Art & Culture

Srinagar gets tag of ‘World Craft City’

Context: Srinagar has become the fourth Indian city to be recognised as a ‘World Craft City’ by the World Craft Council (WCC) international, will bring attention to Srinagar’s crafts and showcase its ancient techniques to the world.

The achievement follows Srinagar’s recognition as a United Nations Educational, Scientific and Cultural Organization (UNESCO) Creative City for Crafts in 2021.

About World Craft City: 

  • Launched in 2014 by the World Crafts Council AISBL (WCC-International), to acknowledge the significant contributions of local authorities, craftspeople, and communities to cultural, economic, and social development globally.
  • Previously, Indian cities such as Jaipur, Malappuram, and Mysore have been honoured as World Craft Cities.

World Craft Council (WCC) international: 

  • A Kuwait-based, non-government organisation working to empower artisans and safeguard craft heritage globally. 
  • It was founded by Ms. Aileen Osborn Vanderbilt Webb, Ms. Margaret M. Patch, and Smt Kamaladevi Chattopadhyay in 1964.
  • The Council aims to promote fellowship among craftsperson by offering them encouragement, help, and advice. 
  • It fosters and assists cultural exchange through conferences, international visits, research study, lectures, workshops, exhibitions, and other activities. 
  • The WCC also seeks to foster wider knowledge and recognition of the crafts people’s work with due regard to the diversified cultural and national backgrounds and tradition of its members. 
  • In carrying out these principles, the Council shall consult with governments, national and international institutions, societies, and individuals.​
  • It has been affiliated with UNESCO under Consultative Status for many years.

Odisha style temple Architecture

Context: All four gates of the Jagannath temple in Puri, Odisha were opened for devotees. The temple was closed during the Covid-19 pandemic lockdown. The main entrance was opened last year in December but the other gates remained closed. 

About Jagannath temple:

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(Jagannath temple)

  • An important Hindu temple dedicated to Jagannath, a form of Vishnu.
  • Location: Puri, Odisha (eastern coast of India). 
  • Jagannath, Subhadra and Balabhadra are deities worshipped at the temple. 
  • The temple is sacred to all Hindus, and especially in those of the Vaishnava traditions and is one of the 108 Abhimana Kshethram of the Vaishnavite tradition.
  • Many great Vaishnava saints, such as Ramanujacharya, Nimbarkacharya, Vallabhacharya and Ramananda were closely associated with the temple.
    • Ramanuja established the Emar Matha in the south-eastern corner of the temple. 
    • Adi Shankaracharya established the Govardhan Math, which is the seat of one of the four Shankaracharyas.
  • It is also of particular significance to the followers of Gaudiya Vaishnavism, whose founder, Chaitanya Mahaprabhu, was attracted to the deity, Jagannath. 
  • The worship is performed by the Bhil Sabar tribal priests, as well as priests of other communities in the temple.
  • Unlike the stone and metal icons found in most Hindu temples, the image of Jagannath is made of wood (neem wood, known as Daru) and is ceremoniously replaced every 12 or 19 years by an exact replica.
  • The temple is one of the Char Dham pilgrimage sites, the other being Rameshwaram, Badrinath and Dwarka.
  • The four gates of the temple: 
    • The four gates of the Jagannath temple are located on the mid-points of its boundary wall, and face the four cardinal directions.
    • The main east-facing entrance is the Singhadwara (Lion's Gate), and has two stone sculptures of lions standing guard. It is believed that those who enter through this gate attain moksha, or liberation from the cycle of birth-rebirth.
    • The northern, southern, and western entrances are known as Hastidwara (Elephant Gate), Aswadwara (Horse Gate), and Vyaghradwara (Tiger Gate) respectively.
  • The Jagannath Temple is a monumental example of Nagara-style Hindu temple architecture. It is one of the finest preserved specimens of Kalinga architecture (Odisha temple architecture).

