Exploring Temple of Ranakpur

The journey to visit the temple of Ranakpur started at about 11.30am and we would have to travel for an hour and half to reach it. We were traveling by a mini van from Rani to Ranakpur, around 60kms. Ranakpur is situated approximately 96 km from Udaipur.

Built during the reign of the liberal monarch Rana Kumbha in the 15th century, this temple is huge and covers over 48,000 sq. feet area. There are three small shrines, twenty four pillared halls and eligibly domes supported by over 1444 columns.

It is said to be inspired by Kailash Parbat and indeed, when you drive through the huge gate everything is hidden behind a huge wall. Walk through the cool garden area with beautiful flowers and into the main temple complex, you are left breathless. Within the garden is the Sun Temple dedicated to Surya (the Sun God). The temple has polygonal walls, and is adorned with the carvings of warriors, horses and solar deities riding chariots.

Umpteen number of shikharas crowd the top section of this famous temple. Strict rules on security, baggage’s, and cameras leave you irritated and wanting, but it is all for good measure indeed. You will not be allowed to take pictures of the gods but I saw many foreigners take pictures with zoom lenses and video cameras and they were not refused. We still suffer from the malady of ‘gori chamadi’ is best.

Behind the ticket counter is a entire complex of small rooms for the Jain sadhus and sadhvis who wish to stay there. After buying the tickets, paying for the cameras and leaving the mobiles behind etc, one is made to remove the shoe before you can climb the stairs into the temple. The temple has entrance on all four sides, but there is an anomaly which may raise a doubt in your mind – which I will explain later.

The Shikharas make a beautiful picture that create a rise and fall with the help of small and tall ones mixed within each other giving you a feeling of watching a mountain range. With the Aravalli’s making a beautiful backdrop. The outside limestone walls are carved with intricate designs all reflection of the Hindu temples.

Climbing the stairs with a platform after every dozen or so stairs give you a feeling of climbing a hill, after reaching through and entering the main hall one is left awe struck. The entire temple seems to be held up with pillars of which none two are alike.

It is one of the five Jain pilgrimages. The main temple has a Chaumukha shrine dedicated to Adinathji, the first Jain tirthankara.

The columns are intricately carved having nymphs playing the flute, in various dance postures are a beautiful sight to behold. The assembly hall has two big bells weighing 108 kgs that are rung at said times.

The corridor around the temple has mandapas (porticoes) with various types of carved images. A shikhar (spire) over each mandapa. The temple has four small shrines, and rises to three storeys. The shrines have 80 spires supported by 420 pillars.

The main temple is faced by two other temples dedicated to Parasvanath and Neminath. These have exquisite figures similar to Khajuraho sculptures.

Begun in the 14th century the temple took over 50 years to complete under the auspicious orders of Rana Kumbha, ruler of Mewar. Dedicated to Adinath, the temple also has smaller temples inside dedicated to Neminath, Parsvanath and the Suryadev temple within the premises but outside the main temple area.

You will enjoy reflecting deeply within yourself while watching the green Aravalli hills behind, the cool and quiet atmosphere within from the balconies or mandapas located at intervals for tired pilgrims to rest. You feel one with yourself, facing east there is a small shrine located on a hillock close to the main temple. It is said to be dedicated to a sadhu who sat here in meditation. It also has a miniature structure or copies of temples version of the route the sadhu may have followed on his journey till he reached here which is marked with footsteps climbing the hills, steps or in temples.

A kilometer behind and above the Ranakpur temple and within the hills is a beautiful small shrine dedicated to Lord Shiva visited by but a few who know. It is a hard climb uphill, with no other way of reaching it, but through the thick jungles – only for dedicated worshippers of lord Shiva.

There are also many stories that revolve around this temple basically all are questions – some say it is a Hindu temple donated to the Jains on an happy occasion by the ruler of Mewar proof of which lies in the small mandapa on the outside of the temple to the east – said to either hold a garuda or a nandi; a priest there said it once held the statue of a Garuda and this was a Vaishnavaite temple, pillars have conch shells and pushpalatas carved on them. There is also yalis made on the edges of the roofs, plus there is a small statue placed inside what is a square holder that is very similar to what usually holds a linga, the tree in the centre with a temple below.

The Rajput rulers were well known for their generosity indeed and have been known to give away acres and acres of land and temples to every religious sect in times of joy and celebration. This, a temple is a grand dream that was made into a reality and is today a part of our heritage.

There are one beautiful carvings made out of a single marble rock for eg, the 108 heads of snakes and numerous tail with Adinath standing below it. A masterpiece not found elsewhere and in it you will not find the end of the tails and their face is seen pointing in all four directions.

The temple is said to have been inspired by a dream that Dharna Shah had of a celestial vehicle. The architect was Deepaka and an inscription near the main shrine states:- in 1439 Deepaka, an architect, constructed the temple at the direction of Dharanka, a devoted Jain.

Ranakpur is located in Desuri tehsil, near Sadri town, in Pali district of Rajasthan. It is located midway between Jodhpur and Udaipur, in a valley on the western side of the Aravalli Range.

Short Trek to Bagwada

By HARPREET KAUR

Ever traveled a fare distance out of Mumbai, and come across ruins spread across small hills or in villages with oddly familiar and historical names. Well, there are many such places all over India, all having links to the glorious past. One such place is Bagwada – the name may not sound familiar but it used to be called Arjungad.

This is a small station on the Western Railway grid, a mere 20 minutes before Valsad. All slow trains will stop along and you can get off for a day of short trek and exploration at this village.

The village stands close to the rail tracks while the fort of Bagwada is atop the only hill in the village. A small fort for a small hi1l, the hill is barren in the summers but during the rains it is covered in green. But in summer you will find it covered in dry grass nd a mere ten-minute climb up the hill.

Also called Shri Kshetra or Arjungad, for this is where Krishna is said to have kidnapped Rukmani and Arjun kidnapped Subhadra. But it is popularly known as Bagwada.

Arabs came in the seventh century and Mahmud of Ghazani made inroads into the country through his raids up to Bagwada. Hindu power was weakening, with king Bimbisara of Mahim attacking Daman, Tarapur, Surat and other places in Gujarat. In the meantime Kumarpal Solanki had made Navasari a battlefield and killed Mallikarjun the Silhara king near Valsad.

In the thirteenth century the Koli and Warli chiefs came over to rule the place. One was from the Deccan with Mahadeo Kolis and established his rule over 22 forts in this area. They were left alone to rule throughout the seventeenth century. These forts were taken over by Mahmud Begada only after the tribal started troubling and looting the people around.

Shivaji visited this fort and had asked Chimnaji Appa to develop it. It was under the Marathas till the Portuguese rulers took over. They mounted attacks from this fort on the fort of Vasai. Secret passages inside the fort are said to have connected it to the fort of Pali, Indragad, Karambeli and Parnera.

The climb from the north side takes ten minutes to reach the bastions. Completely in ruins the fort entrance is on the north east side. A rectangular fort, it has six bastions and is in ruins. The south wall is broken and near it is a small tank which has a drinkable water here, close by runs the Kolak River flowing to the south of the fort now just a stream. The fort has a Mahalaxmi temple; its statue is now in a new temple in the village below. There are two small caves in the fort and also a tunnel and where does it lead no one can say. Not much to see here except the fort walls, bastions and a view of the village and river from the fort. It must have been a good viewpoint for the guardians and soldiers of the fort. There are more temples in the village with a few of them having a short history connected to them.

A quiet way to spend a couple of hours, you do not need equipment but a good pair of shoes to climb the short hill and enjoy the picnic lunch or tea that you have brought along.

How to get There:

By road: From Pardi on the National Highway from Mumbai, go towards the Bagwada railway station and close by is the hill with the fort.

By rail: get into any slow train traveling to Valsad or Surat but get off at the Bagwada station that comes before Valsad. The hill and fort are just hop skip and jump from the station and can be seen clearly.

En-chanting world

Chanting, everyone is familiar with that. You, me and everyone chants or prays sometime in a day. The sound of chanting is an eternal part of the universe. Plain words and yet not so plain, that seem to echo throughout the universe and the human soul.

Chanting speaks to the soul and soothes the mind that is in search of god. The melody of the chant is its strength and that it more to the soul and heart than the regular music. This is not just a song that is chanted across the world by monks for the monks in their seminaries. These songs flow from solitude, silence and meditation of god.

Gregorian chants are a mystical form of music that touches the deepest recesses of the soul. The heart opens up to receive the glory of god allowing the listener to feel the eternal peace and quietness.

It holds your breath; it reverberates through your mind, heart, soul and body. It is a very peaceful experience. For the monks it was an exercise to get close to the almighty. You may understand the words or not, a friend once told me, ‘they can create magic around you.’

They can still an agitated mind, echo through the body, mind and soul relaxing you completely forcing you to contemplate. Chanting in fact creates an energy field around you which is pure and clean, a piece of peace on earth which no one can touch. The chants seem to slide into you from the top of your head to the toes of your feet sending a powerful message through every molecule of your body, charging it as the message moves along. These chants are sung with no or bare minimum of music which I prefer but many modern singers choose to accompany it with Celtic, folk, or rock music of different types to suit their taste.

Chant is the oldest form of singing and was first developed in the 8th century. Learnt through viva and in Latin language, perfection is only reached through several years of experience. Singing chants is an important part of the seminary life; it filled with the monks with renewed energy to go on with the life that they had chosen.

