Category Archives: Arts, Culture & Entertainment

Andhra University Vice-Chancellor inaugurates APJ Abdul Kalam Memorial Library in Visakhapatnam

Vice-Chancellor of Andhra University Prof. G.S.N. Raju inaugurates APJ Abdul Kalam Memorial Library at Andhra University in Visakhapatnam on Wednesday. (Photo: DC)
Vice-Chancellor of Andhra University Prof. G.S.N. Raju inaugurates APJ Abdul Kalam Memorial Library at Andhra University in Visakhapatnam on Wednesday. (Photo: DC)

Visakhapatnam:

Managing and making the best use of human resources is a challenging task in the society, said Prof. G.S.N. Raju, Andhra University Vice-Chancellor. He was the chief guest at the launch of the head of the department’s chamber and a new library named after former President Dr. APJ Abdul Kalam, who died recently, at AU Human Resources Management Department on Wednesday.

Speaking on the occasion, Prof. Raju hailed the efforts of Prof. K. John, head of the department of AUHRM, in establishing a useful library for the students in the name of multi-faceted Dr. Kalam. He asked all the students to improve the attitude of working hard to achieve higher goals. “Coordinating thoughts and talent is vital for success. Students should keep themselves abreast with the changing technology,” he said.

AU Registrar V. Umamaheswara Rao said that the AUHRM department has contributed to the society so much by providing valuable human resources to the society.

“Providing infrastructure facilities according to the needs of the students is appreciable and students should make the best use of it,” said Prof. M. Sundara Rao, principal, AU Arts College.

BOS chairman Subba Rayudu, new HOD Dr. Arun Kumar, Prof. Rajani, Prof K. John, students and others were present at the inaugural function.

source: http://www.deccanchronicle.com / Deccan Chronicle / Home> Nation> Current Affairs / Deccan Chronicle / August 06th, 2015

Confluence of cultures

Mandu, the historical town in the Malwa region of Madhya Pradesh, resonates with memories of music and poetry, and its monuments display a vibrant fusion of Persian and Indian elements of architecture. Text & photographs by SHASHANK SHEKHAR SINHA

NESTLED in the volcanic plateau north of the Vindhyas in central India, Mandu has always been envied for its natural fortification. The town, located in Dhar district of Madhya Pradesh, about 100 kilometres from Indore, is separated from the main Malwa plateau by a deep ravine (Kokrah Koh) on three sides and drops on to the Nimar plain, around 1,200 feet below, on the south. This black-soil belt was once dotted with rain-fed lakes and dense forests filled with wildlife.

ManduMPOs15sept2015

The hill fort has inscriptional evidence dating back to A.D. 555. However, Mandu’s glorious history began only when it became the seat of power of Hoshang Shah.

The province of Malwa, with the ancient city of Dhar as its capital, was conquered by the Delhi Sultanate in A.D. 1305 and was placed under a governor.

Dhar was the seat of the Hindu rulers Paramaras and Raja Bhoj. When the Sultanate started disintegrating, one of its governors, Dilawar Khan Ghuri, severed his allegiance to the Tughlaqs and declared independence in A.D. 1401-02. He laid the foundations of the independent kingdom of Malwa. His son Hoshang Shah shifted the capital to Mandu after ascending the throne and named it Shadiabad, or city of joy.

The fort city played an important role in some historic power struggles in Medieval India involving the Delhi Sultanate, the Bahmani Kingdom, the Mughal Empire and the Marathas besides the neighbouring regions of present-day Gujarat and Rajasthan.

It is ingrained in popular memory and folklore as the site of the famous romance between Baz Bahadur and Rani Rupmati and their musical and poetic achievements. What, however, makes Mandu distinct is the beautiful synthesis of Indo-Islamic architecture under the Muslim rule—a blend of Persian-Pathan elements with the Hindu traditions of Malwa.

The architecture and the surrounding landscape are imparted a special character by the presence of huge trees such as the banyan, the round mango, the tamarind and the baobab (probably brought from Africa).

Mandu and its monuments come alive during the monsoon, on moonlit nights and in the evenings (thanks to the summer breeze locally called the shab-e-Malwa).

The village setting. The architecture and the surrounding landscape is imparted a special character by the presence of huge trees.
The village setting. The architecture and the surrounding landscape is imparted a special character by the presence of huge trees.

One of the best ways to understand the monuments of Mandu is to see them through the frame of evolution of the architecture in the region.

The rock-cut caves of Lohani and Sat Kothari are among the earliest and rarer types of architecture among the more than 60 structural monuments declared to be of national importance by the Archaeological Survey of India.

The architectural evolution of Mandu can be divided into three phases.

The first phase of development is underlined by the construction of mosques at Dhar and Mandu, mostly using material available from the ruins of Hindu temples. Examples include the Kamal Maula Masjid (A.D. 1395) and the Lat Masjid (A.D. 1405) at Dhar and the Dilawar Khan Masjid (A.D. 1405) and the mosques of Malik Mughis at Mandu.

The Malik Mughi mosque.
The Malik Mughi mosque.

 

An inside view of the Malik Mughi mosque.
An inside view of the Malik Mughi mosque.

 

The second phase begins with the shifting of the capital from Dhar to Mandu.

In this phase, the use of natural beauty as a backdrop in the composition of buildings became a significant component of the regional architecture. To this phase belong the Jami Masjid, Hoshang Shah’s mausoleum, the Ashrafi Mahal complex, and the Royal Enclave.