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(Figure: Basic structure of a temple in Kalinga school)

Odisha school/Kalinga school of temple architecture: 

  • The temples of Odisha constitute a distinct sub-style within the Nagara style of temple architecture. 
  • The style consists of three distinct types of temples: Rekha Deul, Pidha Deul and Khakhara Deul.
    • Rekha Deul and Pidha Deul are associated with Vishnu, Surya and Shiva temples while Khakhara Deul is mainly associated with Chamunda and Durga temples.
  • In general, the shikhara, called Deul in Odisha, is vertical until the top when it suddenly curves sharply inwards. 
  • Deuls are preceded by mandapas called jagamohana in Odisha. 
  • The main temple's floor plan is usually square. As the temple structure rises, it becomes circular. 
  • The walls of both the deul and the Jagmohan are intricately sculpted with architectural motifs and a profusion of figures.
  • Temples were surrounded by a boundary wall as in Dravidian style of temple architecture. 
  • Examples: Sun Temple at Konark (also known as Black Pagoda as the first rays of the Sun entered the garbhagriha through the sea-facing pagoda), Jagannath temple at Puri, Lingaraj temple at Bhubaneswar, etc. 

Virupaksha Temple

Context:  The Archaeological Survey of India (ASI) is set to commence restoration work on the collapsed ‘Saalu Mandapa or Pavilion’, of the Virupaksha temple in Hampi (Karnataka). 

About Virupaksha Temple:

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  • Virupaksha Temple is an integral part of the UNESCO World Heritage Site known as the Group of Monuments at Hampi.
  • Dedicated to Sri Virupaksha (Lord Shiva) the temple was originally constructed by Lakkan Dandesha, a chieftain under Deva Raya II of the Vijayanagara Empire.
    • Hampi, situated along the banks of the Tungabhadra River, served as the capital of this empire.
  • Pampadevi, associated with the Tungabhadra River is also worshipped. 
  • The temple's history dates back to the 7th century CE, with inscriptions referring to Shiva found from the 9th and 10th centuries.
  • Initially a modest shrine, it expanded under Vijayanagar rule.
  • While additions during the late Chalukyan and Hoysala periods are evident, most of the existing structures are attributed to the Vijayanagara era.
  • Despite the city's destruction in 1565 (by the Bahmani Sultanate) the religious significance of the Virupaksha-Pampa sect remained, maintaining continuous worship at the temple.

Structure of the temple: 

  • The main temple complex comprises a sanctum, a pillared hall, and an open pillared hall, all decorated with intricately carved pillars.
  • Surrounding the central structure are entrance gateways, courtyards, and smaller shrines. 
  • The eastern gateway stands as the largest entrance.
  • Kanakagiri Gopura is another gateway leading to a small enclosure with subsidiary shrines and to the banks of the Tungabhadra River.
  • Krishnadevaraya, played a pivotal role as a patron of the temple.
    • His contributions include the central pillared hall and the gateway tower leading to the inner courtyard. 
    • Inscriptions next to the pillared hall commemorate his commissioning of these structures in 1510 AD to mark his accession.
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(Kalayana Mandapa)

Vijayanagar Architectural features: 

  • Blended influences from the Hoysala, Chola, and Chalukya dynasties. 
  • Primarily granite was used for its durability and soapstone for intricate sculptures. 
  • Influences from Dravidian architectural traditions are more pronounced.
    • During the reign of Krishnadeva Raya, the empire saw a resurgence in Dravida style, influencing the construction of South Indian temples for centuries. 
  • Unique elements introduced in the Vijayanagar period: fortified enclosures, elaborately pillared Kalyana Mandapas (marriage halls), towering Raya Gopurams (entrance towers), and life-size statues of deities.
  • In addition to temple architecture, Vijayanagara's secular buildings featured Islamic influences like arches, domes, and vaults, constructed with mortar and stone shards.
  • Significant features: 
    • Raya Gopurams: Monumental entrance gates adorned with intricate carvings.
    • Pillared Pavilions: Open structures with sculpted pillars depicting motifs like horses and monolithic statues of deities.
    • Kalyana Mandapa: Decorated marriage halls with elaborately carved pillars, central to temple complexes.
    • Amman Shrines: Additional shrines dedicated to the consorts of the main deity.

UNESCO's Memory of the World Asia-Pacific Regional Register

Context: The inclusion of the Ramcharitmanas, Panchatantra, and Sahṛdayāloka-Locana in UNESCO's Memory of the World Asia-Pacific Regional Register marks a significant milestone for India. This recognition celebrates India's profound literary heritage and cultural legacy, underscoring its global importance.