It became an important part of the daily church service according to the Rule set down by St. Benedict. Only small groups and soloists sang the chants. The chants were organized and codified in the 12th-13th centuries in Frankish lands. It was imposed and made compulsory by Gregory I [590-604 AD] and Charlemagne, King of Franks [768-814 AD].

The most famous canters are the Benedict monks. They are said to have encounters with gods, which has had a supernatural effect and is added on only by the monks. Gregorian chanting is regarded as a channel to the human souls. As one individual has said listening to the chants is like ‘listening to the angels (said to be a gift from them). The chants reflect the angelic songs.’

There is a popular belief that hooded monks intone the chants in dingy corridors which are not so. A regular church service also holds a session of chanting. The music is ethereal, pleasing to the ear and eyes. The deep voices of men intone the words so well it is as if they are breathing it. The object of using the chant is to worship and time in fact does not matter - one line takes a whole of four minutes to sing. Gregorian chant follows a simple melody. Done in unison it produces a rich harmonious field and when it is performed in the cathedral, the architecture enhances the harmonious field.

Sound is known to heal and many ancient civilizations have used music, chanting, intoning, and instruments like drums, bells, singing bowls, gongs, whistles, and prayer to cure and as remedies. Mastering the music regulates the heart and mind. According to Kay Gardener (1990) there are nine elements of healing in music:-

1. Drone – the constant tone is a simple melody
2. Repetition – short phrases repeated over and over again
3. Harmonics – long sustained tones – balance the emotional, mental and spiritual from of the aura
4. Rhythm – duplicates the pulse in the body
5. Harmony – the various keys, major and minor bring on the feeling of sadness, joy, soothing and triumph – which bring the diseased organ back into harmony with the others
6. Melody – mind is engaged by melody which takes the attention away from the day to day afflictions one faces
7. Instrumental colors – each instrument has its own voice – overtones and wave forms that penetrate the various parts of the body
8. Form – the musical piece determines where the journey will take the listener.
9. Intention – a musician must recognize the power within and its effect. What is the intention to heal or harm.

According to a study conducted by Dr. Alfred Tomatis a French MD in 1950s in auditory neurophysiology. On his behest the monks were forced to give up chanting for a year or so which resulted in many falling sick, becoming completely listless and not responding to even normal prayers. Diet change did not work nor did lifestyle change until Dr Tomatis told them to begin the chanting again. The chants stimulated the brain, charging it with energy created by the voice and the limited intoning of the vowels.

Listening to Gregorian chants forces the body to breathe more deeply, center itself, creating a balance of the mind and body. The magnetic rhythm enchants the listener massaging the body inside out. Sound is not only created by the mouth but also with the bones and skin.

Movie Factory

From masterpieces to legendary actors, these studios gave the film industry of Mumbai a
kick-start any film industry would envy. Here are a handful of studios associated with some of the most important names in the film industry. It took K Asif and his studio 10 years to complete Mughal-e-Azam with a huge cast of thousands, opulent sets like the Hall of Mirrors, intricately designed costumes and extravagantly staged battle scenes thatcost approximately Rs 15 million. K Asif thought on an epic scale, which is perhaps why he made only four films in a career that spanned more than 30 years. He left the set intact for more than a year after the movie was churning out completed for the public to see his grand creation.

Studios such as Bombay Talkies, along with Prabhat Film Company in Pune and New Theatres in Kolkata dominated Indian filmmaking since the beginning of the talkie era. Men and women like Himanshu Rai and Devika Rani (Bombay Talkies), Chimanlal B Desai and Dr Ambalal Patel (Sagar Movietone), Khan Bahadur and Ardeshir Irani (Jyoti Studios), Sardar Chandulal Shah (Ranjit Movietone), Jayant Desai (Jupiter Studios) Sohrab Modi (Minerva Movietone), A R Kardar (Kardar Studios), Mehboob Khan (Central and later Mehboob Studios), and Vijay Bhatt (Prakash Pictures) who came to be known as the star makers and breakers that belonged to an era of the 1920s to 1950s.

These all-time movie moguls churned out classics with Dilip Kumar, Noor Jehan, Ashok Kumar, Nargis, V Shantaram, Prithviraj Kapoor, Jairaj, Sheikh Mukhtiar, Madhubala, and others, whose careers were launched and many who went on to become legends. They also had many firsts to their names, as this was the beginning of an industry which would come to be known as the Film Industry. Studios like Vishnu Movietone Studio made over a 100 mythological and historical movies. But it was Kohinoor Studios that takes the credit of making Mumbai the centre of films. Jyoti Studios was the first to make a talkie as well as to introduce colour.

The personalities behind these studios were the driving force and left an indelible mark in the history of cinema in India. Mehboob Khan was the creator of Central Studios in Tardeo and later Mehboob Studios in Bandra in 1952. He chose dark themes and made them entertaining. He lavished them with emotions and created great works like Devdas (1935), Ek Hi Raasta (1939), Roti (1942), Aan (1952), Anmol Ghadi, Andaaz, Amar and Mother India. Though Mehboob Studios was partially destroyed in the year 2000, it was rebuilt and today the space is rented out to directors that churn out movies like Dilwale Dulhaniya Le Jaayenge, Kuch Kuch Hota Hai, Kuch Na Kaho, Munna Bhai MBBS, Musafir and many others.

The flamboyant V Shantaram brought a lot of chutzpah into movie making. He acted in and directed several movies. He used to blend different genres and forms to evolve an aesthetic form of his own, which challenged one with something different and subtle. He used films as an instrument of social change, to advocate humanism on one hand and expose bigotry and injustice on the other. He directed Duniya Na Mane (1937), Aadmi (1939) and Padosi (1941) from Prabhat Studios in Pune, and Shakunatala, Dr Kotnis Ki Amar Kahani, Do Ankhen Barah Haath and Navrang from Rajkamal Studios. But that was not all. He made entertaining movies too, like Jhanak Jhanak Payal Baaje for his third wife and Geet Gaaya Patharon Ne for his daughter Rajshree; and that too with melodious songs that are hummed even today.

The first talkie

Alam Ara(1931), the first talkie with around 70 songs, was directed by Ardeshir Irani. He founded Majestic Films and Jyoti Studios in 1924 and directed Razia Begum, a major success despite attracting censor’s ire, and Kisan Kanya(1937). It was his studio that withstood the onslaught of the sound and talking movies by providing continuity, and later he would be the first to introduce colour into movies. Dwarkadas N Sampat, along with Jamsetji .ramji Madan tackled every genre possible and resorted to every trick to ensure success, including getting dancers, singers and actors onto the stage at intermission. They became important producers of silent cinema, and in 1919 they founded Kohinoor Studios. Sampat acquired the reputation of a daring financier. Within ten years he had made a 100 films, and he personally selected the costumes, jewellery, fabrics and sets with no expense spared. He made movies like Murder of Narayan Rao Peshwa(1915), Handsome Blackguard(1925) and Gunsundari (1927). They had acquired
the most accomplished scene artist, Mohanlal Dave, who used to boast that his script could be directed by anybody – so detailed were the scenes and directions that emerged from his pen.

Kohinoor also launched the career of many directors like Homi Master, Manilal Joshi (the first one to start the practice of giving a full list of credits, in the film Sukanya , Savitri), Chandulal Shah (Ranjit Studios), and actors like Sulochana, Gauhar Jan, Zebrunissa and Zubeida, to name a few. A painter and a sculptor by profession, Baburao Mistry, or Painter, as he was known, and the Kolhapur .ilm Company became synonymous with set designing. Wood cutting, sculpting, impromptu stage design, costume design, drawing, painting, printing – nothing was beneath his touch. He was the first Indian director to introduce artificial lighting and solid multi-dimensional sets. Known as a labourious director, he laid out in detail each scene and frame he would shoot
and conducted extensive rehearsals with his actors. He made movies like Krishna played by a then studio hand, V Shantaram; Sinhagad, another historical movie which was shot at the Kolhapur Maharaja’s palace with all the luxuries present in it, and Savkari Pash (1925), based on the character Shylock from Shakespeare’s play Merchant of Venice. He was faithful to reality, but with the advent of sound, he faced financial loss after launching just one talkie.

Decline of the studio

It has been quite some time since the clapper-boy clapped the board at these studios. A few reasons have been attributed to the studios’ closure: the falling value of the rupee and the escalation of land price. Many filmmakers who had created these studios were dead. .ilm financing had also changed with people like Haji Mastan having been credited with financing gangster movies like Deewar and Don; and actors who worked for a monthly salary, like Nargis who got Rs 35,000 for her role in Andaazand Dilip Kumar Rs 15, 000, now started to work for independent filmmakers. They lost many a good actor and director who were earlier on the studios’ payroll.

Unable to compete with independent filmmakers, the studios started renting out their premises. By the 1950s most of these star-studded studios –Mohan, K Asif, M & T, Prabhat, Ranjit, Bombay Talkies, Asha, Srikant, Basant, Ashok, Minerva, Shree Sound, Roop Tara, Kardar, Chandu, Guru Dutt, Prakash, .amous, Central and Eastern Studio – had downed their shutters. They were converted into business, commercial and residential premises. The survivors had to cut down to size – Rajkamal, with three stages, now has one, and the rest have been converted into residential buildings; RK Studios, Chembur, has cut down to two from four. Only Mehboob Studios has clung to its floor space, though in the early 60s most of the directors were told to move out from their premises by Mehboob Khan’s sons. Film City at Goregaon, with its 350 acres of land for outdoor shoots and ten floors in its premises, is always fully booked. This is the result of TV serial makers having booked stages for months or a year at a stretch to avoid re-erecting a set and even advertising filmmakers have begun doling out bigger sums for
smarter sets to provide a better look for their campaigns.