The Jami Masjid.
The Jami Masjid.

An inscription on the Jami Masjid mentions how Hoshang Shah constructed a mosque on the lines of the great Omayyad Mosque in Damascus, Syria.

The mosque’s basic plan consists of a liwan (a square courtyard) and the sanctuary. The three large domes and 158 cylindrical cupolas on the sanctuary make the red-stone mosque visible from a long distance. It is located on a high plinth (indented by a sarai) and is approached through a projected flight of steps on the east.

Inspiration for Taj Mahal

Hoshang Shah’s mausoleum is the first tomb in India made wholly of white marble.

An inscription at the entrance mentions that the Mughal emperor Shah Jahan sent four of his architects to Mandu to draw inspiration for the construction of the Taj Mahal at Agra. The mausoleum is a square structure standing on a broad plinth, surmounted by a central dome with a cupola at each corner. It is crowned with a crescent, thought to have been imported from Persia or Mesopotamia. The mausoleum’s wall is diversified first by stylobate, horizontal bands of masonry, eaves (with curved brackets), and a band of ornamental miniature arches carved in relief.

The tomb of Hoshang Shah, an inspiration for the Taj Mahal. It is the first tomb in India made wholly of white marble.
The tomb of Hoshang Shah, an inspiration for the Taj Mahal. It is the first tomb in India made wholly of white marble.

The Ashrafi Mahal (the Palace of Gold Coin) complex contains three buildings, mostly in ruins now: a madrassa, a tomb and the victory tower. The material used is red sandstone. The tower of victory, built to rival Chittorgarh’s Jaya Stambha, had seven storeys, of which only one is left now.

The Jahaz Mahal as seen from the Taveli Mahal.
The Jahaz Mahal as seen from the Taveli Mahal.

Prominent among the Royal Enclave monuments are the Hindola Mahal and the Jahaz Mahal.

The Hindola Mahal is “T”-shaped with a main hall and a transverse double-storeyed projection. The side walls are strengthened with massive sloping buttresses, which have given the name Hindola, meaning swinging, to the building.

The Jahaz Mahal, on the other hand, is a long double-storeyed ship-shaped building constructed between two ponds—Kapur Talao and Munj Talao. Its interior arrangement consists of pillared compartments, cool corridors and luxurious bathing halls, while its exterior has an arcaded front. The roof has open pavilions and airy kiosks, with overhanging balconies. The earlier love of stone facing had given way to a softer, more pliable, plaster. The underlying idea was to give a sense of comfort and pleasure.

Ghiyas-ud-din, who graced this palace, is believed to have had a harem of 15,000 maidens. The enclave also houses two waterbodies, Champa and Ujala Baoli.

The Hindola Mahal seen through an arch in the Royal Enclave.
The Hindola Mahal seen through an arch in the Royal Enclave.

A more mature and refined phase developed towards the late 15th and early 16th century.

To this phase belong the palaces associated with Baz Bahadur and Rupmati, although they were not built by them.

As the historian Percy Brown says, they come across as “summer houses, palaces, and pavilions, the ground floor of which consisted of a series of compartments grouped around a central courtyard graced with pools and fountains, while above were arcaded loggias roofed with fluted domes, the surface everywhere gorgeous with painted tiles”.

A view of the Baz Bahadur palace.
A view of the Baz Bahadur palace.

As royal patronage for music and fine arts increased, these buildings depicted the lighter, emotional and romantic side of the court life. The terraces and pavilions of these two palaces are known for the famous musical evenings of Malwa resonating with the romantic liaison between Baz Bahadur and Rupmati.

The queen, it is said, used to come to the palace every day to have a view of the Narmada river, which can be seen at a distance on the Nimar plain on a clear, sunny day.

Other buildings of this phase include the Nilkanth Palace, Chisti Khan’s Palace, Gada Shah’s Shop and Gada Shah’s House.

Besides these more-famous monuments, one also comes across a smaller group of monuments at the Sagar Talao and the Darya Khan complex.

The other interesting places to visit in the fort complex are the museums at the Taveli Mahal and the Chhappan Mahal. The former has a collection of artefacts, some sculptures belonging to the 11th and 12th centuries and stone slabs with Quranic text.

The Chhappan Mahal, a forgotten mausoleum constructed in the 16th century, has a reasonably good, though unorganised, collection of Hindu sculptures and statues of Jain Tirthankaras. There are also galleries documenting tribal cultures.

One of the sculptures at the Chappan Mahal.
One of the sculptures at the Chappan Mahal.

 

Details of a statue in the Chappan Mahal.
Details of a statue in the Chappan Mahal.

Baz Bahadur’s reign also saw a decline in Malwa’s fortunes.

After offering a stiff resistance to the Mughals, he later joined Akbar’s service, and the region became a suba of the Mughal Empire.

The Marathas, under Peshwa Baji Rao I, took control of Malwa in 1732 and shifted the capital back to Dhar. Mandu thus became a ghost town. However, its cultural legacy still lives on.

The region was an active ground for mutually enriching interactions between Islamic and Indian cultural traditions and this could be seen in the development of arts, literature and painting.

The Jal Mahal.
The Jal Mahal.