IGNCA secures historic cultural milestone: 

  • The Indira Gandhi National Centre for the Arts (IGNCA) played a pivotal role in achieving a landmark moment during the 10th meeting of the Memory of the World Committee for Asia and the Pacific (MOWCAP).
  • The meeting of MOWCAP was held in Ulaanbaatar (Mongolia), which brought together 38 representatives from member states along with 40 observers and nominees.
  • IGNCA advocated for three Indian nominations, resulting in their inclusion in ‘UNESCO's Memory of the World Asia-Pacific Regional Register’.
  • This achievement highlights IGNCA's steadfast commitment to preserving and promoting India's rich cultural heritage on the global stage.
  • Notably, this is IGNCA's inaugural submission to the Regional Register since its establishment in 2008. 
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  • The Illustrated Manuscripts of Ramacaritamanasa, commonly known as 'Ramcharitmanas', was created by Goswami Tulsidasa in the 16th century in the Awadhi language. This monumental work is regarded as one of the foremost achievements in Hindu literature, drawing its inspiration from the epic Ramayana authored by the sage Valmiki.
image 28
  • The 15th Century Manuscript of the Panchatantra, authored by Pandit Vishnu Sharma, is a collection of animal fables presented in both poetry and prose. Dating back to at least the 3rd century BCE, this ancient compilation originally written in Sanskrit aims to impart practical life lessons, known as Niti, through the interactions of anthropomorphized animals.
image 29
  • The Sahṛdayaloka-Locana manuscript, an important text in Indian poetics, dates back to the 9th and 10th centuries AD. Authored by Acharya Anandvardhan, it comprises extensive discussions on poetics, dramaturgy, and theatrical insights in Sanskrit literature.

UNESCO's Memory of the World (MOW) Programme: 

  • The Memory of the World (MOW) programme, initiated by UNESCO in 1992, serves as a global strategy to preserve and promote access to rare and endangered documentary heritage. 
  • Its mission, articulated to prevent "collective amnesia," underscores the importance of safeguarding archive holdings and library collections worldwide.
  • The programme recognizes documentary heritage of international, regional, and national significance, maintaining registers and awarding logos to identified collections.
  • It advocates for preservation and equitable access, raising awareness among governments, the public, and businesses about the need for conservation and fundraising.
  • Inscription on the MOW register validates the cultural and historical value of documented heritage, enhancing visibility and accessibility for research, education, entertainment, and long-term preservation efforts.
  • The Memory of the World Asia-Pacific Committee (MOWCAP), established in 1998, specifically celebrates achievements across 43 countries in genealogy, literature, science, and more.
  • The MOWCAP Regional Register includes 65 items that reflect the diverse cultural richness and historical significance of the Asia-Pacific region.

Indira Gandhi National Centre for the Arts (IGNCA): 

  • Established in 1987 under the Ministry of Culture and operates as an autonomous institution dedicated to advancing research, academic activities, and the dissemination of arts.
  • IGNCA plays a crucial role in supporting Project Mausam, a Ministry of Culture initiative in collaboration with the Archaeological Survey of India (ASI).
    • This project explores cultural routes and maritime landscapes that historically connected regions across the Indian Ocean, linking coastal centres with inland counterparts. 

Kumartuli’s famous idol-sculptors 

Context: Kumartuli in North Kolkata Is renowned worldwide for its centuries-old tradition of crafting clay idols, particularly the ten-armed goddess for the vibrant Durga Puja festival. However, the idol artisans of Kumartuli are facing hurdles due to enduring infrastructural challenges.

About Kumartuli: 

  • Kumartuli or Coomartolly is famous for its sculpting expertise.
  • The area produces clay idols for various festivals and exports them globally.
  • How did this area come into being?
    • British colonization of Bengal and India (especially after Battle of Plassey) and the construction of Fort William at Gobindapur, prompted the relocation of most residents to Sutanuti.
    • Under orders from the directors of the British East India Company, specific districts were assigned to the company’s artisans.
    • These areas were named based on their trades, such as Suriparah (wine sellers), Collotollah (oil men), and Coomartolly (potters).
  • While many artisans in North Kolkata diminished or disappeared, the potters of Kumartuli survived.
  • Initially crafting pots sold at Sutanuti Bazar (later Burrabazar), they gradually started

Creating idols of gods and goddesses for local mansions and community pujas. 