The cost of maintaining studios has gone up, the numbers of studios available are dwindling. Building of new studios is not considered a viable option due to non-availability of land, high rates charged by the BMC for water supply, and the BSES’s yearly increase in the rates of electricity. A representation to recognise film studios as an industrial activity is still pending with the government of Maharashtra. What remains are the memories that actors and studio hands have of those days when they were hired, paid a monthly salary, and had to report to work daily. Discipline was strict and no one was excluded from it. “A shabby dress or a flamboyant shirt could attract a reprimand. Recalling the atmosphere of the studio several years later, Dilip (Kumar) said, ‘As a young actor attached to Bombay Talkies I found that I was required to read extensively from the institution’s library which comprised 14,000 books. I had to conform to certain norms of dress and behaviour. Over and above this, we were in the company of the best literary minds of that era’.” – Dilip Kumar reminisces in Sanjit Narwekar’s book The Last Emperor. The perfect metaphor of the death of the studio is represented in the movie Kagaz Ke Phool, directed and enacted by Guru Dutt. It was a story of a director’s life, the ups and downs in his personal and professional career. His studio, which lies in ruin, empty and desolate, with the haunting melody of Waqt ne kiya kya haseen sitam, tum rahe na tum, hum rahe na hum in the background. He walks back to an empty set, sits on the director’s chair, and quietly passes away.

(Sources: The final Fade-Out by Bunny Reuben, Jetwings magazine May 1997,

www.upperstall.com and www.chalchitra.com.)

Garden Of Paradise

World Heritage Day was celebrated this year by the inauguration of the gardens
around Humayun’s tomb by The Aga Khan Trust for Culture.

The Mughals brought with them their love for gardens, fountains and water. And nowhere did they leave a more memorable legacy of this than in their beautiful tombs. The first in what was to become adistinctive style is Humayun’s tomb, in Delhi, a synthesis of Persian and Indian building styles, located close to India Gate and adjoining the shrine of the Sufi saint, Hazrat Nizamuddin Auliya. Built on the banks of the Yamuna, Humayun’s tomb is regarded as theTaj of Delhi, and offers an excellent view of the surrounding countryside from its terraces.

Born in 1508 in Kabul, Afghanistan, Humayun was the eldest and favourite son of Emperor Babur. He ascended the throne when he was 22 (1530), becoming the second ruler of the Mughal dynasty. In 1541, he married Hamida, and their son, Akbar,was born in Umarkot, Sindh,
in 1542. Humayun was overthrown by Sher Shah Suri, the Afghan ruler from Bengal (who built the Grand Trunk Road) in 1540 at Kannauj. He stayed in exile in Persia until 1555, when he got the opportunity to regain his empire. But he did not live long to enjoy the fruits of conquest, for he died a year later by tripping on the staircase of his two storied library, while on his way to
offer prayers. Religious and tolerant, Humayun was also a patron of arts and literature, a calligrapher and a poet.

A grand memorial
Humayun’s tomb is one of the best early examples of Mughal architecture in India. It was designed by the Persian architect, Mirak Mirza Ghiyath. The Persian Char Bagh (four-garden) plan, the massive structure and external walls, double dome and decorative inlay were to become the prototype for later structures, most notably the Taj Mahal, 70 years later.Built by Humayun’s wife Hamida Banu Begum, the tomb cost Rs 1.5 million, and the work, started in 1562, was completed only in 1571, nine years later. The entire structure and enclosure are constructed at an elevated level, and have to be entered through two double storied gateways on the west and south. The mausoleum itself sits on a podium, with a perimeter of arched openings. Entering the enclosure through the south gate, you come across a baradari(pillared hall), which occupies the eastern wall and a hamam (bath) in the centre of the northern wall.
The central octagonal chamber contains the cenotaph. It is encompassed by octagonal chambers and arched lobbies on the side, whose openings are covered with perforated screens. Three arches dominate each side, the central one being the highest. This plan is repeated on the second storey also. The whole is surmounted by a double dome (42.5 m) clad in marble, with pillared chhatris(kiosks) on four corners. The arched rooms surrounding the central room house the tombs of two of Humayun’s begums and later Mughals, including several rulers of the dynasty such as Dara Shukoh, Aurangzeb and .arruksiyar, making it the burial place for the House of Timur. Bahadurshah Zafar took refuge in the tomb with three princes during the uprising in 1857, before he surrendered to the British. Humayun’s actual grave is in the basement, entered via a passage facing south of the platform. In the northeast corner of this chamber lies Hamida Banu, or Haji Begum. On the south-western side of the mausoleum lies the Nai-ka-Gumbad, or Barber’s Tomb.

The Restoration
2001–2003
Efforts at restoration had begun as early as 1903–4, when the water system was restored, including its sandstone edging. A second restoration was attempted in 1931, to commemorate the inauguration of New Delhi; and a third attempt was made to introduce
water to the garden in the 1950s. The last attempt at restoration was made in 1984. Each attempt changed the level of the channels. In 2000, the illumination of the tomb was funded by the Oberoi Group and coordinated by the Aga Khan Trust for Culture.
The most recent restoration of the gardens of Humayun’s tomb was conceived in 1997 and, after two years of archival research and excavation, the implementation began in 2001 and was completed in 2003 by the Aga Removal of cement alterations from 1985 preceded traditional lime mortar repairs.

AGA KHAN TRUST FOR CULTURE
The Aga Khan Trust for Culture pledged US $ 650,000 towards the restoration work, in
collaboration with the Archaeological Survey of India. The trust is a non- denominational philanthropic foundation that coordinates the cultural activities of the Aga Khan Development Network. The trust is involved in the revitalisation of historic sites in Afghanistan, Bosnia, Egypt, Syria and Zanzibar, among other places. The network agencies have been working in India for several decades, addressing natural resource management, agricultural productivity, income growth, health and education in rural areas.
Khan Trust for Culture(AKTC), the first privately funded restoration of a World Heritage Site in India. Work was carried out on the gardens of the tomb complex in Delhi by a team comprising experts from many disciplines. The objective of the project was to revitalise the gardens, pathways, fountains and water channels of the Char Bagh, or four-part paradise garden, according to the original plans of the builders. Site works encompassed a variety of disciplines, including archaeology, conservation science and hydraulic engineering. After a detailed survey of the garden, including the channels, the civil work was begun. A total of 3.5 km of channels has been restored, and water will flow in 2.2 km of them. Water channels were re-laid to an extent where their beds drop one centimetre for every 40 m. A balancing tank and filteration plant has been constructed outside the garden to continuously recirculate the water. All the repair work was carried out using traditional techniques and methods such as lime mortar and fruit
pulp as binding material. Excess earth (around 3,000 truckloads) that had accumulated over the years was manually removed. All 32 empty garden plots were covered in grass, and 128 ground water pits were dug, while existing wells were re-excavated. A new irrigation system and rainwater harvesting method have been employed to make efficient use of the water available. Edging stones, many Humayun left a great architectural legacy in the monuments built during his reign.
Other structures built by Humayun

They include: Jamali Kamali Mosque and Tomb, Delhi (1528–36)
Imam Zamin’s Tomb, Delhi (1537)
Hasan Khan’s Tomb, Sasaram, Bihar (c 1535)
Sher Shah’s Tomb, Sasaram (c 1540)
Purana Qila, Delhi (c 1530–45), built over the ancient site of Indraprastha, a city associated with the Mahabharata
Qala-i-Kuhna Masjid, Delhi (1541)
Sher Mandal, Delhi (c 1541)
Gate of Sher Shah’s Wall, Delhi (1540s)
Salimgarh, Delhi (1546)
Isa Khan’s Mosque and Tomb, Delhi (1547)
Sabz Burj, Nila Gumbad, Delhi (1540–60)
Bu Halima’s Garden, Delhi. (1540–60)

Over 50 small tanks and over 3 km of channels were finally repaired.
Over 50 craftsmen worked for over 2years to prepare hand chiseled sandstone for the channels, benches, fountains etc. weighing over 800 kg, were aligned byhand, and 4,000 m of red sandstone was chiselled by hand, and used in channel repairs. Over 2,500
flowering, fruit and evergreen trees, such as mango, mogra, orange, lemon, anar, harsingar, hibiscus and neem, were planted, and 25,000 sq. m of pathways were repaired. A wheelchair access ramp at the entrance was provided, and bridges over the channels. Benches of sandstone were provided in the garden and the existing cast iron ones were repaired. The restored garden was inaugurated on April 15, 2003, by His Highness the Aga Khan, to coincide with World Heritage Day. He was joined by India’s Minister of Tourism and Culture, Shri Jagmohan. Speaking on the occasion, the Aga Khan said, “The Aga Khan Trust for Culture insists that each of its conservation and restoration projects should be able to have an important, positive impact on quality of life.”