Persian remained the court language of the sultans of Malwa and the region attracted many scholars and theologians. There was growth in historical writings, translations and Hadith literature, and the region became known as “an object of envy to Shiraz and Samarqand”. Sufism, particularly Chisti and Shattari silsilas, became popular in Malwa while Jainism also gained a foothold.

Hindi and Sanskrit were patronised by Mahmud Khalji I, Ghiyas Shah and Nasir Shah, and many transcriptions, commentaries, and treatises were written or compiled. Hindi gained enormous popularity under Baz Bahadur. He was intensely devoted to music and poetry.

Rupmati herself composed poetry in Hindi and left behind a tradition still common among the bards of Malwa.

The sultans also patronised paintings, as is evident in Mandu’s Kalpasutra and the illustrated cookbook Nimatnamah. The fusion of Persian and Indian elements led to a growth of a new style, which inspired painting traditions in Jaunpur and Mewar.

Shashank Shekhar Sinha has taught history at undergraduate colleges in the University of Delhi. He is now doing independent research on issues relating to culture and heritage.

source: http://www.frontline.in / Frontline / Home> Arts & Culture> Heritage / by Shashank Shekhar Sinha / print edition : September 18th, 2015

The last days of Mughal Emperor Bahadur Shah Zafar in Burma

by Dr. Syed Ahmed for TwoCircles.net,

Prime Minister Dr. Manmohan Singh, during his recent visit to Myanmar (erstwhile Burma), offered floral tributes at the memorial of last Mughal emperor Bahadur Shah Zafar which lies at 6 Ziwaka Road in Dagon, Yangon. Prime Minister, accompanied by his wife Gursharan Kaur and External Affairs Minister S.M. Krishna, offered prayer at the graveyard/mazar of the former ruler, who died four years after he was exiled to Yangon following his defeat in the 1857 war of independence.

It has been a tradition for the dignitaries from India, Pakistan and Bangladesh to pay their visit to the graveyard of the Mughal emperor and pay their respect. It is said that Netaji Subhas Chandra Bose started his “Delhi Chalo” campaign in 1942 after paying his respect to the former emperor. Rajiv Gandhi during his official visit to Myanmar in Dec. 1987 paid his tribute to the grave. He wrote in the visitor’s book placed at the grave: “Although you (Bahadur Shah) do not have land in India, you have it here, your name is alive… I pay homage to the memory of the symbol and rallying point of India’s first war of independence….”

Bahadur Shah Zafar [Photo Courtesy: exoticindia.es]
Bahadur Shah Zafar [Photo Courtesy: exoticindia.es]
The Great Uprising of 1857

Bahadur Shah was 82 years old and in poor health when the revolting sepoys from Meerut stormed into the palace on 11 May 1857. According to William Dalrymple (The Last Mughal, 2006), sepoys and cavalrymen from Meerut numbering 300 rode into Delhi in the morning and massacred Christian men, women and children they could find in the city, and proclaimed Bahadur Shah as their leader and emperor. Bahadur Shah gave his blessing to the sepoys. A.G. Noorani (Indian Political Trails 1775-1947) writes, “Bahadur Shah was the one around whom both the communities rallied as a symbol of revolt and unity…In him have still been centered the hopes and aspirations of millions. They have looked upon him as the source of honour, and, more than this, he has proved the rallying point not only to Muhammadans, but to thousands of others with whom it was supposed no bond of fanatical union could possibly be established.”

The outbreak started in Meerut and Barrackpur from January to May 1857, and then spread to Lucknow, Allahabad, Ghaziabad, Delhi, Allahabad, Kanpur, Jhansi, Gwalior, Bareilley, Madras, Bombay, and several places in Punjab. Leaders like Nana Sahib, Tantia Tope, Bhakt Khan, Azimullah Khan, Rani Laxmi Bai, Begum Hazrat Mahal, Kunwar Singh, Maulvi Ahmadullah, Bahadur Khan, Rao Tula Ram and Raja Nahar Singh of Punjab led the local uprisings.

Within 4 months the uprising was crushed by the British with a strong hand. Poets and princes, mullahs and merchants, Sufis and scholars were hunted down and hanged. Palaces, mosques, shrines, gardens and houses of Mughal Delhi were destroyed. The properties of the Muslims were confiscated. All the leaders of the uprising were either killed or drove out of India.

Bahadur Shah surrendered on 21 Sept. 1857. The next day, Major William Hodson set out to Humayun Tomb to arrest his sons, Mirza Mughal and Mirza Khizr Sultan, and his grandson, Mirza Abu Bakr. Hodson took the princes to Sher Shah Suri’s outpost, then known as Kabuli Darwaza or Lal Darwaza. They were stripped naked and shot. Since the incident the outpost came to be known as Khooni Darwaza. Hodson paid the price for his misdeeds. A few months after the shoot-out, he was killed at Begum Kothi in Lucknow on 11 Mar. 1858.

With the arrest of Bahadur Shah the four centuries of Mughal rule in India came to an end and the Mughal emperor was made a prisoner. He was brought to the walled city and kept under house arrest. Sadly, the poet was not given even a pen to write while in captivity. He scribbled some of his last verses on the wall with a burnt stick.

The Prime Minister, Dr. Manmohan Singh signing the visitor’s book during his visit to the Mazar of Bahadur Shah Zafar, in Yangon, Myanmar on May 29, 2012.
The Prime Minister, Dr. Manmohan Singh signing the visitor’s book during his visit to the Mazar of Bahadur Shah Zafar, in Yangon, Myanmar on May 29, 2012.