Dhakeswari temple in Kumartuli: 

  • It is a Hindu temple in Kolkata, on the eastern bank of the Hooghly River.
  • The temple's presiding deity is Devi Durga, whose idol was brought from the Dhakeswari Temple in Dhaka, Bangladesh.
  • Bengali Hindus regard Dhakeswari as the presiding deity of Dhaka. The idol was evacuated to Calcutta during the Partition of India in 1947 and has remained there since.

Bhil/Bheel Tribe

Context: Bharat Adivasi Party (BAP) won in Banswara, Rajasthan in the 2024 Lok Sabha election. The party has focused on the topics of formation of a ‘Bhil Pradesh’ and an increase in reservation for Scheduled Tribes. There has been a demand for the establishment of a separate state of Bhil Pradesh by combining the tribal-dominated parts of Gujarat and neighbouring states Madhya Pradesh, Rajasthan, and Maharashtra. 

About Bhil/Bheel tribe:

image 11
  • The tribe live in the states of Gujarat, Madhya Pradesh, Chhattisgarh, Maharashtra, Rajasthan, West Bengal, Tripura, Karnataka and Andhra Pradesh. 
  • Classified as a Scheduled Tribe in: Andhra Pradesh, Chhattisgarh, Gujarat, Karnataka,  Madhya Pradesh, Maharashtra, Rajasthan and Tripura. 
  • Language: The commonly spoken language by Bhils is Bhili. Bhili is a subgroup of the Western Zone of the Indo-Aryan languages. Many Bhils now speak the dominant language of the region they reside in, such as Marathi, Gujarati and Bengali. 
  • Bhil is the largest tribal group in India as per 2011 Census. They constitute approximately 38% of the total scheduled tribal population of India.
image 12
  • Culture: 
    • Pithora Painting is a well-known art form. 
    • These ritualistic paintings were done by Badwas or specially appointed male members.
    • Ghoomar is a traditional folk dance of the Bhil tribe. Ghoomar is the symbol of womanhood. Young girls take part in this dance. 
    • Another folk art is Swang, which consists of storytelling combined with dancing and music. 
    • Baneshwar fair is the main festival celebrated among the Bhils. The fair is dedicated to Baneshwar Mahadev also known as Lord Shiva.  
  • During the British Rule:  
    • The Bhils who lived in the Khandesh region of the present-day Dhule district of Maharashtra, revolted against Company rule in 1818, as they had to face famine, economic distress and misgovernment.
      • The rebellion was led by Bhil leaders: Kazi Singh and Bhima Naik. 
      • It was against the deprivation of traditional rights over forest resources and land. 
      • The British used both force and conciliatory efforts to control the uprising.
    • During the colonial rule, the Bhils were designated as a criminal tribe by the British colonial government under the Criminal Tribes Act 1871, which meant that a Bhil could be ‘randomly picked up, tortured, maimed or even killed’ by the colonial authorities. 
    • A reformer, Govind Guru led the Bhils of south Rajasthan (Banswara, South states) to organise themselves to fight for a Bhil Raj by 1913.

The Popularity of Dakhni

Context: The campaign for the Lok Sabha elections in Telangana, particularly in Hyderabad, was marked by exchange of comments and comebacks in the Dakhni language.

About Dakhni Language: 

Introduction: 

  • Dakhni shares the Persian-Arabic script with Urdu. 
  • Dakhni people and speakers are spread across the Deccan region and speak variants of the language in Telangana, Maharashtra, and Karnataka. 
  • The language is seen as the Hyderabadi, but what Hyderabadis speak is only a variant of Dakhni.
  • It is a predecessor of Modern Hindustani. 
  • Since the medieval period, it has been a language of the common man.
  • This was the reason why the Sufis such as those belonging to Chishti order, who arrived in the Deccan chose to use Dakhni as a literary medium.