A magnificant Mausoleum

My car screeched to a halt close to a red sandstone monument, I am intrigued because I had thought I was going directly to the Taj. And then remembered the instruction I had given to the taxi driver that any important monuments on the way, to please stop without asking. And he had, he pointed towards the monument and said that this is Akbar’s tomb. The Akbar. Jalaluddin Mohammad Akbar, the Emperor of India - the third emperor of the Mughal dynasty who inherited the throne in 1556, at the age of 13. He was crowned the ruler after the sudden death of his father Humayun. He was a good administrator, a connoisseur of art and architecture. He was also responsible in having built magnificent buildings within the precincts of Agra Fort and all a unique blend of architectural styles. He also went on to build Fatehpur Sikri which is pre-dominatingly Islamic blended with Rajasthani and Gujarati architecture styles. I walked across to the gate and through it after having bought a ticket from the security guard there. And through it led in towards another door – the Bulund Darwaza. The door was in red sand stone with inlay work in black, white and red marble done on it. Shops lined on either side. Through the gate and into what was a garden with four paths leading to the mausoleum in the center. Akbar started building this edifice before his death in 1605 at Sikandra. The tomb as I said is behind high walls and through the huge gate Buland Darwaza – a copy of the gate at Fatehpur Sikri. It is an elegant gateway covered in floral and geometrical designs in white and colored marble. It is crowned with four minarets in white marble and the calligraphy is beautiful. It has a high central arch that rises above two recesses on either side. There are two oblong chattris crowning the doorway. Distinctly masculine is shape and looks, Akbar chose to keep the look very Spartan, it was Jahangir who added the white marble embellishments three years after his death. Completed between 1612 and 1614 as the inscriptions read on the south gate, the construction of the mausoleum was commenced during emperor Akbar's (1556-1605) lifetime in 1604 but concluded during Jehangir's reign (1605-1627). This is correct for Akbarnama makes no mention of the monument except for Behistan or Behistabad (Abode of Paradise) in Sikandra as the burial place of the emperor. Recorded references to the tomb are found from Jehangir's reign and mention his discontent with the progress made on the mausoleum and him making changes to the design, modification and embellishment. The mausoleum complex is square and aligned on the cardinal axis, with the tomb at its center and four gates, one at each wall. The inscriptions were written and designed by Abd al- Haqq Shirazi (later known as Amanat Khan) the famed calligrapher of Mughal monuments including Taj Mahal. The inscription on the north elevation facing the tomb eulogizes the deceased emperor, but the one above the entrance praises Jehangir, the patron of the tomb. The tomb lies in the center of the charbagh. The garden is covered in plants growing wildly at the corners and instead of flowers and beautiful trees just grass grows in the four squares with monkeys and wild animals roaming freely. The four paths lead straight to the pyramidal structure. The tomb stands on a high platform and is made in red sandstone and is five stories high. The domed and vaulted galleries that form the first part of the pyramidal structure is 105 meters long and serve as a large square plinth for the four stories. The gallery space has massive pillars supporting the arches that are roughly 7 meters apart. The central bay of each side is marked by a high pishtaq surmounted by a rectangular chattri. Only the southern pishtaq gives access to the burial chamber, a small square room at the end of long corridor in the heart of the building domed at eighteen meters. The vaulted bays behind the four pishtaqs, the southern one is the most elaborate in ornamentation. The path leading into his chamber is dark, cool and very quiet. It is decorated with floresque, arabesque and calligraphic designs. The chamber is simple and paved with stone. The only single lamp lighting overhead throws a kind glow all around and just giving light enough for one to see around the tomb chamber. The warm glow lends the marble a golden look, flowers are strewn on the velvet coverlet placed on the tomb and the smell of roses and incense wafts the air all around. There is just one small jharokha through which daylight filters in. Close by in red sandstone is said to be the tomb of Mariam Zamani, Jahangir's mother. The tomb is a blend of styles. The massive iwans in the centre of all sides are as high as the tomb and have beautiful panels with inlaid mosaic work. Inlaid arabesque work is seen on the spandrels, semi-soffits have paintings and the turrets have chevron designs. The first has a podium of arches; the center of each face has an inlaid framed doorway. The next three levels have no arches, but the flat roof is held by rows of pillars. On the topmost terrace, one can see a white wall with arches and replica of the sarcophagus that lies open to the sky, at the request of Emperor Akbar’s last wish. Large panels of beautiful jali work form an outer wall of the verandah on all sides. These are crowned by a white marble chhaparkhat with eight pillars. These pillars have rings to maybe to hold up tents during the annual Urs. The other chambers hold the graves of Aram Banu and Shukrunnisa (daughters of Akbar), Zebunnisa (daughter of Aurangzeb) and Sulaiman Shikoh (son of Shah Alam). The first storey has a large platform and corridors roofed by stone arches in each façade. The second storey is built of red sandstone and has arched verandah with twenty-three bays. These are crowned by cupolas and white marble pyramidal roofs decorated with glazed tiles arranged in geometrical pattern. The third and fourth stories follow similar plan, though they are smaller in size and in ascending order. The fifth and the top most story is entirely in white marble and has no roof but has delicate marble screens as walls. There is also no dome above the structure. You come away feeling being awestruck at the thought of being in the presence of an emperor who ruled over India and was much loved and respected for his ideas and changes he made in the administration. Yes, the day had started well for me, for this man had been the center of my research through my college days and medieval history has been my favorite. The best way to reach Sikandra is by road for Delhi to Agra is 203 on the National Highway 2 – a good road and a further ten km to Sikandra. It takes around four and half hours of total time. By rail is also good for you will travel faster and save sometime, the Shatabdi Express leaves from Delhi to Agra and takes two hours and costs Rs. 390/- only. It starts at 6am. Worth the journey to see the tomb of the man that changed India for good. [You will find it on http://www.newsgaze.com/14_Magnificent_Mausoleum.html]

Sher Shah suri’s tomb

The tomb of Sher Shah Suri and his son here reflects the life style of a 16th century Afghans who were dubbed in history as usurpers of the Mughal throne. However, the Pathan history discounts Babur and Humayun as interlopers, for they have been important in India for more than 300 years previously to Mughals. Sasaram, although just a medieval basti (village) and a small trading outpost today. It is bifurcated by Sher Shah’s Grand Trunk Road, on which no less than 25,000 trucks pass every day.The Puranas tell a story about Sasaram. The enmity between the Kartavirya Sahasrarjuna (literally thousand hands) and Parasurma led to the death of Sahasranjuna by Parasurma. The followers of Sahasrarjuna settled here calling it Sahasrarjuna-pura or Sahsaram. The discovery of Ashokan inscriptions on a small rock cut cave have eight lines of Brahmi script inscribed on the rocky boulder. This cave, overlooks the town, and is on the summit of Chandan Shaheed hill, named after a saint whose tomb is located close to the cave. Chandan is believed to be one of the Sufi saints who accompanied Muhmud of Ghazni.Bahul Lodi who had encouraged the migration of his countrymen to Hindustan was ultimately disappointed with their disunity. Hasan Khan and his father Ibrahim Khan Suri came to India and were granted jagirs (land lordship) in Punjab. Their fortunes swayed with that of their masters and later Hasan moved to Jaunpur and finally to Sasaram. Sher Shah was born in Narnaul and spent his childhood at Sasaram. Early in the 16th century, Sasaram, under Hasan Khan Sur was a part of the Sharqi kingdom of Jaunpur. Sher Shah developed Sasaram into a successful administrative unit. It was an important trading post and often people came here to buy horses and later Sher Shah built a mint here. His currency reform was followed by the Mughals and maintained by the Britishers. These tombs were built under the genius of Alawal Khan, the master architect. He was first commissioned to erect the tomb of Hasan Khan in 1535. A high compound wall encloses Hasan’s mausoleum with gateways on its sides and domed turrets at the corners. Attached to the tomb is the flat roofed prayer hall and madarsa. There is no plinth. The main tomb consists of a large octagonal tomb chamber surrounded by a wide verandah on all the sides. On each of the eight sides, the verandah is provided with three arched openings and three corresponding domes above it. The main tomb chamber rises higher than the domed roofs of the verandah and supports the larger central dome. Within the tomb chamber there are 25 graves, including that of Hasan Khan Suri in the center. The middle story of the monument appears to have been executed hurriedly with just bare walls instead of the kiosks and jalis. Sher Shah’s tomb is larger than the original model. The tank appears to have been excavated solely for the purpose of providing a quaint view of the tomb. The multi coloured glazed tiles and painted decoration must have added to rich reflection. Unfortunately few traces remain. This three-storied mausoleum rises to a height of 45.7 m and was originally planned to be a typical island tomb with no access to the mainland. There are stairways on each side of the tomb leading to the water, the landing platform on the eastern side and finally a causeway between the tomb and the guardroom. The guardroom or the entrance porch on the edge of the northern side of the lake is flanked by two mosques on either side, and was meant to provide crew and rafts to the serious visitors willing to see the tomb properly. A bridge of arches was provided to link the entrance porch and the tomb. The bridge did not last and the visitors used rafts made of earthen pots until 1881, when the present causeway was constructed.The mausoleum appears to be perfectly symmetrical but its base is believed to have a slight deviation at the cardinal points. However, they have been skillfully adjusted to give the impression of perfect alignment. The mausoleum is built on a large square terrace, the corners of which support the octagonal pavilions with small kiosks between them. The entrance gives way to a wide verandah on all sides, shaded by a series of 24 small domes supported on arches and each corner of the verandah is provided with a cupola. The tomb chamber is plain with traces of faded inscriptions on the western wall. The interior is well ventilated and the light comes through the large windows on the top portion of the walls fitted with jalis. The grave of Sher Shah is surrounded by 24 of his compatriots. The dome surpasses that of the Taj Mahal by 13 feet, and is based on the beam and bracket principle, allowing eight sides to fuse into a circle. The exterior was originally glazed and painted with a definite colour combination of red, blue, gold and white. Traces of colours can still be seen on the parapets and battlements.Sher Shah’s body was brought from Kalinjar after being injured in an explosion during the final assault on the fort. He managed to survive until the news of the final victory. Salim Shah, his son lies in a tomb half-a-kilometer NW of here. His tomb is grand but incomplete. New architectural designs included are - a larger lake, eleven small passages covered by stone beams, minars and pillars at all angles of the outer octagon. Alawal Khan’s tomb lies on the outskirts of the town he was the superintendent of tombs constructed.