Last Days of Bahadur Shah

Bahadur Shah’s trial began on 27 Jan. 1858 and ended on 9 Mar. 1858. The trial recommended the transportation of Bahadur Shah to Burma. In Oct 1858, Bahadur Shah accompanied, according to William Dalrymple, by his wife Zinat Mahal and 2 sons Mirza Jiwan Bhakt and Mirza Shah Abbas and daughter-in-law and wife of Jawan Bhakt, Shah Zamani Begum (generally referred to as Raunaq Zamani, the granddaughter of the emperor), who all chose to follow the emperor departed from Delhi for Calcutta, where they were placed on board a warship called Magara and taken to Rangoon.

In Burma British Commissioner Captain H. Nelson Davies received Bahadur Shah and his family. The family was then lodged in a quarter near the Shwe Dagon Pagoda under the supervision of Nelson Davies. The family was provided 4 rooms each of 16 ft. sq., one allotted for Bahadur Shah, another for Jawan Bhakt and his wife Zamani Begum, the rest for Zinat Mahal and Shah Abbas. Pen, ink and paper were completely forbidden. The family was provided 4 Indian attendants (a chaprasi, water carrier, washer-man and a sweeper).

Bahadur Shah died on Nov. 7, 1862 at the ripe old age of 87. Fearing another revolt the last rites of the emperor was performed without informing anyone. The janajah was performed by an old Moulana along with the two princes. After a week Nelson Davies informed about the death of the emperor to the higher officials in London. He wrote in his letter, “Have since visited the remaining State Prisoners- the scum of the reduced Asiatic harem; found all correct…The death of the ex-king may be said to have no effect on the Mohamedan part of the populace of Rangoon, except perhaps for a few final triumph of Islam. A bamboo fence surrounds the grave, and by the time the fence is worn out, the grass will again have properly covered the spot, and no vestige will remain to distinguish where the last of the Great Moghuls rests.” The news of the death of Bahadur Shah reached Delhi a fortnight later.

In one of his couplet Bahadur Shah had lamented on the irony of his fate thus:

 

Umr-e-daraaz maang ke laye the char din/Do aarzu mein kat gaye, do intezar mein
Hai kitna badnasseb Zafar dafn ke liye/Do gaz zameen bhi mil na saki koo-e-yaar mein.
Na kisii kii ankh ka nur na kisii ke dil ka qarar hun/Jo kisii ke kam na a sake main vo ek musht-e-Gubar hun
Na to main kisii ka habiib hun na to main kisii ka raqiib hun/Jo bigar gaya vo nasiib hun jo ujar gaya vo dayar hun
hamane duniyaa mein aake kyaa dekha/dekhaa jo kucch so Khvaab-saa dekhaa/hai to insaan Khaak kaa putlaa/lekin paanii ka bulbulaa dekhaa)
I had requested for a long life a life of four days/Two passed by in pining, and two in waiting/How unlucky is Zafar! For burial/Even two yards of land were not to be had, in the land (of the) beloved./My life gives no ray of light, I bring no solace to heart or eye/Out of dust to dust again, of no use to anyone am I/Barred the door of the fate for me, bereft of my dear ones am I/The spring of a flower garden ruined/Alas, my autumn wind am I/I came into the world and what did I see?/Whatever I saw was just like a dream/Man is moulded from clay but/I saw him as a bubble of water.
In 1867 the family of Bahadur Shah was allowed to leave the prison enclosure and to settle elsewhere in the Rangoon cantonment. The long confinement made Shah Zamani Begum, who was just around 15 years old, became seriously ill suffering from extreme depression. She started getting blind. To improve her condition she along with her husband was given another house not far from the Rangoon jail. By 1872 Shah Zamani Begum became completely blind. Mirza Shah Abbas married a girl from Rangoon, a daughter of a local Muslim merchant. His descendants still live in Rangoon today. Zinat Mahal lived on alone, comforting her loneliness with opium. She died in 1886. Her body was buried near her husband’s grave. Few years later Mirza Jawan Bakht died of stroke. He was 42.

The Prime Minister, Dr. Manmohan Singh and his wife Smt. Gursharan Kaur pray after offering chadar at the Mazar of Bahadur Shah Zafar, in Yangon, Myanmar on May 29, 2012.
The Prime Minister, Dr. Manmohan Singh and his wife Smt. Gursharan Kaur pray after offering chadar at the Mazar of Bahadur Shah Zafar, in Yangon, Myanmar on May 29, 2012.

A delegation of visitors from India visited Burma in 1903 to pay their respects at the burial place of Bahadur Shah. By then, due to long years of neglect, the exact location of the graves of Bahadur Shah and his wife became uncertain. In 1905 the Muslims of Rangoon protest demanding that the grave of Bahadur Shah should be marked. The British authorities agreed in 1907 and a railing was also erected around an supposed site of the grave, and the engraved stone slab, marked, “Bahadur Shah, the ex-king of Delhi died at Rangoon Nov. 7th 1862 and was buried near this spot” and “Zinath Mahal wife of Bahadur Shah who died on the 17th July 1886 is also buried near this stone,” was placed.

