com / Home> Supplements> Spectrum / by Chethan Kumar / Tuesday, March 27th, 2012

VONTIKOPPAL PANCHANGA: Five Generations of expertise in Almanac

Caption: Siddanthi Tammaiah Shastry, Siddanthi T.V. Krishna Shastry, Siddanthi V. Ramakrishna Shastry, Siddanthi R. Kumar, Siddanthi K. Mohan

By M.S. Apuurva

Most of us will have memories of our childhood with our grandfathers reading from a book full of tables and text in small font, which we could never understand. The ease with which they would decipher the information in the book remained a mystery to us. The book — Panchanga — has been a part of Hindu household since ages and no ritual is held without referring to it.

During Ugadi (tomorrow), which marks the start of a new Hindu year, it is a tradition to read Panchanga (Panchanga Shravanam). The Panchanga reveals the forces that will rule various aspects of life in the coming year. This forecast deals with the transition and effect of constellations on the social life of people. It is a belief that those who read the Panchanga as well as those who listen will be rid of their sins and blessed with a long, prosperous and happy life.

Panchanga’s importance

Dharma plays a very vital role in Indian culture. Sages have allotted a specific time for every work (rituals) and this is defined in Dharma Shastra. Unlike in western traditions wherein for example, Dec. 25 every year is celebrated as Christmas, in Hindu customs, every festival has a fixed start time. Every ritual, be it naming or house-warming ceremony, must compulsorily be carried out within the designated span of time. This calculation of time is done using Panchanga. In simple words, the five attributes of Panchanga (Pancha-Anga) are: Vara – Time from one sunrise to the next sunrise; Tithi – It is the distance between the sun and moon; Nakshatra – It is the movement of the moon; Yoga – It involves the movement of both sun and moon; Karna – It is half of Tithi. The Pancha-nga has two systems — Chandramana and Souramana. The former is calculated based on the moon and the 12 months span from Chaitra to Phalguni, the latter is based on sun with the 12 months where sun travels from Mesha rashi to Kumbha.

Consisting of complex calculations mainly based on spherical trigonometry, Panchanga is propounded with the theories in Surya Siddantha. It is said that demon Maya meditated and Surya appeared before him to grant him a wish. Maya asked Surya to explain all the effects of the movement of Sun. Surya explained them through Sanskrit Shlokas. This was followed by Vakya, Aryabhatiya Siddantha and Dru Ganita (western). Vakya is followed by Tamilians and those who follow Souramana system; Aryabhatiya is used by Vaishnavas; Dru Ganita is mainly followed by people of South Kanara and Surya Siddantha by the remainder of Karnataka.

Vontikoppal Panchanga

One family from city has the pride of writing and printing Pan-changa continuously for the past 126 years. The Vontikoppal Panchanga, as it came to be known, was started by Siddanthi Tammaiah Shastry in 1887-88. Presently, the fifth generation of the family is carrying on the work.

Over the years, Vontikoppal Panchanga has been widely used across Karnataka and even abroad. When asked the reason for this popularity, Siddanthi R. Kumar says, “Ours is the only Panchanga in the world to print information in detail. We print according to all four categories — Surya Siddantha, Aryabhatiya Siddantha, Vakya and Dru Ganita — along with Chandramana and Souramana systems. Presently my son K. Manohar and I are its authors and my father is the verifier. Its printing has not stopped since it was first started by my great great grandfather.”

The Vontikoppal Panchanga has been accepted as the official Panchanga by the Government of Karnataka. The dates for all utsavs under Muzrai Department and govt. holidays are given by the family during June-July and the gazette notification is given during October.

Five generations of expertise

Siddanthi Tammaiah Shastry: This panchanga was started by him. He was born in 1862 at Agara of Yalandur and started learning astrology, literature, philosophy and dharma shastra from the age of eight years. He became the President of Sri Chamarajeshwara Sanskrit Pathashala, Chamarajanagar, in 1914. During 1887-88, he started writing the panchanga and printing it in Madras. In 1925, he was named as the Asthana Vidwan by Nalwadi Krishnaraja Wadiyar. In 1942, Jayachamaraja Wadiyar honoured him with the title Jyotishya Ratna and presented a golden bracelet. For 38 years he published the Panchanga before he passed away in 1944.

Siddanthi T.V. Krishna Shastry: Born in 1892, he learnt medicine, astrology, literature and Veda from his father. In 1932, Nalwadi Krishnaraja Wadiyar appointed him as the Head Master of Vontikoppal Middle School and requested him to compile Vakya Panchanga for the Palace. Since he resided in Vontikoppal, the Panchanga got its name. He passed away in 1946.

Siddanthi V. Ramakrishna Shastry: Born in 1918, he continued the publication for 80 years after the death of his father. He set up a press in city for printing the Panchanga. He was also the Hon. Member of American Astronomical Society. He retired after his son took over the responsibility.

Siddanthi R. Kumar: Born in 1950 at Kanuru, Hassan, he practiced law for a few years. He started learning from his father since the age of 14 years and lent a hand with the Panchanga since 1965. In 1980, he set up Bhagirathi Printers in memory of his mother. He started printing using offset method and recently shifted to web offset.