Gothic Bombay

Bombay grew as an urban centre under the direction of the British who brought their aesthetic values with them from ‘home’. In the 18th and early 19th centuries, they experimented with the neo-Classical style of architecture, but then, suddenly, the city charted a new course that reflected contemporary European fashions. Gothic architecture of the medieval ages became high fashion, admired for its human scale and the manual construction techniques its appearance evoked.Gothic style buildings express their purpose quite directly on their exterior form. So, vertically, articulated by externally perceptible staircases, large open halls, functional areas, or visible methods of managing load, is observable on the outside of these buildings. This legibility of function is a hallmark of the Gothic.The Classical aesthetic strives to achieve restfulness with an orderly monochromatic presence, whereas the Gothic style is expressive, disturbing and disjointed with lively coloured surfaces. Flying buttresses, lancet windows and stained glass are noteworthy features of such architecture, and its buildings are often embellished with carved and narrative elements.The various Gothic styles employed in Bombay do relate both in appearance and in practice with contemporary structures in Britain. Magazines, photographs and the ease and frequency of travel between Bombay and Britain all contributed to the thorough and accurate dissemination of the latest design theories within India.The buildings of Bombay are, in many ways, unmistakably different from structures erected for similar uses in Britain. Some of these dissimilarities are naturally related to the climate and the construction materials employed, as even Smith had heartily argued that Gothic architecture had to be adapted to the climate and sunlight of the Indian subcontinent.The Victorians first employed science, engineering and imported products to solve their perceived architectural problems in India. But over time, creative architects who chose to work and live in the city became the dominant component that determined Bombay’s appearance. Architects such as Emerson, Stevens, Adams and Murzban adapted the accepted theories of architecture to the particular needs of India.Bombay Gothic’s heyday ended for many reasons. As political events in India became associated with stylistic preferences in architecture and nationalism began to coalesce into a recognizable movement, the architectural profession responded accordingly.The younger architects were actively looking for fresh solutions to stylistic and formal questions in architecture..

(Excerpted from Bombay Gothic By Christopher W London Published by IBH)

Lake Sasaram

The noblest specimen of Pathan architecture lies amidst the artificial lake at Sasaram, the envy of many an emperor.
The tomb of Sher Shah Suri and his son here reflects the life style of a 16th century Afghans who were dubbed in history as usurpers of the Mughal throne. However, the Pathan history discounts Babur and Humayun as interlopers, for they have been important in India for more than 300 years previously to Mughals. Sasaram, although just a medieval basti (village) and a small trading outpost today. It is bifurcated by Sher Shah’s Grand Trunk Road, on which no less than 25,000 trucks pass every day.The Puranas tell a story about Sasaram. The enmity between the Kartavirya Sahasrarjuna (literally thousand hands) and Parasurma led to the death of Sahasranjuna by Parasurma. The followers of Sahasrarjuna settled here calling it Sahasrarjuna-pura or Sahsaram. The discovery of Ashokan inscriptions on a small rock cut cave have eight lines of Brahmi script inscribed on the rocky boulder. This cave, overlooks the town, and is on the summit of Chandan Shaheed hill, named after a saint whose tomb is located close to the cave. Chandan is believed to be one of the Sufi saints who accompanied Muhmud of Ghazni.Bahul Lodi who had encouraged the migration of his countrymen to Hindustan was ultimately disappointed with their disunity. Hasan Khan and his father Ibrahim Khan Suri came to India and were granted jagirs (land lordship) in Punjab. Their fortunes swayed with that of their masters and later Hasan moved to Jaunpur and finally to Sasaram. Sher Shah was born in Narnaul and spent his childhood at Sasaram. Early in the 16th century, Sasaram, under Hasan Khan Sur was a part of the Sharqi kingdom of Jaunpur. Sher Shah developed Sasaram into a successful administrative unit. It was an important trading post and often people came here to buy horses and later Sher Shah built a mint here. His currency reform was followed by the Mughals and maintained by the Britishers. These tombs were built under the genius of Alawal Khan, the master architect. He was first commissioned to erect the tomb of Hasan Khan in 1535. A high compound wall encloses Hasan’s mausoleum with gateways on its sides and domed turrets at the corners. Attached to the tomb is the flat roofed prayer hall and madarsa. There is no plinth. The main tomb consists of a large octagonal tomb chamber surrounded by a wide verandah on all the sides. On each of the eight sides, the verandah is provided with three arched openings and three corresponding domes above it. The main tomb chamber rises higher than the domed roofs of the verandah and supports the larger central dome. Within the tomb chamber there are 25 graves, including that of Hasan Khan Suri in the center. The middle story of the monument appears to have been executed hurriedly with just bare walls instead of the kiosks and jalis. Sher Shah’s tomb is larger than the original model. The tank appears to have been excavated solely for the purpose of providing a quaint view of the tomb. The multi coloured glazed tiles and painted decoration must have added to rich reflection. Unfortunately few traces remain. This three-storied mausoleum rises to a height of 45.7 m and was originally planned to be a typical island tomb with no access to the mainland. There are stairways on each side of the tomb leading to the water, the landing platform on the eastern side and finally a causeway between the tomb and the guardroom. The guardroom or the entrance porch on the edge of the northern side of the lake is flanked by two mosques on either side, and was meant to provide crew and rafts to the serious visitors willing to see the tomb properly. A bridge of arches was provided to link the entrance porch and the tomb. The bridge did not last and the visitors used rafts made of earthen pots until 1881, when the present causeway was constructed.The mausoleum appears to be perfectly symmetrical but its base is believed to have a slight deviation at the cardinal points. However, they have been skillfully adjusted to give the impression of perfect alignment. The mausoleum is built on a large square terrace, the corners of which support the octagonal pavilions with small kiosks between them. The entrance gives way to a wide verandah on all sides, shaded by a series of 24 small domes supported on arches and each corner of the verandah is provided with a cupola. The tomb chamber is plain with traces of faded inscriptions on the western wall. The interior is well ventilated and the light comes through the large windows on the top portion of the walls fitted with jalis. The grave of Sher Shah is surrounded by 24 of his compatriots. The dome surpasses that of the Taj Mahal by 13 feet, and is based on the beam and bracket principle, allowing eight sides to fuse into a circle. The exterior was originally glazed and painted with a definite colour combination of red, blue, gold and white. Traces of colours can still be seen on the parapets and battlements.Sher Shah’s body was brought from Kalinjar after being injured in an explosion during the final assault on the fort. He managed to survive until the news of the final victory. Salim Shah, his son lies in a tomb half-a-kilometer NW of here. His tomb is grand but incomplete. New architectural designs included are - a larger lake, eleven small passages covered by stone beams, minars and pillars at all angles of the outer octagon. Alawal Khan’s tomb lies on the outskirts of the town he was the superintendent of tombs constructed.