Surprisingly, in Feb. 1991 labourers while digging a drain at the back of the shrine uncovered the original brick-lined grave of Bahadur Shah. It was found 3 feet under the ground, and about 25 feet away from the earlier supposed graveyard of the emperor. This original graveyard has over the years become a popular place of pilgrimage for the Burmese Muslims. The local Muslims, who believed Bahadur Shah as a powerful saint, come to seek his spiritual blessing and favours. A prayer hall was also constructed in front of the graveyard with Indian assistance, which was inaugurated on 15 Dec. 1994. Today the graveyard is managed by a trust named Bahadur Shah Zafar Mausoleum Committee. Before the military takeover in Myanmar, the shrine was managed by a trust set up by the descendants of Bahadur Shah.

[Photo Courtesy: PIB]

source: http://www.twocircles.net / TwoCircles.net / Home / by Dr. Syed Ahmed for TwoCircles.net / May 31st, 2012

Nawazuddin Siddiqui does farming on vacation in Uttar Pradesh

NawazuddinMPOs14sept2015

Bollywood actors who make it big like to reward themselves after widespread popularity to an exotic vacation in Europe or the Caribbean but that’s not for everyone. Nawazuddin Siddiqui  has a very different approach to vacations as compared to his colleagues in the film industry. The Manjhi- The Mountain Man actor was seen farming while on vacation to his native village in Uttar Pradesh.

He has been working back to back films and he deserves a break before he can get back to filming or listening to scripts for future projects. The actor wanted to go back to his village for quite some time reports Hindustan Times. He is relaxing at his native town and also indulging in some farming to make it a productive vacation.

Apparently Nawazuddin always does a bit of farming when he goes back to his village. He said that farming is his ancestral occupation and he has done it for nearly two decades. It gives him pleasure to as well and we love a people’s actor.

source: http://www.india.com / India.com / Home>Showbiz / by Rishabh Chakravorty / September 13th, 2015

First ever exhibition of wildlife photographs of actor Waheeda Rehman

Waheeda Rehman's passion for photogrphy matches her passion for acting. (PTI photo)
Waheeda Rehman’s passion for photogrphy matches her passion for acting. (PTI photo)

Bhopal  :

Lights, camera, action and Waheeda Rehman would send the nation’s heart throbbing with her dignified allure. But there’s a best-kept secret about the starry-eyed actor, who ruled the silver screen in the Fifties and Sixties — Waheeda Rehman, the photographer. And this was revealed during an exclusive exhibition of her photography at Bhopal on Wednesday.

Photography has been a passion for the Bollywood star and she pursued this with similar verve while she would act before rolling cameras. The power, mystique and beauty of nature shot in the wilds of Kenyan safari of Masai Mara, South Africa and closer home in Bandhavgarh give a rare insight into her talent.

These 40 photographs — never-before-seen pictures — were clicked by her during her recent excursions.

“I have visited nearly every national park in India, including Bandhavgarh in Madhya Pradesh,” said yesteryears screen goddess. “I am still learning photography,” she said.

By her own account, Guru Dutt was her mentor. However, for the elegant lady who took her own camera to the film set, said, “Noted Indian cinematographer Fali Mistry and his younger brother Jal Mistry and VK Murty (Guru Dutt’s regular cameraman) taught me the finer points of photography.”

Waheeda pursued her passion with an old standard ‘Rolleiflex’ (twin lens reflex camera). “Don’t go crazy clicking, we were told. Those were the days of film rolls and we waited for developed shots to arrive. It is something youngsters today cannot relate to with everything digital,” she said.

The veteran actress is admittedly not tech savvy or ‘active’ on social networking. However, she has kept pace with developments in photography. In short kurta and slacks, she boarded a jeep on a Kenyan safari, where one of her team members was a young 15 year-old-girl.

“Youngsters need to experience wildlife. It should be mandatory in school,” she said, when asked if she considered herself an wildlife activist.

Photographs shot by Waheeda Rehman were displayed at Samanvay Bhawan. “We did not tell Waheedaji that her collection of photographs would be displayed,” said Tigerland India film festival (TIFF) organiser.

“She was unable to email it herself. When we received wildlife photographs clicked by Waheedaji I was surprised. We decided to hold an exhibition and inform just ahead of the event,” a TIFF organiser said.

TIFF is an initiative to promote wildlife conservation and awareness through visual media.

Nagaland principal chief conservator of forests M Lokeswara Rao received the first Tigerland India Bio-diversity Conservation Award here on Wednesday. Top forest official of Nagaland received the award in presence of Waheeda Rehman. TIFF recognised Nagaland forest department’s contribution to conservation of migratory Amur falcons, which arrive at Nagaland’s Wokha district during winter.

Enabling Amur falcons’ migration pattern, the department used satellite, an intervention for which won them an international award. Few Amur falcons were tracked with 5gm transmitters.

source: http://www.timesofindia.indiatimes.com / The Times of India /  News Home> Entertainment> Hindi> Bollywood / by Jamal Ayub, TNN / August 28th, 2015

IOS to celebrate 30th anniversary in 2016, hold national & international seminars

New Delhi:

Institute of Objective Studies, (IOS), will celebrate its 30th anniversary next year by organising national and international seminars and workshops on the new education policy.

These seminars and workshops will be organised in Delhi and other places of the country. Similarly, about six seminars on “Minority Rights and Identities and Constitutional Safeguards: The Role of State, Judiciary and Civil Society” will be organised.