Siddanthi K. Mohan: Has been learning Sanskrit, astrology and panchanga calculation from his father since childhood and is presently helping his father with the preparation and printing.

When asked why no daughter of the family had continued the tradition, Kumar said, “It is not the question of son or daughter. Learning this knowledge should come in one’s horoscope. I have two brothers and four sisters but only I could continue this.”

American Panchanga

Vontikoppal Panchanga is the first in the world to bring out a Panchanga exclusively for America. “Many Mysoreans living in America would take this Panchanga. But this cannot be used to prepare horoscope there. Hence I started preparing one according to America latitude and longitude in 2001. Since America has 10 zones along with daylight saving, I have prepared this for New York City and have given conversions for other places,” says Kumar.

Publications: Apart from Panchanga, they also print pocket calendars, wall calendars, Ready Reckoner and Muhurtha Manjari. The Ready Reckoner Nitya Kundali Mattu Grahasputa is for professionals who write horoscope, etc. Muhurtha Manjari is an advanced Panchanga. It helps in fixing dates one year in advance. The work usually begins during June-July. Their press is presently located in Hebbal Industrial Area. The printing and sales is completed one month prior to Ugadi. “We need 6 to 7 months to prepare the Panchanga. We don’t use any software or computer and rely only on hand calculation,” says Kumar.

Panchanga can never be repeated

“Some allege that the same Panchanga published some 100 years back is repeated. But this is impossible because the position, speed and distance of stars will keep vary hence changing our calculations. We can never use the same Panchanga and write for another year,” says Kumar.

“If you want to check its accuracy, then the position of the moon or the occurrence of eclipse can be tallied with that mentioned in the Panchanga,” he adds.

Today, Vontikoppal Panchanga has become a household name in Mysore and across the State. Let us hope that the tradition is carried forward by the family for generations to come. [Kumar and Manohar can be contacted on e-mail: manohar13@gmail.com]

SOM was printed here

Remembering the time when Star of Mysore office was in Saraswathipuram, Kumar says, “On two or three occasions, when there was power failure at SOM office just before the paper was printed, it was brought to us for printing. Both had the same Mercedes printing press and it was a time when SOM sister publication Mysooru Mithra was yet to be started.”

source: http://www.StarofMysore.com / Feature Articles / by M. S. Appurva / March 22nd, 2012

History scrolled in Silver

 

 

Mysore:

The beauty of the century-old Mysore Palace is not just in its outer appearance but also in the amount of knowledge it houses about our history, culture, craftsmanship, architecture, etc. A new addition to this knowledge bank is the recently opened chamber which contains scrolls presented to the Wadiyars of Mysore.

Those were the days when people considered the visit of a king to their land as good fortune. And the king had to be honoured on his arrival to make the occasion memorable. This was done by presenting the king with scrolls kept in cases designed aptly for the occasion. The erstwhile Maharaja of Mysore Jayachamarajendra Wadiyar was presented with 96 such scrolls housed in elegantly designed cases during his visit to functions at various places.

These cases are made of pure silver or sandalwood. The gifts include: A silver model of an aircraft presented to the Maharaja by HAL, Bangalore, in 1948 when he was there in connection with a function; a bridge shaped memento when the King laid the foundation stone for Suvarnavathi River bridge; a sandalwood replica of the Gopuram of Ghati Subramanya Swamy Temple which was presented in 1951; a sandalwood racket which had been presented during a badminton tournament held in Mysore; a silver idol of Goddess Chamundeshwari presented on the occasion of the 16th Akhila Bharatha Lingayatara Sammelana at Basavakalyan; a silver memento presented during the inauguration of general hospital at Davangere; a scroll presented when financial aid was given for the construction of Shimoga and Davangere hospital, etc.

Added to this list are priceless silver and sandalwood mementos given to the Wadiyar to mark his visits to functions at various places like CMC Hospital at Vellore, Shimoga, Bangalore, Kolar, Theerthahalli, Udupi, K.R.Pet, Gokak, Hassan, Yelandur, Belgaum, K.R.Nagar, Gudibande and the gift presented during the diamond jubilee celebration of Madras Ayurveda School.

The cases have carvings depicting scenes from epics like Ramayana, Mahabharata and Gita and pictures depicting the coronation of Wadiyars.

The Mysore Palace Board has now come forward to display these hitherto unseen and unknown 96 precious gifts for public view. These items will be displayed at the rooms adjacent to the Darbar hall on the first floor of the Palace, says Palace Board Deputy Director T.S. Subramanya.

With this, the visitors from various places will have a rare opportunity to view the royal gifts given by their ancestors to the king and the history and occasion behind it. For the convenience of visitors, all these items will soon be showcased in a 360 degree angle view on the Palace website (www.mysorepalace.gov.in) which also offers a virtual tour of the Palace, adds Subramanya.