Sloppy Licks and Shifting Sands

Domesticated thousands of years ago, tamed and trained by the Frankincense traders to make long journeys, camel became the desert dweller’s primary source for everything -- almost.
BY HARPREET KAUR
They are tall, funny to look at and smell. They tag along and do their own thing where food and water are concerned. They sport a personality, are cute and you might get a sloppy lick in return for a little petting. Their rolling gait and the ability to carry weight has given them the nickname the ‘Ship of the Desert’. You will either love them or hate them. But the Arabs call them Ata Allah, which means 'god’s gift’ for their good temperament, patience and intelligence, contrary to what people think of them.
Origin
Camels originated in North America about four million years ago (40,000,000) and about a million (1,000,000) years ago, they had spread across to South America, Africa and Asia. Belonging to the family of camelidae (artiodactyla order), there are only two species, camelus dromedarius (dromedary-one humped) and the camelus bactrianus (bactrian-two humped) which have survived. The dromedary (road in Greek) camel has always been used as a saddle animal, that can cover more than 100 miles a day. They can be found in arid regions from north-western India to the Arabian Peninsula, Somalia and across African deserts and are better known as Arabian camels. Herodotus’s book – Histories has referred to this particular camel. The bactrian are found all over the highlands of Central Asia, from Turkey to Mongolia. In comparison to the Arabian camels, these are able to maintain a steady pace for a longer time, normally averaging 50 km per day while carrying a heavy load.
Indian breed
Camels in India are mostly of the dromedary type. India is listed among the top ten camel countries with 1,520,000 camels. They have a long-curved neck, a deep chest and a single hump; hair is long, falling on the shoulder and hump and they vary in size according to the nutrition intake. Their approximate lifespan is 50 years and wherever you find them, they will be in a group of two to 20. Close to their human owners, they provide these desert dwellers with milk, meat, leather, hair and fuel (dried manure). A few double-humped camels can be found in the valley of Jammu and Kashmir. Major Indian breeds are called bikaneri, which has draft capability, jaisalmeri a racing camel and the kachchhi, which is usually bred for milk. Bikaneri is the most popular and widely-used camel breed in India. Found in the Bikaner district, they are built heavily and have a larger body frame compared to others. Jaisalmeri camels are lightly built and medium sized. The kachchhi have a strong body and long thick neck. Marwari, mewari, bagri and mewati are some other breeds found in India.The Thar Desert stretches infinitely into the horizon and is as harsh as it is beautiful. You may see the footprints of camel or hear the sound of the camel driver’s cry, for this is the transport here, the ship of the desert.In India, when a camel is bought, the first thing you do is peg it. A hole is made in its nose and a peg is put through it -- it can be wood, plastic or metal. This causes very little discomfort to camels if done the proper way. A wooden peg is preferable than a metal peg because in most of the hot arid regions, metal peg heats up easily than its wooden counterpart, irritating the camel’s nostril. A string is attached to the peg and a rope is passed around the camel’s neck (like a bit in the horse’s mouth). Nose pegs are preferred for better control. It took a long time to invent a saddle for the camel and its hump. It was around 500 AD, when somebody in West Asia invented a good packsaddle and after this, they began to use the camels a lot. This saddle was also responsible in a way for the development of trade routes between different countries. Indian camels have been exported all over the world and are highly prized as transport animals in dry regions. Thousands of camels are exported to countries like Saudi Arabia, Egypt, and Africa priced at $100,000 to $250,000 for one camel!
Their travel and survival skills help them live nine days without food and water. But this has to be compensated after the journey with a rest for about a month with loads of food and water, till their body fat reserves are built up again. The ability to travel great distances led to the creation of Caravanserais with tight securities for the goods that were brought in. Here, they could rest and eat (both the animal and the owner). With the dawn of the modern age, the ship of the desert is no longer needed to carry goods, but is still a mode of transport vital to this particular region, even in the 20th century.
Over the years
Rajasthan has become the centre of attraction for several camel fairs and festivals held at Pushkar, together with a religious festival celebrated here in October-November, the Jodhpur Marwar Festival in October, Bikaner Camel Festival in January and the Jaisalmer Desert Festival in January-February. These fairs showcase, hundreds of camels – gaunt, well-fed, velvety brown, and sand coloured gather with their respective owners, perhaps waiting for new owners or to perform in various competitions including races. The most popular event is the camel race, where only the quickest camels participate.During these festivals, bedecked camels hover around the sand dunes in ornate saddles with tassels, mirrors and thread work. It is next to impossible to keep your eyes off them. Camel decoration has an important part in any camel festival in India, for the best decorated camel bags the prizes. According to a Jaisalmer-based camel driver and decoration artist, it takes 10 to 12 months to complete the decoration of a single camel. Price of the full decoration varies from Rs 2,500 to Rs 4,000, says an owner of 32 camels. Geometric symbols and realistic motifs are part of their body art. These motifs represent the village they come from and are meant to symbolise a variety of experiences associated with life and death. Camel products are created, marketed and used worldwide. Shoes made of camel leather are very popular throughout India. Camels here work on land, ply fodder, pull carts with material for building, work as a means of transportation, do threshing, oil transport and also lift water for irrigation. The most prestigious job among all certainly is being with the Indian Army along with Border Security Force (BSF) guarding the India-Pakistan border.Indian camels are facing extinction, with many of them exported to Bangladesh for meat. Working on tar roads exposes them to noise and serious injuries. Research is under way to find how these camels can survive on thorny bushes - it has been noticed that they eat from one place and then move on, thus allowing the tree/plants to grow at a faster rate. The idea is to allow the camels to chew cud in arid regions to foster faster growth of plants and reduce the desert and arid conditions.

SOME CAMEL FACTS
* Camels were important even 7,000-years ago and this can be seen in an old painting found in the UAE. * Camels do not pant and perspire very little. Their body has a unique thermostat that raises their body temperature by six degrees and conserves body fluid. Their body temperature is less than the air temperature around, so they conserve body heat by pressing against each other.* They come in colours varying from brown to almost black.* Their ears are small, but have acute hearing and are fur lined to stop dust and sand from entering into their ears.* Their eyes are large with a doe-like expression and are protected by a double row of long curly eyelashes that keep out dust and thick eyebrows shield the eyes from the desert sun.* Their flat and leathery pads have two toes. While walking the pads spread and prevent their feet from sinking. They walk by moving both legs on one side, simultaneously hence the rolling motion gait. * They can carry a weight of 450 kg and can work 6 to 8 months in a year and need to take rest of the year off.* The gestation period before birth is 13 months and the newborn camels walk immediately on birth.* Camel hair is most sought-after for coats, garments and artists' brushes. They shed around 2.5 kg of hair every spring. Average height is six feet at the shoulder and seven at the hump.* A camel gulps its food without chewing and later regurgitates it in cud form. They can drink 100 litres of water in ten minutes and store it in the bloodstream. However, they need very little water, as camels get the required moisture from the rich pasture they eat. They weigh around 700kg and can run at speeds of 20kph at a gallop. * The hump does not store water but it is fatty tissue. From here, the camel draws its energy. The hump shrinks and hangs to the side on excess usage, which after a rest and good food returns to its normal position.* Their bones are replacing Ivory.

Desert Storm

When the wheels of time turned, empires rose and fell. With the end of kings and kingdoms, the new generation of the royal families adapted to change, instead of remaining glued to the solemnity of past gory. They have moved on. Look to Raj Mahal Palace, feel it for yourself.Many former palaces have been successfully turned into hotels after the government abolished privy purses of the royals. This has proved a successful venture, saving many of the imposing royal structures from sale and destruction. One such palace-turned hotel is the Raj Mahal Palace Heritage hotel, near Jaipur. Smaller than the Rambagh Palace, it holds its own.It was on a short three-day trip when I got the opportunity to stay at Raj Mahal. Now a Taj property, it has maintained its grandeur after conversion to a hotel and the addition of many modern facilities.
History of Raj Mahal, Jaipur
Raj Mahal was originally known as Ranawatji-ka-Bagh and it was home to HH Sawai Bhawani Singh. Maharaja Sawai Jai Singh II, builder of the Pink City of Jaipur, also built this Bagh (named Maji-ka-bagh) and a palace here for his favourite queen Maharani Chandra Kumar Ranawatji (daughter of Maharana of Udaipur) in 1729.The birth of a son -- Madho Singh -- after 20 years of marriage in 1728 fuelled a power struggle within the family, leading to many palace intrigues. Finally, this forced Maharani Chandra to permanently shift here. The throne was denied to Madho Singh again in 1743 and his elder brother Ishwar Singh was installed after the death of Maharaja Sawai Jai Singh. Madho Singh finally ascended the throne after Ishwar Singh killed himself in 1750. But his mother continued to live here, which is still known by its second name - Maji-ka-Bagh. In 1821, this palace was converted into the official residence of the Resident Political Officer of the Agent General of Rajputana. The year 1821 also saw cricket being played for the first time on its lawns. The British government had started tightening its grip on the state administration. After this, a prolonged spell of insignificance followed for Raj Mahal., when it became a mere guest house. Only when the last Maharaja Sawai Man Singh II moved back from Rambagh palace to Raj Mahal did it regain its lost glory. The palace was converted into the royal residence and renamed Raj Mahal. In 1958, Rambagh was converted to a hotel and the Maharaja moved into Raj Mahal making it the official residence of the king. Many additions and alterations later, Raj Mahal was fit to be occupied by the royal family.
The Raj Mahal Hotel in Jaipur
It was in 1980 that Raj Mahal was converted to a deluxe hotel when the royal family moved out to live in other palaces. Today it is classified as a Heritage hotel. The original building forms the southern line of the present group and faces the Shahan Chabutra and an imposing gateway of the Amber Palace. Within its high walls, it covers an area approximately 10 acres and has 23 rooms that depict the royal history, and are well-furnished. The imposing gateway sports an old-fashioned fort doorway with a canon looming above..The path opens up to the huge lawns, which are provided for functions and ceremonies. When I was there, there were weddings and music performances in its lawns. The hotel has been divided into three categories with two royal suites (Maharaja and Maharani suites), three suites, eight superior rooms and ten standard rooms.My room had a picture of Maharani Gayatri Devi on the back wall. Though I had reached at night, I remember feeling intrigued and switched on every light in the room to get the feel of the place. Beautifully laid out, it had a settee near one of the windows, and a sofa and table close to the fireplace. There was also a TV and tiny fridge to contend with. But what I liked most was the writing room, which had a small table and chair with letter pads, envelopes and pen lying on the table away from a window which overlooked the same lawns that held the first cricket match in Jaipur. A beautiful site, I would open the curtains everyday early in the morning to see the peacock walk in the lawns, hear birds sing and breathe the fresh and cool air that blew across. With its authentic royal furniture and looks, Taj has maintained the feel of the palace in its original state with modern amenities.A poolside restaurant and a lush green garden sit-out are ideal for those who would like to enjoy their tea, breakfast etc. out in the open under the azure skies. Food can also be had at the inside restaurant which is quaint and quiet, with mirrors on both sides, the Maharaja’s painting on the right above the fireplace and a fantastic 200-year-old chandelier hanging from the ceiling. There is also an in-house library bar with rosewood panelling, which stocks a wide range of beverages, conference and healthcare facilities. Just outside this bar lined across the corridor are polo pictures of the Maharajas of Jaipur. The east wing rooms and the billiard room were added at different times and have a modern feel to it. Climb the stairs to the top-most level and walk onto the terrace, and an eagle's eyeview greets you. You can see the entire complex from end to end. You come away from Raj Mahal with the feeling that it was a truly royal experience. I would love to go back any day.This palace was also witness to lavish receptions and hectic political meetings with historical figures like Queen Elizabeth II, Prince Phillip, Lady Diana, Prince Charles and Lord Mountbatten attending them.
Jaipur Factfile
The nearest airport is Jaipur, 11 km away. The railway station is 3 km away. It is located on the Sardar Patel Marg. Places to visit in Jaipur:Amber Fort and Palace, City Palace and Hawa Mahal, Raj Mandir, Rambagh Palace, Jal Mahal. Experience the desert on a jeep safari, get a camel ride. You can also book for a private taxi from the reception to take you sightseeing. Things to buy in JaipurBlock printed clothes, camel skin accessories, wooden toys and puppets, kundan jewellery, blue pottery, silver jewellery and cotton fabrics of all types.