History 

  • It has its origins in the dialect spoken around Delhi then known as Dehlavi. In the early 14th century, this dialect was introduced in the Deccan region through the military exploits of Alauddin Khilji.
  • In 1327, Muhammad bin Tughluq shifted his Sultanate's capital from Delhi to Daulatabad (Maharashtra), causing a mass migration of governors, soldiers and common people who brought the dialect with them.
  • When Bahmani Sultanate was formed in 1347, the dialect had acquired the name Dakhni, from the name of the region itself (Deccani) and had become a lingua franca for people of the region. 
    • The Bahmani sultans promoted Persian, and did not give much patronage to Dakhni. 
    • However, during their rule, local Dakhni literary culture outside the court developed.
    • The Sufis were important promoters. as they used it in their preachings since regional languages were more accessible (than Persian) to the general population.
    • During this period, the earliest available manuscript of the language, ‘Masnavi Kadam Rao Padam Rao’ by Fakhruddin Nizami was produced. 
  • In the early 16th century, the Bahmani Sultanate was divided into the Deccan Sultanates.
    • These were also Persianate in culture, but also patronised regional languages. 
    • They are largely responsible for the development of the Dakhni literary tradition and culture, centred at Golconda and Bijapur.
    • The rulers themselves participated in these cultural developments. Ibrahim Adil Shah II of the Bijapur Sultanate produced Kitab-e-Navras (Book of the Nine Rasas), a work of musical poetry written entirely in Dakhni. 
    • However, the Sultanates did not use Dakhni for official purposes or as a court language, they preferred Persian as well as regional languages like Marathi, Kannada, and Telugu.
  • The Mughal conquest of the Deccan by Aurangzeb in the 17th century connected the southern regions of the subcontinent to the north.
    • The Deccani poetry, as literary patronage in the region decreased. 
    • The literary centres of the Deccan had been replaced by the capital of the Mughals, so poets migrated to Delhi for better opportunities.
    • A notable example is that of Wali Deccani (1667–1707), who adapted his Deccani sensibilities to the northern style.
    • However, the historical form of Deccani sparked the development of Urdu literature during the late-Mughal period.

 

First evidence of Rock art in Mangaluru city

Context: The first evidence of rock art in Mangaluru (Karnataka) has been found near Boloor Panne Koteda Babbu Swamy shrine. The rock art is in the form of a pair of human footprints, found on a natural stone boulder near the shrine. These footprints might have been created in the first or second century A.D.

Rock art tradition in India: 

image 51

(Main regions of rock art site in India)

  • Paintings and engravings on natural surfaces of caves, shelters and boulders are together termed as rock art. It is a global phenomenon and one of the earliest human artistic manifestations. 
  • The spectrum of rock art available in India is vast and varied both in stylistic and thematic content. Its chronology can be traced from the Upper Palaeolithic continuing through different periods up to Historic times and probably even echoing in the artistic articulations of present day tribal and ethnic communities.
  • Rock art characterized by the presence of writings in Brahmi, Kharosthi, Shankha and even Nagari scripts have been grouped as rock art of the Historic period in India. 
  • In India, rock art sites have been reported from rocky landscapes composed of sandstone or sedimentary rocks.

Some of the important rock art sites:

  • South India:
    • Karnataka: Kupgal (Sanaganakallu), Badami, Maski, Piklihal, Tekkalakota.
    • Andhra Pradesh: Budagavi, Chintakunta, Kethavaram, Kurnool in Andhra Pradesh. 
    • Tamil Nadu: Alambadi, Padiyandal in Tamil Nadu.
    • Kerala: Edakkal and Ezhuthupura rock shelters.
  • The rock shelters at Lakhudiyar (Uttarakhand) bear these prehistoric paintings. One of the interesting scenes depicted here is of hand-linked dancing human figures.
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  • Vindhyan region and Satpura ranges: 
    • In Madhya Pradesh, the renowned Bhimbetka (Raisen) complex of rock shelters has been inscribed as a World Heritage Site by UNESCO in 2003. 
    • The petroglyphs in Cave (Bhimbetka III F-24) include a long meandering line. These Acheulian petroglyphs are the oldest rock art currently known in the world.
    • The themes of paintings found here are of great variety, ranging from mundane events of daily life in those times to sacred and royal images. 
image 52

(Depiction associated with some spiritual figure at Bhimbetka)

  • This period saw the increase in the number of paintings using the green and yellow colour. 
  • Most of the paintings concentrate on depicting battle scenes.
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(Hunting scene from Bhimbetka)

  • Ajanta Rock paintings (Maharashtra):
    • Primarily depict Buddhist subjects and stories from the Jataka tales about the earlier lives of the Lord Buddha.
    • Late 6th century CE painting of Bodhisattva Padmapani: He is shown holding a lotus flower in his right hand.
  • Ellora Paintings (Maharashtra):
    • Hindu, Buddhist, and Jain cave temples from the 8th to 10th centuries A.D. include famous sites like Indra Sabha (Cave 32) and Jagannath Sabha (Cave 33).
    • The paintings in these Jain caves feature sharp features and pointed noses.