— By Kiran Kumar

source: http://www.StarofMysore.com / Feature Articles / March 03rd, 2012

 

A tale of four Palaces

 

 

 

Mysore:

The tale of Yaduvamsha begins with Yaduraya marrying Devajammanni (1399), the daughter of Chamaraja who had died without a direct male heir. Yaduraya inherited the small principality of Mysuru which consisted of 33 villages earning a sum of 3,000 varahas annually.

First Palace: It is a matter of conje-cture as how the Palace of Yaduraya looked like. It must have been an enormous one with many courtyards than a regular house. This first Palace of Wadiyars was struck down by lightning sometime in mid 17th century.

Second Palace: A second Palace was built within a secure fortress during the reign of dynamic king. Ranadheera Kanteerava Narasaraja Wadiyar (1638-59). As per written records, this Palace contained various halls, pavilions, quadrangles and temples. The fort was filled with residences of artists, singers, dancers, musicians, scholars and jesters and an army of soldiers. With the ascension of Tipu, he declared himself Sultan and slowly worked to obliterate the heritage of Wadiyars. He dismantled the Palace and the fort at Mysore, and went about to establish a new town ‘Nazarabad’ just across the Devaraya Sagara. His plans, however, came to nought midway and never materialised.

Tipu died in the IV Anglo Mysore War in 1799. The 4-year-old Krishnaraja Wadiyar III was to ascend the throne after moving the capital to Mysore. Palace records state that the coronation was performed within the premises of Lakshmiramana temple since the Palace was in ruins. Hastily, a new Palace was built (1799-1801) on the foundations of the old Palace which was richer and grander compared to its predecessor.

Third Palace: This Palace was built in 1801 to house the royal family after shifting the capital from Srirangapatna. This east facing edifice was built in typical tradition of the times, had four huge twin wooden columns standing two storeys high. The colonnaded ground floor sported a handsome plinth (jagali). The main entrance to the Palace was a painted pair of elephants flanking the main door. The colonnaded hall on the first floor was the durbar hall where the Maharajah was seated on the golden throne during Navaratri celebrations. The complex had 24 peristyles or colonnaded courtyards (totti) each serving a specific purpose catering to the different administrative wings of the Palace including a reception area, meeting hall, etc.

Three more floors rose above in a pyramidal fashion, the topmost bearing pancha kalasha. Prominently placed was a stucco image of Goddess Gaja Lakshmi. The Palace was a five storey wooden structure of teak, rosewood and sandalwood. Ornamental silver door frames, carved wooden pillars, niches, murals and paintings decorated the halls and corridors of this Palace. The Palace was 245 feet long, 156 feet wide and stood 145 feet tall. The fort (1350 feet x 1400 feet) was also rebuilt at the same time.

The coronation ceremony of Krishnaraja Wadiyar IV in 1895 and the wedding celebrations of Princess Jayalakshmammanni in 1897 were the last two major events hosted in this Palace under the regent Rajamata Vanivilasa Sannidhana before it was gutted in an accidental fire in February 1897.

Fourth Palace: The fourth Palace was rebuilt at the same place under the command of Rajamata Kempa-nanjammanni Vanivilasa, designed by British architect Henry Irwin, built by executive engineer B.P. Raghavulu Naidu at a cost of Rs. 41 lakhs. Amba Vilasa was one of the prominent royal Palaces to be built at the dawn of 20th century and it attracted critical acclaim at the global level during its construction and finishing stages.

Clearing of the Fort: An enormous number of public buildings, houses, mansions and bhajana mandiras were demolished between 1908-10.

In fact, an entire township within the old fort walls was cleared to create the ambience and look as seen today. The perfect unhindered view of the Amba Vilasa in any direction and angle within the ramparts is a mesmerising sight. The Palace construction was completed in 1912.

Construction of the Darbar Hall: In the year 1930, Krishnaraja Wadiyar IV sought for renovation of the front facade of the new Palace. Portico of the main entrance was demolished and a magnificent durbar hall with 9 arches supported by 10 pillars, was built at a cost of Rs. 6,21,000. The capitals of these arches sport the turbaned Mysore soldiers and the famed Mysore Lancers.

The northern and southern twin towers with three domes were the last addition to the new durbar hall in 1932. Proceedings of the Durbar Hall Committee meeting on 11 May 1934 states, “The committee examined 13 designs received for the durbar hall ceiling. The design submitted by K.S. Siddalingaswamy is considered the best among the designs received since the whole design is entirely original and fully oriental in conception and it strictly confirms to the canons of Shilpa Shastra.”

Inside the Palace: The interiors are no exception when it comes to the opulence and beauty. The private durbar hall is definitely the crown jewel of the Palace. The turquoise, gold and red painted pillars with hanging mango brackets and fairies in relief support a majestic stained glass ceiling in the centre.

It was the acclaimed artist K. Venkatappa whose three bas relief sculptures adorn the private durbar hall; he also provided the rich colour scheme to this hall along with several other wings of the new Palace. Rosewood doors inlaid with ivory, doors with silver repousse work, huge chandeliers, enhance the richness of the hall. The octagonal marriage pavilion has 26 paintings of Dasara procession and other celebrations painted by seven well known artists of the time.