Chairman Dr. Mohammad Manzoor Alam (centre) presiding over the two-day 29th Annual meeting of General Assembly of the Institute of Objective Studies, (IOS), in New Delhi.
Chairman Dr. Mohammad Manzoor Alam (centre) presiding over the two-day 29th Annual meeting of General Assembly of the Institute of Objective Studies, (IOS), in New Delhi.

The above decisions were taken at the two-day 29th Annual meeting of General Assembly of the IOS which concluded here the other day. Besides this a number of other decisions were also taken on the occasion. The meeting was presided over by IOS Chairman Dr. Mohammad Manzoor Alam.

It was also decided to award scholarships to students with Madrasa background pursuing courses in social sciences and the law in universities besides students studying journalism. Five priority areas viz. law, history, education, Islamic Studies and the comparative study of other religions, have been selected for research. In addition, a committee will be constituted to study the nature of the schemes being implemented by the Central government and create awareness among Muslims.

The book entitled “Qalmi Khake” by late Prof. Zafar Nizami being released at the IOS meeting.
The book entitled “Qalmi Khake” by late Prof. Zafar Nizami being released at the IOS meeting.

Another committee will be set up to review school and higher education as also research under the new education policy. Decision was also taken to undertake work on books on “Seerah” in regional languages.

On this occasion, two books, “Qalmi Khake” by late Prof. Zafar Nizami, and “Musalmano ka Siyasi Empowerment” by Prof. ZM Khan in Urdu and Hindi published by the IOS were released.

Those who attended the function included Vice-Chairman of the IOS, Refaqat Ali Khan, Secretary General of the IOS Prof. ZM Khan, Prof. Ishtiyaque Danish, Prof. Manzoor Ahmed, Maulana Atique Ahmad Bastavi, Dr. Major Zahid Husain, Prof. Shamim Ahmad Ansari, Prof. Mohsin Usmani Nadvi, Prof. Arshi Khan, Adv. Mushtaq Ahmad, Prof. Sanghasen Singh, Prof. M. Muqeem, Maulana Amin Usmani, Dr. Fakhruddin Mohammad, Dr. Priyasen Singh, Dr. Shakeel Ahmad Tamanna, S. Pervez Bari, senior journalist, Suhail Anjum, scientist, Mohammad Khalil, Prof. Obaidur Rahman Hashmi and Dr. Imtiyaz Husain.

source:  http://www.twocircles.net / TwoCircles.net / Home / by TCN News / September 14th, 2015

‘Aurangzeb is a severely misunderstood figure’

Audrey Truschke
Audrey Truschke

Scholar Audrey Truschke says we should not make the error of attributing Mughal emperor Aurangzeb’s lack of interest in Sanskrit to his alleged bigotry

In an email interview, Audrey Truschke, Mellon postdoctoral fellow in the Department of Religious Studies at Stanford University, shares with Anuradha Raman the experiences of writing her book, Culture of Encounters: Sanskrit at the Mughal Court, to be published in February 2016, and argues forcefully in favour of acknowledging diversity in India.

The present Bharatiya Janata Party government believes Mughals are not part of India’s history. Your book is about how Sanskrit, sought to be made mainstream by the government, flourished under the Mughals. How do we reconcile the two?

We don’t reconcile the two perspectives. Rather, we ask two key questions. One, who is on firmer historical ground in their claims? Two, what are the political reasons for the BJP wanting to erase the Mughals (or at least most of the Mughals) from India’s past? The bulk of my work concerns the honest excavation of history. The Mughals are a significant part of Indian history, and Sanskrit is a significant part of the story of the Mughal empire. Those facts may be inconvenient for the BJP and others, but as a historian I do not temper my investigation of the past in deference to present-day concerns. However, I realise that history matters in the present, perhaps especially in modern South Asia. One present-day implication of my work is to point up the flimsy basis of the BJP’s version of India’s past.

In an ironical way, as the present government fights to push Sanskrit into mainstream discourse, your work concentrates on the Mughals, whom the BJP dislikes, and their engagement with Sanskrit.

The BJP only wants a certain version of Sanskrit in the mainstream. They no doubt love Kalidasa, but I cannot imagine the BJP endorsing students to read the Sanskrit accounts of the Mughals written by Jains in the 16th and 17th centuries. India has a great treasure in its Sanskrit tradition, but that treasure is not only classical poetry and the Indian epics, but also the immense diversity of Sanskrit literature.

Who were the Mughal rulers under whom there was active exchange of Sanskrit and Persian ideas, in your account?

Sanskrit flourished in the royal Mughal court primarily under three emperors: Akbar, Jahangir, and Shah Jahan.

Aurangzeb. Photo: CC 3.0 SA
Aurangzeb. Photo: CC 3.0 SA

However, we should not make the error of attributing Aurangzeb’s lack of interest in Sanskrit to his alleged bigotry. Aurangzeb is a severely misunderstood historical figure who has suffered perhaps more than any of the other Mughal rulers from present-day biases. There are two main reasons why Sanskrit ceased to be a major part of Mughal imperial life during Aurangzeb’s rule. One, during the 17th century, Sanskrit was slowly giving way to Hindi. This was a wider literary shift in the subcontinent, and even under Shah Jahan we begin to see imperial attention directed towards Hindi-language intellectuals at the expense of Sanskrit. Aurangzeb’s reign simply happen to coincide with the waning of Sanskrit and the rise of literary Hindi.