Haji Ali - The shrine off the shore

Built in 1431, this monument has been sentinel to the shores of Bombay since a long time. 500 yards into the sea from the shore, Haji Ali is said to be the tomb of an ancient merchant saint, who died on his way to Mecca. His casket was brought to Bombay, where the dargah was built by Haji Usman Rangikar, the man who owned the ship that took pilgrims to Mecca.

The white dome and the solitary minaret of the mosque behind the dargah stands out on the west shoreline of Mumbai. Behind the huge marble doorway lies the tomb enclosed in a white structure lying in an exquisite silver frame supported by marble pillars. The inside of the dome is covered in colourful glass arranged in a kaleidoscopic pattern, which spells the names of Allah in 99 different forms.

Every day, thousands of pilgrims from Mumbai and beyond walk from the shore to the dargah on the concrete walkway to say their prayers and ask for wishes, which the devout claim, do come true. The walkway some years back had just beggars lined up, but today, it has shops on its left up to the entrance of the dargah -- on the right, beggars have the full advantage of the space – they eat, sleep and make themselves at home here.

The dargah is taken care by a trust which earns approximately Rs 30 lakh a month. For the past two years as I have watched and visited it, no repairs have been carried out to the entire structure. Being thrust into the sea, the structure faces massive damage each year and repairs, plastering, reconstruction and painting are required every year.

As you walk into the Haji Ali dargah compound, and you notice the side structure is covered in the brocade cloth offered at the dargah, the pillars are cracking and almost split in half, almost ready to tumble down. With crowds of pilgrims and visitors around, one fears to imagine the consequences.

According to a stall-owner here, there is a tussle between the trustees of the dargah and the municipal corporation (BMC) . The trustees want the BMC to do the repairs and the BMC wants them to do it. In fact, he says, a suit is going on in the court and nothing can be done until the final verdict comes. So, the ancient monument awaits the final decision, braving salty winds and corrosion of time. One hopes the Haji Ali dargah gets the badly-needed repairs and the throngs of devotees spared of a calamity. Unless the urgent work required is done at the earliest, this historic structure may degenerate into a dilapidated structure, with a "NO ENTRANCE" board hung outside.

The Magic House of Jantar Mantar

Mankind has been interested in the mysteries of fate since the beginning of consciousness and when he learnt astrology and astronomy, his interest resulted in the creation of instruments that would help in making accurate predictions based on the positions of the stars and the planets. Every ruler ancient and modern had an official astrologer associated with the royal family apart from their courts. Many also ventured to create more awareness among the general public about these sciences. Sawai Jai Singh II was one of them.
The ruler of Jaipur (1699-1743), he ascended the throne when he was barely eleven years old, and the name Sawai was given as a token of respect by Emperor Aurangazeb – though short in height, he was equal to Sawai (one-and-a-half times more than any individual). Jai Singh had twin passions - the arts and the sciences, chiefly astronomy.

He was a keen astronomer and a noble in the Mughal court. Dissatisfied by the errors of brass and metal astronomical instruments, he set about correcting the existing astronomical tables and updating the almanac with more reliable instruments. He built five Jantar Mantars, located at Delhi, Jaipur, Varanasi, Ujjain and Mathura. All were built between 1724-1730 AD considered the dark age of Indian history. All these huge instruments were made in masonry.

An incident finds specific mention in history books. Muhammad Shah wanted to travel and needed an auspicious moment to do so. This resulted in a standoff between the Hindu and the Muslim astrologers. He tried to get accurate readings from brass instruments but all of them inherent flaws – they were too small and their axes were unstable; so their centres got displaced. Frustrated, he sent his mission to Samarkand, where Arab astronomer Prince Ulugh Beg had built an observatory in the 15th century housing massive stone instruments. In 1730, he also sent a mission to Lisbon, to gather all the latest information on astronomy. The mission came back with a telescope -- and the famous astronomer Xavier de Silva.



This resulted in the building of Jantar Mantar at Delhi, an observatory where the movements of the Sun, Moon and all other planets would be observed by practising astronomers and the importance of this science would be introduced to the general public. It was built at Dar-al-Khilafat, Shahjahanabad and was well away from the inhabited area of the city. Development brought it right into the heart of the city.

After its erection in 1724, it remained functional only for seven years. Observations were made each day and noted down. Later, a chart was created and was called Zij Muhammad Shahi and was dedicated to the reigning monarch.

The original name Yantra (instrument) mantra (formula) has been corrupted over the ages to Jantar Mantar. The Sun dial dominates the par and is also known as the Samrat Yantra or Brihat Samrat yantra – the huge sundial. It is an imposing structure in yellow on the far right and has a 27m high arm set at an angle of 27 degrees. The other yantras in this observatory tracked the various stars and planets. The Mishra Yantra helped to determine the longest and shortest days in the year In December, one pillar overshadowed the other and in June, it did not cast any shadow at all.

This observatory is the largest and the best preserved today, compared to the four others that he built in Jaipur, Varanasi, Ujjain and Mathura. The one in Ujjain is in complete ruins and the one in Varanasi is in a state of decay. Jaipur is the well-preserved as Raja Ram Singh in 1901 refurbished this observatory with the help of a British engineer and lined the gradations on the instrument with marble, so they would not get worn out. The Jaipur observatory was meant to collect data on a daily basis and did. Raja Jai Singh consulted his guru Pandit Jaganath. This observatory was in use in the 1940s too. Time was read, important moments were announced with the firing of a canon and less important moments announced via a drummer form the Nahargarh fort.

But many experts in this field mention that these observatories fell into disuse because of lack of thought on the part of the king – he used the old method of Ptolemy; for better results, he could have made use of the changes made by Copernicus and that his political leaning (working for Muhammad Shah) affected the building of this scientific astronomy, for Muhammad Shah withdrew his patronage.

The dream of making astronomy more accessible to the general public to make it easy for them to understand never took off. But these observatories are an important part of our scientific heritage. It will always remain an intrigue and a puzzle to all observers from the modern generation. Astronomy or astrology, everyone is intrigued and want to know what the future holds for them, but few make the effort to create a path that would make it easy and very scientific to check it out.

Destination Antarctica

The Great White Continent and the Great White Dessert are two names of Antarctica, a land of extremes and the most inhospitable continent in the world, but you will find life here too!
The fascinating great white continent of Antarctica is located 60 degrees below S latitude. It is the most distant continent, with the nearest land being South America at a distance of 965 km and India (Goa, from where the Indian expedition generally begins) at more than 11,000 km. We left India for Frankfurt, by Lufthansa Airlines, which takes about 9 hours travel time…After having spent an entire day in Frankfurt, we took our connecting 12 hour flight to Brazil where we spent some days enjoying the Amazon jungles and then we were off to Santiago, Chile (6 hours flight) where we met our co-passengers (mainly of U.S. and German nationality) for the Antarctic expedition.
The Amazon is truly the “Lung of the world.” The green belt spreads over a 2,030,000 square mile ecosystem that includes the Amazon River and Amazon Forest (the largest and most dense rainforest in the world having about five million animal species)…It’s here where the Rio Negro flows into the muddy Amazon. For many miles, the black and white waters flow side by side in separate, clearly defined streams before they finally intermingle…Though there are a 170 odd Indian cultural groups living in the Amazon, they add up to only 2,00,000 population as of today.From Santiago, the expedition agents had organised a chartered flight (LAN Chile at 8.30 am) to Ushuaia, Argentina (arrival – 12.20 pm), (flight duration 4hrs)…Ushuaia is the primary embarking port for ships heading to Western Antarctica.The tour ended at Ushuaia pier where we found our ship – ‘The World Discoverer’ and her 100 crewmembers busy, preparing for our expedition.
Journey through the Antarctic Current
The second day was onboard, wherein experts made presentations on seabirds and the marine mammals of Antarctic waters, whilst sharing their current researches. One of the talks on ‘Plate tectonics-or how earth works’ was the most interesting of them all and is the current hot favourite of every geologist. Due to the cold Antarctic summer, the southern hemisphere circulation is meteorologically stronger than that of the Northern hemisphere and the Southern Circumpolar Westerly winds remain strong throughout the year.This creates the “Brave Westerlies” as known in sailing terminology and lying between the “roaring” 40-degree, “furious” 50-degree and the “screaming” 60-degree S latitude. While passing through these latitudes (called the Drake Passage) to reach Antarctica, one often gets seasick inspite of the several medicines, acupressure wristband and medicated patch behind the ear (the effect of apatch lasts for 3-4 days), as the sea is very rough.The Drake Passage is approximately 600 miles in length and it marks the convergence of the Atlantic and Pacific Oceans…Fifteen totwenty feet (5-6 feet) waves are considered “gentle” in the Drake Passage. It is not really a recommended itinerary for the “weakhearted” (or those with “weak stomach” like me). Because of the rough sea, utmost care was taken to avoid any damage and casualties in the ship. The tables and chairs are all tightly fixed to the floor. The crockery was placed on a wet tablecloth to avoid sliding. There were handrails in the passages and toilets, without which we would have surely bruised ourselves.At times the ship would sway to such an extent, that while seated in the restaurant, one could see the ocean from one side of the window and the sky on the opposite side. The four days spent to navigate through the Drake Passage, while traveling to and returning from Antarctica, were no less than a nightmare. Sometimes during the night, the shutters of the wardrobe in our rooms (although perfectly shut) would open with a bang and all our belongings would be scattered. It was like a scene straight out of a horror film. If you happened to walk without support during a big swell in the ocean, you would definitely resemble a drunkard. On our third day we woke up to the spectacular scenery of huge tabular icebergs (almost 10-15 storey high) all around the ship. An iceberg is a floating mass of freshwater ice that breaks from the seaward end of a glacier or a polar ice sheet. Broken by winds and tide, the icebergs drift for years, gradually changing in shape, until they finally melt in warmer water, further north. They form mostly duringthe spring and summer. An iceberg can weigh from 20 lac tonnes to 4 crore tonnes. The blue colour is due to the compressed ice,which is often thousands of years old. And the blue range of sunlight is thus reflected, instead of absorbed...