An armoury room Ayudhashala within the Palace has about 725 catalogued arms and armoury belonging to different kings of Wadiyar dynasty and also a few arms wielded by Hyder Ali and Tipu Sultan. This armoury was established in 1635 by Chamaraja Wadiyar V. The contents of this room were documented for the first time during the reign of Krishnaraja Wadiyar III and all the arms were inscribed Sri Krishna. The weapons carried by the Ursu noblemen and those worshiped during Ayudha Puja are later deposited here.

Gateways of the Fort: Apart from the five magnificent imposing gates of the Palace, there are two minor gates and one gate on the west which is a relic from the reign of Krishnaraja Wadiyar III. This western gateway to the fort, Bra-hmapuri, opens out on to the road which directly leads to the Jaganmohan Palace — the royal residence between 1897 and 1907.

The south-western gateway is called Karikallu Thotti Dwara. The stucco work in spandrels and on the pillars is of very high craftsmanship. This gate offers a direct access to temples of Khille Venkataramana Swamy, Lakshmiramana Swamy and Prasanna Krishna Swamy which are often visited by citizens.

The eastern rampart of Mysore fort is punctuated by an inspiring, gigantic arched gateway Jaya Martanda Dwara with adjoining corridors. A grand pano-ramic view of the front facade of the Pa-lace which includes the bulbous domes and the gold plated central spire, the massive arches and the side flanks topped with the terracotta coloured domes comes alive as one approaches the Amba Vilasa.

Even after the construction of the main Palace in 1912, several structures were being altered. Archival records state that the ‘T’ shaped corridors adjoining the east fort gate were constructed in 1933.

The southern gate Varaha Dwara of Mysore fort is dedi-cated to the presiding deity of the Shweta Varahaswamy temple. A stucco image of Kaliya Mardana in an arched pediment on this gate has stood silent sentinel to the departed royalty en route to Madhuvana. The towering gopura of the Shweta Varahaswamy temple is decorated with stucco niches and figures. The main temple is a relic from the Hoysala times. Chikka Devaraja Wadiyar (1673-1704) brought the idol of Shweta Varahaswamy from Shrimushnam, Tamilnadu. It was installed in a temple at Srirangapatna which was destroyed in 18th century.

Krishnaraja Wadiyar III, under the supervision of Dewan Poornayya got the idol installed in the present temple. The Ambujavalli shrine dedicated to the consort is a low ceiling pillared structure. Both temples have their interiors painted with Mysore style murals depicting episodes from the Ramayana and Bhagavad Gita.

The twin gates in the northern side Jayarama and Balarama have a temple dedicated to Anjaneya in between them, both the gateways have arched pediment with the royal coat of arms of Wadiyars with the legend Satyamevoddharamyaham. The inner walls of central arch of both gates sport mural paintings of the Bangalore Palace, Jog Falls, Ooty Fernhill Palace and the old Palace by master portraitist Madhugiri Ramoo done in 1951.

Bronze tigers, created by British artist Robert William Colton, are placed two each flanking the north, south and east pathways in front of the Palace. Around 97,000 electric bulbs, when lit, dot the outline of the super structure and allied buildings within the fort presenting an awe inspiring sight.

Archival records state that the formal griha pravesha of the new Palace was performed in 1907; the first major event hosted in the Palace was the upanayana of Yuvaraja Kanthirava Narasaraja Wadiyar in 1910 while the marriage festivals were conducted at the grand hall of Jaganmohan Palace. The major event at the Palace during the reign of Nalwadi was the silver jubilee of his coronation in 1927 and the last spectacular event in the grand hall of Amba Vilasa was the coronation durbar of king Jayachamaraja Wadiyar on Aug. 8, 1940.

Mysore Palace – Celebrating a Century: City-based art foundation Ramsons Kala Pratishtana has published a unique journal Mysore Palace – Celebrating a Century using 82 photographs and paintings depicting various stages of the Palace being built. The journal is made up of two parts — the first part has photographs and texts depicting the making of Mysore Palace while the second part has ruled pages where one can write their experiences and thoughts when they visit the Palace.

The Journal will be released by Palace Board Deputy Director T.S. Subramanya at a function to be held tomorrow at 11 am at Pratima Gallery in front of City Zoo. Historian Prof. P.V. Nanjaraja Urs will be the chief guest. For details about the journal, contact Raghu on Mob. 9880111625.

— R.G. Singh, Secretary, Ramsons /Kala Pratishtana

source: http://www.StarofMysore.com / Feature Articles / March 03rd, 2012

 

3000 million years old Lalbagh rock facing human threat?

Morning walkers fear that it may be damaged by the use of heavy drilling machinery by personnel hired to rejuvenate the lake in the garden

The rock, termed Peninsular Gneiss, is a mixture of granitic rocks

The use of heavy drilling machinery by construction personnel hired to rejuvenate the lake in the renowned Lalbagh botanical gardens has several morning walkers and joggers worried. They fear that work would endanger the 3,000 million years old Peninsular Gneiss, the rock in the centre of the park. The personnel are cutting huge boulders using earth movers, near the Siddapura Gate. Dr Krishna, a morning visitor to the park, told Bangalore Mirror, “I saw these machines near the rock a few days ago. Vigilance officers informed them that they were drilling the earth to cut rocks. None of us had any clue where those rocks were transported.”