Second, as most Indians know, Aurangzeb beat out Dara Shikoh for the Mughal throne. Dara Shikoh had been engaged in a series of cross-cultural exchanges involving Sanskrit during the 1640s and 1650s. Thus, from Aurangzeb’s perspective, breaking Mughal ties with the Sanskrit cultural world was a way to distinguish his idioms of rule from those of the previous heir apparent. In short, Aurangzeb decided to move away from what little remained of the Mughal interest in Sanskrit as a political decision, rather than as a cultural or religious judgment.

“Dara Shikoh had been engaged in a series of cross-cultural exchanges involving Sanskrit during the 1640s and 1650s.” Painting shows the marriage procession of Shikoh. Photo: Wikimedia Commons, Source: National Museum, Delhi
“Dara Shikoh had been engaged in a series of cross-cultural exchanges involving Sanskrit during the 1640s and 1650s.” Painting shows the marriage procession of Shikoh. Photo: Wikimedia Commons, Source: National Museum, Delhi

As a side note, let me clarify that while Akbar inaugurated Mughal engagements with Sanskrit, he did so for slightly different reasons than many people think. Akbar’s reputation is that he was open-minded and tolerant, almost a protosecular figure. This can be a misleading characterisation. Akbar was interested in Sanskrit for its political valence in his empire, not as some personal religious quest. Akbar also had no qualms about harshly judging perspectives that he viewed as beyond the pale. A good example is that he questioned Jain thinkers about whether they were monotheists because to be otherwise would mean being evicted from the Mughal court (Jains assured him that they believed in God).

What was the interaction between the Mughal elites and Brahmin Hindus and Jain religious groups like?

Brahmans, for example, assisted with Mughal translations of Sanskrit texts into Persian. The method was that Brahmans would read the Sanskrit text, verbally translate it into Hindi (their shared language with the Mughals), and then the Mughals would write down the translation in Persian. Jains and Brahmans alike assisted the Mughals with astrology. Brahmans cast Sanskrit-based horoscopes for the Mughal royal family. On at least one occasion, Jains performed a ceremony to counteract an astrological curse on Jahangir’s newborn daughter. My forthcoming book, Culture of Encounters, devotes an entire chapter to reconstructing the social history of links between Mughal elites and Brahmans/Jains.

You argue that the ideology underpinning violence — such as what took place in the 2002 pogrom, in which more than 1,000 Muslims died, or the current intolerance towards them — erases Mughal history and writes religious conflicts into Indian history where there was none, thereby justifying modern religious intolerance. Is it correct to then deduce that there was no religious conflict in the court of the Mughals?

No. First, there was plenty of violence in Mughal India. Violence and conflict are enduring features of the human experience and I would never suggest otherwise. Even under Akbar, violence was commonplace. A far trickier question, however, is, how much Mughal-led violence was religious-based or motivated by religious conflicts? Generally, the Mughals acted violently towards political foes (whether they were Rajput, Muslim, Hindu, or otherwise was irrelevant). It is very difficult for many modern people to accept that violence in pre-modern India was rarely religiously motivated. In this sense, pre-colonial India looked very different than pre-modern Europe, for example. But we lack historical evidence that the Mughals attacked religious foes. On the contrary, some scholars have even suggested that modern “Western” ideas about religious toleration were, in part, inspired by what early European travellers witnessed in the Mughal Empire.

That said, there were limited instances when the Mughals persecuted specific individuals over religious differences. A good example is that Akbar sent a few of the Muslim ulama on hajj to Mecca, which meant that they were effectively exiled from the court. Some of these ulama were murdered on their way out of India.

Is there a problem with a Marxist interpretation of history as is being argued now by the BJP government?

Marxist history is limiting, in my opinion. This strain of thought tends to emphasise social class and economic factors in determining historical trajectories. Modern historians have a much wider range of approaches at their disposal that better situate us to understand other aspects of the past.

Mughal history is such a contentious part of history in the Hindu nationalist imagination. How do you propose to shed light, and create space for a scholarly engagement with the period? It also comes at a time when there is a wave of revisionism in India.

My approach is that of a historian. I seek primary sources from numerous languages and archives, read deeply in secondary scholarship, and attempt to reconstruct the most accurate vision of pre-colonial India possible. My work has plenty of present-day implications, but those come secondary and explicitly after the serious historical work. This approach is unappealing to many in modern India (and across the world). It is painstaking, requires specialist knowledge, can be slow, and often leads to nuanced conclusions. But there are also plenty of people, non-academics, who view what is going on in modern India with scepticism. For those who want it, my work offers a historically sound foundation for challenging modern political efforts to revise the past.

What are the dangers of rewriting history?

So far as the dangers of rewriting history and subscribing to narrow interpretations of specific texts, there are many risks. One is that we risk rising intolerance going forward, something already witnessed on both popular and elite levels in 21st century India. Another risk is that we cheapen the past. India has a glorious history and one of the richest literary inheritances of any place on earth — it would be unfortunate to constrict our minds to the point where we can no longer appreciate these treasures.

You argue that “a more divisive interpretation of the relationship between the Mughals and Hindus actually developed during the colonial period from 1757 to 1947”, a legacy that the present Modi government appears to have inherited. But while the British positioned themselves as neutral saviours, who will emerge as the neutral saviours now?