Excerpted from Artic And Antarctic, Journeys To The Extremities Of The Earth by Urmi Popat and is published by Manas

City By The Sea

A geographical history of Bombay (Mumbai) Mumbai originated from seven different islands that were joined together to create a single island called Mumbai ...

It took over a 150 years to join the original seven islands of Mumbai. These seven islands were lush green thickly wooded, and dotted with 22 hills, with the Arabian Sea washing through them at high tide.Mumbai or Greater Mumbai today encompasses 436 sq km. It has been a natural shipping and trading centre throughout its history and has grown in spite of lying in a seismically active zone. The original island of Mumbai was only 24 km long and 4 km wide from Dongri to Malabar Hill (at its broadest point) and the other six were Colaba, Old Woman's island, Mahim, Parel, Worli, Mazgaon. Though the list does not exhaust the number of islands that were merged into the modern city of Mumbai. In particular Salsette the large northern island, which remained under Portuguese control til 1739 is not counted among the seven.

A massive stone causeway across the Flats of the island of Bombay (low lying areas between Dongri and Malabar Hill, separated by Island of Worli), is the only proof of work that was probably done to join the islands before the arrival of the Portuguese. But, after the British arrived, the demand for land steadily increased, and by 1730; it was becoming impossible to accommodate the entire population of Mumbai inside the Fort. The sea was making inroads at Worli, Mahim and Mahalaxmi, which turned the ground between the islands into a swamp, making travel between Mumbai islands hazardous. Many commuters going to Fort by boat between the islands lost their lives whenever there was a storm during the monsoons.

The first major reclamation took place in 1708, to construct the causeway between Mahim and Sion. The second major reclamation took place in 1772, to stop the ingress of water and the consequent flooding of central Mumbai, and to connect Mahalaxmi and Worli. This is regarded as the oldest unauthorised construction that took place in Mumbai and the offender was the erstwhile Governor of Mumbai, William Hornby at a total expenditure Rs 1,00,000. The approval for the reclamation had been sought from the company of directors in England, Hornby did not expect a rejection and went ahead with the construction. The rejection arrived a year later, but, the causeway was complete and Hornby was sacked. This causeway was named Hornby Vellard, sealing the Great Breach (Breach Candy) between Dongri, Malabar hill and Worli. At the fortified Dongri hill, an esplanade and parade ground was cleared, from the walls of the Fort to the present day Crawford market.

The flat lands (from Mahalakshmi to Kamathipura, named after the Kamathi workers from Andhra Pradesh who settled here) were reclaimed only after the completion of construction at Breach Candy by Hornby in 1784. In 1803, Mumbai was connected to Salsette by a causeway from Sion. Colaba Causeway joined the island of Colaba to Mumbai in 1838, and Mahim and Bandra were connected by a causeway in 1845 at a total cost of Rs 1, 57, 000 donated entirely by Lady Avabai Jamsetjee Jeejeebhoy, wife of the first baronet Sir Jamsetjee Jeejeebhoy (the government refused to build these causeways).Colaba CausewayThe Thane and Colaba causeway were built during the tenure of Sir Robert Grant, the Governor of Mumbai. He was also responsible for the construction of a number of roads between Mumbai and the hinterland.

The Colaba Causeway was completed in 1838 joining Colaba, Old Woman's island and the H-shaped island of Mumbai together. Land prices shot up and Colaba became the centre of commerce. The Causeway was widened and strengthened in 1861 and again in 1863 (Cusrow Baug is built on the causeway). The horse drawn tramcars revolutionised transport in Colaba. The Prongs Lighthouse was constructed off the island in 1875 and in the same year the Sassoon Docks were built by David Sassoon on reclaimed land. The BB & CI (Bombay and Central India ) Railways established a terminus at Colaba. 90,000 sq. yards of land was reclaimed on the western shore of Colaba by the City Improvement Trust, though opposed by eminent citizens like Sir Pherozeshah Mehta the work was completed in 1905.

A seaside promenade (Cuffe Parade) was completed the next year and was named after T W Cuffe of the Trust. The next reclamation came in 1836, when the development of the Mumbai port had already begun. Major quarrying had already begun in 1870. The hills of Chinchpokli and Byculla were quarried and dumped into the sea, to fill the land near the railway line, the swamps and also the port to prevent the accumulation of stagnant water. The first railway line was laid down in 1855 from Bori Bunder to Thane.

Byculla soon became a fashionable place to live in, bungalows of the British and affluent Indians came up. The armoury was moved from the Bombay Castle to Mazgaon in 1760 and the docks were completed in 1790. It was in 1793, that William Hornby built Bellasis Road to join Mazgaon with Malabar Hill. This left Mazgaon landlocked with the reclamations of the docks, mills came up and became the work area for the next 30 years. The fumes from the mills drove the people out from Mazgaon and into Byculla. With the closure of the breach, Byculla came into great demand as a prosperous and an elegant suburb with grand British and Parsi homes with a church that eclipsed St Thomas's Cathedral in the Fort area. The Byculla Railway station was completed in 1857.

By 1862 the town become widespread and the constructions that took place began to give rise to the modern city of Mumbai. This became a regular feature in the succeeding years. The Fort walls were demolished and the tanks right up to Parel were filled. From 1870 to 1970, industrial and commercial development prospered, which increased the spate of reclamation that ended with the famous Backbay reclamation. The opening of the Suez in 1869 made the city prosperous, additional plans were made to reclaim more land for building roads and wharves. Mumbai began to attract fortune hunters and the population grew from 13,726 in 1780 to 644,405 in 1872 in less than a hundred years. By 1906 the population of Mumbai was 977, 822.

Backbay ReclamationMumbai recognised its potential as a centre of maritime commerce. Gerald Aungier, second Governor of Bombay, developed the harbour, docks and industrial base, especially for the Parsi, Jain, and Muslim merchants and manufacturers from Gujarat. Its growing cotton trade gained momentum with the American Civil War, which had stopped the American supplies of cotton to Europe, and increased further due to the opening of the Suez Canal.Mumbai's prosperity was seen in its impressive civic and commercial buildings that came up in the second half of the 19th century. Many still exist to give Mumbai its character as the repository of Victorian architecture. A blend of colourful bazaars, religious structures, and vernacular houses, crowded into narrow winding lanes, collectively display an incredible dynamism.

The first Backbay Reclamation Company (BRC) was formed in the 1860s with the express purpose to reclaim the whole of Backbay. With the end of the American Civil War in 1865, land prices fell. The government took over the narrow strip of land created by the BRC and gave it to the BB & CI Railways (Bombay Baroda and Central India) to construct a new line between Churchgate and Colaba. A proposal was made in 1917 to reclaim 607 hectares of land between Colaba and Backbay by a group of prominent citizens and a private company. The project was taken over by the Development Directorate who planned to reclaim 463 hectares and would have to relocate the Colaba terminus, which was moved to Bombay Central. Eventually, in the meantime, W R Davidge proposed a development of wide-open spaces into recreational spaces, residential and commercial areas. It would take them until 1945 and cost them a total of Rs 11 crores, to complete the project.

The Backbay Enquiry Committee spearheaded by K F Nariman found irregularities such as an inefficient dredging craft and a newly constructed sea-wall, which had already let slip 900,000 cubic yards of mud through it. Eventually 177 hectares was developed by 1929 of which 94 hectares was sold to the military for Rs 2.06 crores and 6 hectares was incorporated into the Marine Drive and its sea wall.Independence did not end the reclamation work but a third Backbay Reclamation was put into effect and yielded the acreage on which stand the high rises of Nariman Point and Cuffe Parade. East of the Naval Dockyards some land was reclaimed and work was done to the north too. Eventually, the Supreme Court injunction protecting the shoreline and access for fishermen has slowed down the work since 1970. And the Supreme Court has added more restriction in 1990s with the Coastal Regulatory Zones. The Backbay Reclamation Project symbolised a major shift in the spirit of the city from Victorian to an International city.

Sources Bombay - The Cities within by Rahul Mehrotra and Sharda Dwivedi; Introduction to India by Toby Sinclair and Marie D'souza and http://www.theory.tifr.res.in/