Palace to unveil true copy of Ravi Varma’s Indulekha

Context: The first true copy of the painting Indulekha by legendary artist Raja Ravi Varma will be unveiled at the Kilimanoor Palace, where the artist was born in 1848, on the occasion of his 176th birth anniversary celebrations.

Raja Ravi Verma (1848-1906): 

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  • The unreleased painting of Indulekha, the protagonist of the first modern novel in Malayalam literature by O. Chandu Menon published in 1889, emerged in the public domain in 2022 and evoked a great sense of enthusiasm among the art fraternity.
  • It is believed that the famous painting Reclining Lady by Ravi Varma was modelled on Indulekha.
  • The oil painting of Indulekha is shown holding a letter.
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  • His religious depictions of Hindu deities and works from Indian epic poetry and Puranas have received profound acclaim.
  • He is considered to be the originator of the school of modern painting. The school was called ‘modern’ because of the heavy influence of western techniques and themes.
  • He was unique as he brought together elements of South Indian painting with the western techniques of colour and style.
  • Raja Ravi Varma was closely related to the royal family of Travancore of present-day Kerala state in India. 
  • Varma was patronised by Ayilyam Thirunal, the next Maharaja of Travancore and began formal training. He learned the basics of painting in Madurai.
  • Later, he was trained in water painting by Rama Swami Naidu and in oil painting by British portraitist Theodore Jenson. 
  • Famous works: depicted episodes from the story of Dushyanta and Shakuntala, and Nala and Damayanti, from the Mahabharata. Other works include, Lady in the Moonlight, Mother India, etc. He gained nationwide recognition for his paintings from the epic Ramayana, especially the one titled ‘Ravana Kidnapping Sita’.
  • Varma received widespread acclaim after he won an award for an exhibition of his paintings at Vienna in 1873.
  • Varma's paintings were also sent to the World's Columbian Exposition held in Chicago in 1893 and he was awarded three gold medals.
  • In 1904, Viceroy Lord Curzon, on behalf of the British King Emperor, bestowed upon Varma the Kaisar-i-Hind Gold Medal.
  • The title Raja was conferred as a personal title by the Viceroy and Governor-General of India Lord Curzon.

Kashan style carpet of Kashmir

Context: Kashan style is a historic design from the Iranian city of Kashan, employed in carpet making in Kashmir. Kashmir is among the leading carpet-producing States in India and over one lakh artisans are employed by the carpet industry here.

About Kashan Style

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History of carpet making in Kashmir: 

  • The origin of hand knotted carpets locally known as ‘Kal baffi’ dates back to the 15th century.
  • It is said that Sultan Zain-ul-Abidin brought carpet weavers from Persia and central Asia to Kashmir to train the local inhabitants.
    • Shah Rukh Shahi Khan, popularly known as Ghiyas-ud-Din Zain-ul-Abidin was the ninth Sultan of Kashmir, who reigned first from 1418 to 1419 and then from 1420 to 1470.
    • He was famously called Budshah  by his subjects. 
    • The Mahabharata and Kalhana's Rajatarangini were translated into Persian by his order. 
  • There are different types of knots and in Kashmir the Farsi baff and the Persian system known as Sehna, or Sinneh, knot is originally used.
  • Designs and patterns in Kashmir carpets continue to be predominantly inspired by classical Persian and Central-Asia rugs.
    • Thus, Kashmir has been creating Kashan and Kirman, Tabriz and Isfahan, Meshed and Bokhara. 

Kashan rugs: 

  • Kashan rugs, renowned for their intricate designs and cultural significance, originated in Iran.
  • Kashan rugs typically feature intricate medallion designs (an oval or circular design, portrait, relief carving, etc. resembling a medal in shape) at the centre.
  • These rugs are renowned for their rich colour palettes. Deep reds, blues, ivories, and earthy tones are common. 
  • The combination of these colours adds to the rug's allure and creates a vibrant masterpiece.
  • One hallmark of an authentic Kashan rug is its fine knot density. 