In the BJP vision, I believe that the new saviour is the BJP itself and affiliated Hindu nationalist groups that will restore India to its proper, true nature as a land for Hindus. This is an appealing ideology for many people, which is part of what makes it so dangerous. I maintain that India’s greatness is found in its astonishing diversity, not some invented, anachronistic, monolithic Hindu past. Part of the sad irony of the BJP’s emphasis on rewriting Indian history is precisely that India has a deep and compelling history, which so many seem intent to ignore.

ndanu@ thehindu.co.in

source: http://www.thehindu.com / The Hindu / Home> Opinion> Interview / by Anuradha Raman / September 14th, 2015

Celia Bell researches Hyderabad’s Urdu poets

Celia Bell / Photo: Mohammed Yousuf / The Hindu
Celia Bell / Photo: Mohammed Yousuf / The Hindu

American researcher Celia Bell delves into the works of Hyderabad’s Urdu poets Mah Laqa Bai Chanda and Luft-un-Nisa Imtiyaz

At a time when Urdu language is losing patronage among native speakers, it seems to strike a chord elsewhere. Its poetic form in particular has many followers both within and outside the country. Interestingly, in the land of Uncle Sam too Urdu is making waves, and not just out of curiosity.

Celia Bell, a student of Columbia University, is a case in point. Charmed by the musical quality of the language, she has come all the way from New York to Hyderabad to do research on two women Urdu poets of the 18th century, poets that Hyderabadis themselves have almost forgotten. She has chosen little known poets like Mah Laqa Bai Chanda and Luft-un-Nisa Imtiyaz for her research. Their works have not generated much critical appreciation and this is precisely the reason why Bell would like to explore them.

Maha Laqa Bai was the first women poet with a diwan (published works) of her own. A woman of great beauty, she was a courtesan during the reign of Nizam II and III. Luft-un-Nisa was also a sahibaan-e-diwan poetess with a rich collection of ghazals and masnavis. She wrote under the penname ‘Imtiyaz’.

During the last one month she is here, Bell’s mission has stirred quite a bit of interest and is drawing quiet admiration among Urdu circles. “It is interesting to take up studies on writers on whom not many have researched. I hope I will be able to throw fresh light on these poetesses,” she remarks.

Bell plans to explore the ‘gendered voices’ in the poetry of Mah Laqa Bai and Luft-un-Nisa. She will also delve into the technical elements of their works and their impact on Deccani literature. This project will be of immense help to Bell who wants to do Ph.D on contemporary literature and South Asian Studies. She is in India as part of the Fulbright-Nehru Student Research Programme.

But why in the world she has chosen Urdu literature for research? “I am much drawn to Urdu. It is a sweet language. The best part is its poetry which casts a spell,” says the 24-year-old who is quite familiar with the language by virtue of having studied Hindi at the undergraduate level.

Main padh sakti hoon, bol sakti hoon aur likh sakti hoon (I can read, speak and write),” she says in Americanised accent. But she feels shy of speaking in Urdu for fear of committing mistakes. “That’s why I am conversing with you in English,” she laughs.

Bell is all appreciation for Dr Habeeb Nisar, her research guide at the University of Hyderabad. The University is her host institution during her nine-month long project work. A self driven resercher, Bell has been poring over books in libraries and has found little time to explore the nawabi city. She is looking forward to the trek to Maula Ali to look up the mausoleum of Mah Laqa Bai.

Who are her favourite Urdu poets? Mirza Ghalib, Iqbal and Faiz – she reels out the names. But she is more fond of Ghalib whom she considers the Shakespeare of Urdu. She backs her claim by reciting this famous couplet of Ghalib:

Baske hoon Ghalib aseeri main bhi aatishe zere pa

Mue aatish deedah, hai halqa meri zanjeer ka

(Whereas, even in bondage, there is fire under my feet Ghalib

The chain that binds me is merely curls of singed hair)

She further recites verses from the works of Faiz Ahmed Faiz –

Ye daagh daagh ujaala, ye shab-gazidar sahr

Ye wo sahr to nahin jiski aarzu lekar

Chale the yaar ke mil jaiegi kahin na khain

(The stain-tainted light, this night-bitten dawn

That we were waiting for, this is not that morning

This is not the morning, in whose yearning

We had set out full of hope that we will surly find)

Bell took to writing early in her life. A good number of her short stories in English have appeared in New York Times Magazine and literary journals like Five Points and Bomb Magazine. Will she write in Urdu too? She only flashes a big smile by way of answer.

source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus> Society / by J.S. Ifthekhar / Hyderabad – September 13th, 2015

Singer Najim Arshad Marries Dentist Thesni Thaha [PHOTOS]

Najim ArshadNajim Arshad/Facebook
Najim ArshadNajim Arshad/Facebook

Najim Arshad, who rose to fame after winning the Idea Star Singer title in its second season, married Thesni Thaha in Punalur, Kerala on Sunday.

The wedding reception is scheduled at 6 pm in Thiruvananthapuram later in the day. Another reception will be organised for celebrities and other guests on 17 September in Kochi.

Najim’s wife Thesni aka Kiki completed her BDS course in Bangalore. The two met each other through a friend in January 2014 and the marriage was extended for nearly one-and-a-half-year to let Thesni complete her studies.

The duo had got engaged on 16 April in a private ceremony attended by some close friends and families of the couple.

Najim, 29, has made a mark in the industry by rendering his voice for many popular songs in Malayalam, Tamil and Hindi films.

source: http://www.ibtimes.com / International Business Times / Home> News> Entertainment> Celebrity / by Anu James / September 11th, 2015