But horticulture officials clarified that the rock won’t be damaged. H M Krishnappa, deputy director of Lalbagh, said, “We are not drilling into the rock. 

Special white stone boulders have been brought from Pavagada to construct a bund along the recently rejuvenated Lalbagh lake. They are not only huge but irregular in shape as well. Hence, they have are being cut to fit our requirements. As there was no vast space available within the park to take up the drilling and chiseling work, we chose the empty space near Siddapur Gate, which was sometimes used as a parking lot.”  But when asked whether the drilling work with high level vibrations would damage the texture of the geologically significant rock, Krishnappa clarified, “They have just cleared the soil to keep the boulders intact while drilling and chiseling using heavy machines. We have been vigilant at every step.”

N Chandranna, a retired senior geologist from the mines and geology department, said, “The drilling would not harm the rock as the vibrations would be of negligible level. But using explosives would have a huge impact on the composition of the rock.”
history of the rock
The term Peninsular Gneiss means mixture of granitic rocks, which are largely spread around the southern plateu of India. The term was coined by Dr W F Smeeth of the Mysore Geological Department. It is considered to be one of the oldest rocks of earth. It was declared a national geological monument in 1916.
The antiquity of this rock has attracted geologists from all over the world and has given rise to erudite scientific papers on the evolution of earth by the pioneers of the Mysore Geological Depart-ment, Geological Survey of India and scholars. Stone quarry of this gneiss continues to be source material for research in the various branches of earth science.
source: http://www.BangaloreMirror.com / Bangalore> City / by Niranjan Kaggere / Friday, December 23rd, 2011

Home is where the house is

One of the oldest houses in Bangalore stands witness to the rich lives of six generations — both inside and outside its walls

If a person lives for 100 years or more he/she is called a centenarian. What do you call a house that’s 115 years old? Simply…House No.253.

The beige coloured house on IIIrd main, Chamarajpet, sits on the quiet lane like a great-grandpa on  an easy-chair, watching the world go by with a I-have-seen-it-all gaze. The house has been around much before the people, who walk past it now, became a ‘creation’ in God’s workshop. It has seen horses cantering on the roads; macho Sunbeams and Moris Minors driving past its gate, followed years later, by modest Fiats, Marutis and now the boxy Swifts, like the one parked in front of the house. It has witnessed servitude and freedom; it has seen births, deaths, marriages and separations. For 115 years House No.253 has seen life in its varied hues –both inside and outside its walls.
This 19th century house is one of the oldest properties in Bangalore, owned by the original allotee’s family. Measuring 60 ft by 108 ft it was allotted to Kasturi Rangachar in 1896 by the government for Rs 200. The original house number was 171, which later changed to No. 234, 250 and now No. 253. The oldest document of this property dates back to July 9, 1930 — a tax-paid receipt for Rs 12 and 8 annas, issued by Bangalore municipality, signed by a Shanbhog.
It’s a classic
The solitary stone bench at the entrance is typical of houses of a bygone era; windows on either side of the five-door entrance, high roof, signature rose wood doors, black kadapa kallu flooring, spacious rooms sandwiched between thick walls, long verandahs, the attic-cum first floor with a mini-wooden ladder attached to it and the sweet-water well in the backyard amid coconut and mango trees… it is reminiscent of a simpler time when home was the axis of one’s life.
The house is now occupied by Rangachar’s sixth generation family: matriarch 84 year old P Kamalamma lives here with her sons and daughters-in-law. She has six grand children and eight great grand children, some live with her. The spacious four-bedroom house has hosted around 30 family weddings.
The III main road where the house is located was initially 80-feet wide and called Iyengar Street as majority of the residents were from the Iyengar community. “It’s probably the oldest property on this street that is still retained by the original allottees’ family,” says D Vijaykumar, 61, the youngest son of Kamalamma. “Over the years, the family grew, but not once did we think of dividing the property.” Barring a few minor repairs and painting, the house has not been altered at all. The sheen on the  kadapa kallu flooring shimmers —even after 115 years!
Only after the death of Kamalamma’s husband, a few years back, a hunt for the property papers began since the sons wanted to change the title ownership to their mother’s name. Kamalamma’s two daughters-in-law, Ramamani and Sumathi, were entrusted with the job. They laid their hands on the 1930 tax-receipt and traced the property entry in the records in the revenue office. Subsequently, the urban land survey office issued them a certificate of ownership.
In 1992, as the family grew the existing space shrunk. The brothers decided to build three-apartment units in the large backyard. “We didn’t want to make any alterations to the old house,” says Vijaykumar. “But, we also wanted to be in the same compound. Our parents allowed us to construct the flats without dividing the property.” While two brothers shifted to the newly built apartment, Vijayakumar and his wife continued living in the old house with his mother.
Barring some old age related ailments and a recent hip bone fracture, the octogenarian Kamalamma is agile. She crossed the threshold of the house as a new bride in 1944. Pointing to an old black and white picture of the older generations, Kamalamma says, “Many died of epidemic diseases that were common those days.’’
The 6,480 sq ft space purchased for Rs 200 in 1896, is worth around Rs 10 crore now. Several TV serial directors approached the family to let the house on rent for shooting. But the family refused.
A few days ago, House No.253 welcomed the sixth-generation’s youngest grand daughter-in-law, Sahana. Now, the 115-year-old house is getting ready to welcome the ninth great-grand child of the family; gurgles and giggles will once again fill the ancient rooms and the kadapa kallu will gleam under tiny baby feet. Yet another chapter of life will begin under the roof of House No.253.
source: http://www.BangaloreMirror.com / Bangalore / Home> Sunday Read> Special / Sunday, February 16th, 2012