History of Sulthan Bathery

Context: Sulthan Bathery in Wayanad, Kerala, is home to a temple that was partly destroyed by Tipu Sultan and used as a store for arms in the 1700s. There have been political debates going on regarding the question of changing its name to Ganapathyvattam.

About Ganapathyvattam temple: 

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  • Sulthan Bathery has a Jain stone temple that was once known as Ganapathyvattam.
    • Built in the Vijayanagara architectural style was constructed by Jains who migrated to Wayanad from areas in present-day Tamil Nadu and Karnataka in the 13th century.
    • The temple was partly destroyed during the invasions of Tipu Sultan, the ruler of Mysore in the second half of the 18th century.
    • The temple is part of the Jain circuit of Kerala. 
    • Presently, it is under Archaeological Survey of India as a monument of national importance.

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  • The erstwhile Hindu temple: 
    • During the time of Kulashekara (an Indian dynasty ruling over parts of Kerala from 9th to 12th century), the Ganapathyvattam temple was situated here.
    • There are beliefs that the kings of Purakizha completed the construction of the temple.
    • Later, the temple came under the rulers of Kottayam. 
    • Tipu destroyed the Temple and used the stones for building a Fort.
    • The remains or site of this fort does not exist now. 
    • Chief deity: Ganapathi (Lord Ganesh)
    • Other deities: Baghavathi, Ayyappan, Nagaraja and Shiva.

History of Sultan Bathery: 

  • 930 AD: ruler Erayappa of the Ganga dynasty led his troops to the south-west of Mysore and, after conquering it, called it Bayalnad, meaning the land of swamps.
  • 12th century AD: The Ganga dynasty was dethroned by the Kadamba dynasty of North Canara.
  • 1104 AD: Vishnuvardhana of Hoysala invaded Bayalnad followed by the Vijayanagara dynasty in the 16th century.
  • 1610 AD: Udaiyar Raja Wadiyar of Mysore drove out Vijayanagara and became the ruler of Bayalnad. 
  • Under Haider Ali and Tipu Sultan: 
    • Between 1750 and 1790, northern Kerala was invaded several times by the rulers of Mysore, Hyder Ali and Tipu.
    • The armies of Tipu destroyed temples and churches. 
    • Tipu Sultan used the Maha Ganapathy temple in Sulthan Bathery as a battery or store for weapons for his army in the Malabar region.
    • This led to the British recording Ganapathyvattam as Tipu Sultan’s Battery, and the name survived as Sulthan Bathery.
  • Under British rule:
    • East India Company (EIC) seized Wayanad from Pazhassi Raja.
    • EIC administered the district until it was superseded by the British Raj in 1858.

About Mysore Kingdom: 

  • Independent state created as a result of the Mughal Empire’s fall.
  • Wadiyars were in charge of this region. 
  • Became a never-ending battleground as a result of several powers’ interest in this land.
  • Haider Ali gained control over the state.

Haider Ali: 

  • Nanjaraj (the sarvadhikari) and Devaraj Dulwai), reduced Krishnaraja Wadiyar to the status of a puppet.
  • Under the leadership of the ministers Nanjaraj and Devaraj, Haidar Ali began his career in the Mysore army.
  • Introduced Western training techniques for his army.
  • Enlisted assistance from the French to establish a weapons factory in Dindigul (now in Tamil Nadu).
  • Involved in the First and Second Carnatic Wars in South India. 
  • Mysore sided with the French in the Carnatic Wars.
  • Nizam of Hyderabad, the Marathas, and the English formed an alliance against Haider Ali, the king of Mysore, in the first Anglo-Mysore war (1767–69). English had to sign the humiliating Treaty of Madras in 1769.
  • Treaty of Mangalore, signed in 1784: ended the Second Anglo-Mysore War (1780–1784).
  • Tipu Sultan succeeded his father Haider Ali after his death.