Rare literature on Islam, Hinduism in Tipu’s collection

A rare Persian translation of Mahabharat prepared on the order of Emperor Akbar, religious literature both on Islam and Hinduism and manuscripts from the huge collection of Tipu Sultan’s library are some of the items which have been catalogued for future generations.

The National Archives of India has catalogued these manuscripts for the use of academicians and scholars and seven volumes of the acquired documents will be released by Vice President Hamid Ansari tomorrow.

The catalogues from Persian were translated into English with the help of the Iran Culture House which extended its technical support regarding digitisation of the manuscriptsThese catalogues have also been translated by them in Persian and published in English as well as in Persian.

The descriptive catalogue comprises of more than 190 manuscripts which throws light on the Oriental life and culture, covering different faiths and religions, manners, arts, custom and philosophy practiced in the world.

The catalogue has been classified in five groups — Religion, History, Language, Literature and General. The first group of the catalogue deals with religious and Sufi literature, both on Islam and Hinduism and a copy of the Persian translation of Mahabharata, prepared on the order of emperor Akbar under the supervision of Abul Fazal.

Besides, Su’ al-o- Jawab-i-Dara Shikoh Wa Baba Lal, a treatise containing the conversation between Prince Dara Shikoh and Baba Lal Das of Kaithal on the life and doctrines of Hindu Faqirs and Kashf al-Mahjub, the oldest systematic work on the theoretical and practical doctrines of Sufism by Abul Hasan Ali bin Uthman bin Ali al-Hujwiri are some of the highlights of the catalogue.

The history group covers outstanding works of historians and litterateurs including works on India like Tawarikh-i-Firuz Shahi by Shams-i-Siraj Afif, Akbarnama and Ain-I Akbari by Abul Fazal, Majmu’a-i-Khuwrrami and Shah Jahan Nama by Bahadur Singh. 

The accounts of the neighbouring countries of Iran and Afghanistan and the European people have also been covered in the group and Tarikh–i-Alam Ara–Ara-i-Abbasi, a history of the life and region of Abbas of Safawi dynasty of Iran by Iskandar is very important work of the period. 

The catalogue of Manuscripts of the Fort William College Collection in the National Archives of India comprises several rich manuscripts, including a large number of invaluable books and rare manuscripts from the plunder of the huge collection of Tipu Sultan’s rich library. 

The collection was brought to Calcutta in 1799, following his defeat and death at Srirangapatnam. 

This rich collection has 8 sections which contain 17 sub-sections, ranging from eastern and western religions, language, literature, history, medicine, animal husbandry, astrology etc. 

In this catalogue, only Persian and Arabic manuscripts have been included although manuscripts in Bangla, Hindi, Sanskrit, Urdu are also available in the collection.
Besides, these publications, the Iran Culture House would hand over digital copies of 400 Arabic and Persian Manuscripts in the C.D. form to National Archives of India during the book release function.
source: http://www.DeccanHerald.com / Home> National /New Delhi, Feb 15, 2012, (PTI):

Pages from History: Glory, Thy Name is ASI

By Prof. A.V. Narasimha Murthy, former Head, Department of Ancient History & Archaeology, University of Mysore

The print and electronic media have been very active in giving publicity to the 150th celebrations of Archaeological Survey of India (ASI). This great department was established in 1860-61 with Alexandar Cunningham, generally considered to be the first Director General.

Actually first he was appointed as Surveyor with a salary of Rs. 450, field allowance of Rs. 250, plus a share in the antiquities to be discovered by him. Subsequently he was appointed Director General, which post is being continued till today mostly occupied by archaeol-ogists and sometime IAS officers. Thus it has a long tradition.

Archaeology is not a popular word and most people find it difficult to pronounce. It means the science of the past. To make its meaning more easy, my teacher used to say that archaeology is the root and history is the fruit, there by showing that history depends upon archaeology to become meaningful. If a literary text states that a king’s palace had golden doors, archaeologist would interpret it as gold was known and the king had a palace! Thus archaeology requires a proof or evidence.

Archaeologist is generally compared to a detective who, with the available artifacts, solves a problem or a riddle and gives flesh and blood to history.

Archaeologist is also made fun of for his way of working. R.K. Narayan’s joke is famous. Two archaeologists were working at an ancient site. One of them found some metallic wires and he immediately exclaimed, these people knew electricity. The other one did not get anything and he announced that they knew wireless.