About Tipu Sultan: 

  • Last Muslim ruler of the Kingdom of Mysore. 
  • Navy:
    • Defeat in the Third Anglo-Mysore War convinced Tipu to take measures to build a navy.
    • Issued a Hukmnanah (ordinance) in 1796 for a strong naval force.
    • The Navy was put under command of 11 Mir Yam (Lords of Admiralty), with headquarters at Seringapatam.
    • Naval divisions or Kachehris at Jamalabad (Mangalore), Wajidabad and Majidabad.
  • Ammunitions: munitions industry in Nagar, which were regarded as equal in quality to those produced in Europe.
  • Rocket technology: Pioneer of rocket technology; expanded iron cased Mysorean rockets; commissioned a military manual Fathul Mujahidin. 
  • Economy:
    • Attempted to revive commerce and forged commercial linkages with other parts of India and West Asia
    • Built a public sector company with state finance. 
    • He introduced sericulture. 
    • Member of the Jacobin club; planted a liberty tree at Seringapatam.
  • Agriculture and Revenue Settlement:
    • Modified land revenue management.
    • Laid down rules for distribution of arable land among old and new ryots;
    • Preference given to hereditary ownership of land and rent was fixed.
    • These became the basis for the Ryotwari Settlement introduced by the East India Company in South India.
    • Captain Alexander Read first introduced Ryotwari Settlement in Baramahal district surrendered by Tipu after his defeat in 1792.
  • Calendar: Introduced a new calendar in 1784; known as Mauludi Era and had 354 days; first year from the year of birth of Prophet Muhammad.
  • Administrative innovations: a new coinage system.
  • Deployed rockets during Anglo-Mysore Wars, including the Battle of Pollilur and Siege of Seringapatam.
  • Third Anglo Mysore war (1790-92): Defeated by EIC and the Treaty Seringapatam was concluded. Under the treaty, Tipu lost half of Mysore’s territory.
  • Fourth Anglo-Mysore war (1799): conclusive; led to the fall of Seringapatam. English chose a Hindu boy from the earlier ruling royal family i.e., Wadiyars, as the Maharaja and imposed subsidiary alliance on him.

Garudan Thookkam

Context: Devotees at the Sarkara Devi Temple in Thiruvananthapuram, Kerala, participated in the ‘Garudan Thookkam’, which is a ritual art form. 

About Garudan Thookkam: 

image 25
  • Garudan Thookam (Eagle Hanging) is a form of dance art performed popularly in some Bhadrakali (Goddess Kali) temples in central Tamil Nadu and Kerala.

Performance of the ritual art form: 

  • The performers dress up as Garuda by wearing vibrant costumes, and headgear along with make-up.
  • Pattuvaal, Njori, Kacha, Mundi, Astimala (garlands made from the wood of Mango Tree), Chiraku (wings), Uttareeyam (upper garment), Kireedam (crown) are some of the elements used in the costume of Garuda.
  • Traditional musical instruments are employed during the performance:
    • Chenda: cylindrical percussion instrument originating in the state of Kerala);
    • Elathalam: metallic musical instrument which resembles a miniature pair of cymbals; this instrument from Kerala in southern India is completely made out of bronze and has two pieces in it;
    • Kombu/Kompu/Kombu Pattu: a wind instrument in Tamil Nadu and Kerala. 
  • Performance includes 18 Thalavattam (rhythmic patterns).
  • The whole ritual is performed colourfully with these Garudas taken in a procession on bullock carts or boats or hand-pulled carts.
  • Legend: 
    • As per the Hindu mythology, Goddess Kali, after killing the demon king Darika in a fiercely-fought battle, was insatiable and thirsty.
    • At this time, Lord Vishnu sent his Vahana Garuda to Kali to quench her thirst.
    • The dancing and bleeding Garuda is taken to Kali who is pacified after consuming his blood. 
image 26

About Sarkara Devi Temple: 

  • Situated: Thiruvananthapuram, Kerala. 
  • Main deity: Bhadrakali (Goddess Durga).
  • Historically important due to the introduction of the famous Kaliyoot festival by Anizham Thirunal Marthanda Varma, the Travancore sovereign, in 1748.
  • Another festival, Meena Bharani mahotsavam, is conducted for ten days in the month of March-April every year.
  • Architecture: 
    • Sanctum Sanctorum is a two storied rectangular structure.
    • Roof is polished with bronze.
    • Second storey is decorated with sculptures of Lord Krishna, Lord Rama, Durga, Lord Ganapathy, Lord Vishnu, Narasimhamoorthi and several other deities.