But archaeology is more serious and a methodical academic discipline all over the world which brings dead civilisations alive. Archaeology includes many categories such as prehistory (before the invention of writing), inscriptions (on stones and copper plates), coins, architecture, sculpture, paintings, bronzes — thus all objects created by man. These antiquities are generally buried under the earth and archaeologist digs them out in a methodical manner, analyses and interprets them and passes them to the historian to write a continuous history of the men and period during which they were made.

This is the journey of man through the ages in all walks of life and this is generally referred to as culture or civilisation.

This is what the ASI is doing for the past 150 years in a methodical manner. Perhaps taking a global view, it can be said with certainty that best served country from the point of view of archaeology is India itself. We should be grateful to Britishers for this contribution and this tradition has been nurtured ably our own Indian archaeologists.

Archaeology has been making use of scientific tools in an amazing way. Carbon 14, dendrochronology Potassium-Argon, spectroscopy are some of the methods which have made archaeology a science. Non-destructive methods are used to analyse coins and even determine the source of the metals used for making coins. Aerial photography has been a great boon in exploration had location of remnants of monuments. Archaeological chemistry has made great prog-ress. Ancient paintings of Ajanta, Tanjore etc. have been given a new lease of life by archaeological chemists. The Tanjore temple has two layers of paintings and our chemists have been able to remove the upper layer of painting and transplant them to a different place and allow us to see the Chola paintings of the early period. Hundreds of bronzes have been given chemical treatment.

Transplantation of temples from one place to another is a great contribution of archaeologists. Thus many destroyed temples have been rebuilt with the same original pillars, sculptures and other architectural members. Our expertise in this field is so good that many foreign countries have invited our archaeologists to conserve their monuments including Angkor. Thus Indian archaeology is going global.

The Horticulture Branch of ASI is providing proper environment to beautiful monuments by providing carpet-like green lawns and gardens to enhance the bea-uty of the monuments. Now laws have been made more effective so that unnecessary and ugly constructions which are an eye-sore to the monuments are removed. More and more monuments are being added to the list of world heritage monuments which bring in thousands of international visitors to our country.

A large number of museums both at excavated sites and location of temples and mosques have been established. Their educative value cannot be overestimated. A large number of authentic guide books and scholarly works have been published to educate our youth. Though the Head Quarters of ASI is in New Delhi, it has various branch offices to look after the monuments.

Mysore is the Head Quarters of the Epigraphical Branch. Inscriptions all over the country are copied and about one lakh estampages are stored here for the study of the historians.

It is my good fortune that I started my professional career in ASI in 1957. At the instance of my guru Prof. K.A. Nilakantha Sastri, a special interview was conducted at Madras by B.K. Thapar, who later became Director General. Unfortunately I could not continue in ASI beyond three years, as I had to go to Harvard University on a Fulbright Scholarship where I worked under Movius Jr. and Dr. Wiley. After returning from Harvard, I joined Mysore University and taught archaeology in addition to research for over 35 years. I have contributed many students to ASI who have distinguished themselves as archaeologists.

The Bangalore circle had organised a function to celebrate 150th year of ASI last month where I was honoured with a plaque which referred to it as an award of excellence in discovering the ancient glory. This give me the satisfaction that I have served my motherland through archaeology.

In this process I had the good fortune of knowing the savants like A. Ghosh, M.N. Deshpande, B.B. Lal, Thapar, Debala Mitra, M.C. Joshi, Jagatpati Joshi, D.C. Sircar, K.R. Srinivasan, Shivara-mamurthy, Krishnadeva, V.D. Krishnaswamy, Soundararajan, T.N. Ramachandran and others.

I have seen 100th and 150th year of ASI. Thus I pay my homage to ASI and its dedicated officers and salute them.

source: http://www.StarofMysore.com / Feature Articles / February 11th, 2012

 

Treasure trove of manuscripts

For historians and research scholars, the ‘Hastaprati Bhandar’, a treasure trove of manuscripts, at the Institute of Kannada Studies of Gulbarga University is a paradise of sorts.

Housing over 6,000 manuscripts including the rarest ones, called ‘Uddharani’, each one of them tells its own story.

‘Uddharani’ is a form of pictorial manuscript explaining different philosophies. It is four to five meters long and can be conveniently rolled, like a scroll. It is very difficult to decipher the language in which the works are scripted. Colourful handdrawn pictures are pasted on a cloth.

According to experts, most of the ‘uddharanis’ are connected to ‘kaalajnana’ (futurology).

The laborious drawings in original colours are stunning. Traditional palm leaf manuscripts are the other important components of the collections. The earliest palm leaf manuscript is the work ‘Shivayoganga Bhushana’ and ‘Sadguru Rahasya’ by unknown authors (dated 22.2.1799). The works may be of an earlier period, but the manuscript is at least 210 years old.

Palm leaf manuscripts are said to have a longer shelf life, lasting even up to 600 years. The collection also contains some of the works of poet Nagavarma of the ninth-tenth century. Another important possession of the Institute is ‘Namalinganushasana’, popularly known as ‘Amarakosha’, written by Amara Simha of the 13th century. There are 180 palm leaf manuscripts running in to tens and hundreds of pages. The Institute also has over 4,000 paper manuscripts with the earliest one dating back to the 18th century.

All these manuscripts including the ‘uddharanis’ have been collected mostly from the Hyderabad-Karnataka region. They usually pertain to Veerashaiva philosophy, Sharana Sahitya and Vachana Sahitya. They are found in different literary forms including prose, poetry, drama, folk songs, folk tales, astrology, futurology, philosophy, bayalata (a form of performing theatre unique to North Karnataka), and medical literature. Though Kannada manuscripts outnumber the others, there are also scripts in Sanskrit and Telugu. The University has so far published two books from among the manuscripts.

They are ‘Kumar Vijaya Vilasa’, a work written in the 17th century, and ‘Yayathi’, a rare work on folk drama of bayalata form. The University is planning to bring out two more works based on these manuscripts as part of the ongoing Kannada Language Development Scheme of the State government.

It is only from the last one year that the priceless manuscripts, dumped in a room, have been opened and stored scientifically.  K G Narayan Prasad, formerly with the Osmania University and now visiting professor of Gulbarga University, is busy giving a definite shape to the manuscripts. Cataloguing has also been going on. Prasad said the first volume will be ready in a couple of months.

All the manuscripts are being scanned and will be stored electronically, said Chairman of Institute of Kannada Studies D Nagabai Bulla.

The collection of manuscripts was undertaken in 1985-86 under a scheme sanctioned by the National Archives for five years. It was discontinued after three years as the University failed to submit proper accounts to the National Archives. “There is a dire need to collect the archives and establish an Archives of Manuscripts which can be made use of by scholars from all over India,’’ suggests Narayana Prasad.

source: http://www.DeccanHerald.com / Home> Supplements> Spectrum / by Srinivas Sirnoorkar / February 14th, 2012

 

City’s NISHAT BAGH all set to become a Tourist spot

Gazebo (pavilion) also known as the Band Stand with a painted glass dome is the main attraction of Nishat Bagh.

Nishat Bagh, popularly known as Sunnada Kuppanna Park in Nazarbad in city, is all set to attract tourists, visitors and general public as the park is being renovated to make it a tourist destination.

The Bagh is yet another regal place in Mysore that is seeing hard times. Nishat Bagh — that is its original name — was conceived by the illustrious of all the Maharajas of Mysore — Krishna-raja Wadiyar IV. His visit to the Mughal garden of the same name on the sides of Dal Lake in Srinagar was his inspiration. The Maharaja wanted one such in Mysore too.

The park is an example for late King Krishnaraja Wadiyar IV’s love of parks and gardens.

Earlier, Nishat Bagh was a sprawling park, but modernisation eventually took its toll. Expansion of roads, a sewage canal, a bus stop in the corner, all chopped the park to its present size. Even then, it is a big park covering about 10 acres. Somewhere down the line, the park came be called as Kuppanna Park.

Three other parks are very close to Nishad Bagh. They are, People’s Park towards its north-west, Gandhi Vana (Horticulture / Horticultural Park) towards its south and Curzon Park towards its west. The Nishat Bagh has been encircled by hotels in ‘L-shape’ on two of its sides.

The main attraction of Nishat Bagh is the gazebo (pavilion) with a painted glass dome. This is also known as the Band Stand because the Police Band used to perform there. The painted glass dome that one sees today, used to be the old glass dome of the Palace if one is to go by the then Palace Executive Engineer H.F.Marker’s letter dated September 23, 1918.

It is learnt that the glass dome of the Band Stand was adorned with classic paintings which was redecorated by artist Srihari, the grandson of the artist who had given the classical touch earlier. The paintings on the glass dome depict mythical themes. The ornamental works for the pillar were designed by E.W. Fritchley, who also designed Lalitha Mahal Palace.

The park is now being given a face-lift. The developmental works of the park which began in the year 2009 and moving in a snail’s pace, will be completed soon. The park is being developed at a cost of Rs.100 crore from the Chief Minister’s Fund.

A rock garden, an amphitheatre, a restaurant and a musical fountain is coming up in Nishat Bagh. The developmental works of the park is taken up by B.G.E. Associates, Bangalore, at a cost of Rs.89 lakh. Trees and ornamental plants have already been planted. Works on the rock garden is going on. Walking path and stone benches have been constructed.

A musical fountain at the cost of Rs. 43 lakh has been installed and the trial run completed. Three high mast lamps have been erected to illuminate the park attractively during night. Entry fee to the park has been fixed and ticket counters constructed. The developmental works is in its last stages and the park will be opened to the public soon. Nishat Bagh, once renovated, will be the ‘Jewel in the crown’ of the heritage city, Mysore.

All attempts to reach the concerned officials over phone proved futile as those who could be contacted passed the buck to other officials who did not respond.

source: http://www.StarofMysore.com / Feature Articles / by S. Kenneth Shishir / January 16th, 2012