India is a land steeped in history and boasts an incredible heritage. One cannot overlook the remarkable contribution of women in establishing and subsequently preserving this heritage. Even before recorded history, India’s heritage was anchored in matriarchal societies. They laid the basis for women to rise as powerful individuals and defy the norms in those times. An interesting example would be the matronymics of the Satavahanas – it was significant that in an otherwise patriarchal world, kings traced their lineage through the erstwhile queens of the family.

The literary landscape of India has been enriched through the voices of talented women who dared to defy societal norms and traditional expectations. The much revered Rigveda and Tamil Sangam poetry bear the prints of early female writers, as does the Madhura Vijayam, an important contribution to Kannada poetry by the Vijayanagar queen Gangadevi.

Women also played a prominent role in expanding the scope of Indian literature throughout medieval India. Poets like Akka Mahadevi, Andal and Mirabai emerged as important figures of the Bhakti movement. Their verses, overflowing with devotion and love, transcended the barriers of caste and gender. Gulbadan Begum’s Humayun Nama is one of the most important sources to study the reign of her brother and the second Mughal emperor, Humayun. Jahanara Begum, the daughter of Emperor Shah Jahan, was a talented writer and scholar. Moreover, Empress Nur Jahan and Princess Zeb-un-Nissa Begum were poets and patrons of the arts. The colonial era witnessed a surge of women writers who engaged with broader social and political issues. Writers like Sarojini Naidu, Kamala Das and Ismat Chughtai did not shy away from approaching complex topics. Their works revolved around themes of identity, freedom and women’s rights.

In a world dominated by men, there were exceptional stories of women holding power and influence. The period following the Iron Age witnessed powerful women like Princess Sanghamitra, Prabhavatigupta and Gautami Balashri. The only female ruler of the Delhi Sultanate, Sultan Razia had a brief but eventful reign characterized by her reforms and benevolence. Razia was intelligent, brave and a remarkable leader. On the other hand, her contemporary, Queen Rudrama Devi of the Kakatiyas was celebrated for her administrative acumen and military skills. Nur Jahan, the wife of Emperor Jahangir, is considered the most powerful empress in Mughal history. She issued farmans, owned a navy and had her own royal seal. Coins were minted in her name, her face marked on them, an extraordinary feat in those times. Besides Nur Jahan, other Mughal royal women also held influence. Like Nur Jahan, Hamida Banu Begum, the mother of Emperor Akbar, owned a seal. Shah Jahan always valued Jahanara’s wisdom and paid heed to her advice in different matters. Much before that, the beginning of the Mughal Empire was possible because of the support of royal women. Lost and hopeless, 12-year-old Babur had no kingdom, yet he managed to sustain himself because of his grandmother, Aisan Daulat Begum. Babur also received the support of his sister, Khanzada Begum, who made a big sacrifice for her family. Later, she continued to be a trusted confidante and advisor to Humayun. Women brought a beacon of hope and strength as the Mughal emperors were embroiled in dark, unpredictable journeys. Born in the middle of a vicious fratricidal war, Akbar was a child when he got separated from his parents. In such terrible circumstances, Maham Anga and Jiji Anga took care of him.

Women’s resilience was unbreakable. During the Revolt of 1857, women such as Rani Lakshmibai and Begum Hazrat Mahal spearheaded the rebellion from their areas. But women waged a greater war against backward thinking and countless stereotypes propagated in society. Many women reformers were active in colonial India, such as Pandita Ramabai and Rokeya Sakhawat Hossain.

When it comes to art and architecture, women have left behind a vast cultural legacy. Many queens took part in temple architecture. For instance, the creation of the wonderful Rani ki Vav is attributed to Queen Udayamati. Humayun’s wife, Bega Begum commissioned a tomb for him in Delhi, laying out the template for later Mughal tombs and establishing India’s first garden tomb. Nur Jahan built a beautiful monument dedicated to her parents, the Tomb of Itimad-ud-Daulah. Jahanara Begum was also instrumental in contributing to her father’s new city, Shahjahanabad, envisioning Chandni Chowk.

One must not forget to celebrate women who left their mark in the world of tunes and beats. A celebrated classical singer and dancer, Gauhar Jaan was one of the first Indian artists to record music on the gramophone. In history, there are artists whose tales remain forgotten. The courtesans or tawaifs were skilled in classical dance forms. They were highly respected women who would teach children different languages and educate them in etiquette, ethics and philosophy.

In the tapestry of the cultural heritage of India, women have woven threads of brilliance and resilience across diverse realms. Some worked in the shadows, while some openly rose in defiance. Their stories remind us that heritage does not merely include artifacts of the past, but it is a living, breathing entity that evolves with every heartbeat and embodies the spirit of those who shaped it. The mosaic of India’s past shall always be adorned with the achievements of women.

Sources

1. Tanwar, Reicha. Women of Mughal Empire, unveiled. The Tribune, India. 2018. https://www.tribuneindia.com/news/archive/book-reviews/women-of-mughal-empire-unveiled-616378
2. Mitra, Sudipta. Pearl by the River. Rupa Publications India, New Delhi. 2017
3. Gupta, Subhadra S. Fatehpur Sikri: Akbar’s Magnificent City on a Hill. Niyogi Books, New Delhi. 2013
4. 4. Eaton, Richard M. India in the Persianate Age (1000- 1765). Penguin Random House, United Kingdom. 2019
5. 5. Gupta, Madhur. Courting Hindustan: The Consuming Passions of Iconic Women Performers of India. Rupa Publications India, New Delhi. 2023
6. 6. Dr. Shradha. (2022). Education and Empowerment: Women in Ancient India. Journal of Positive School Psychology. Vol. 6, No. 5, 8011-8016

About the Author :  Viraal Saini

Hello there, I’m Viraal, interning at ILF since June of this year. I’m 18, from Delhi and about to start college soon. History sort of runs through my veins, i’ve been passionate about it ever since I first had Social Science as a subject at school. As an avid history enthusiast, I immerse myself in the stories of the past, seeking to understand the cultures, traditions, and events that have shaped our world. Heritage is a multifaceted and invaluable aspect of our society, and while efforts are being made to promote and preserve it, there has been a certain amount of cultural appropriation and neglect of certain different heritages. I’d say it’s important to promote a respectful and inclusive approach towards our history, fostering a collective sense  to honour and protect our diverse pasts.”

Millennium city over the ages

In the Mahabharata, Gurugram is described as the village of Guru Dronacharya, the guru of Kauravas and Pandavas. This village was given as dakshina by pandavas to guru Dronacharya. There are many sites here that locals believe connect to the era of the Mahabharata – a small temple in Khandsa village, which locals believe marks the spot where Eklavya cut his thumb; Bhima Kund, a pond where Guru Dronacharya is said to have bathed; and a temple dedicated to the guru himself. However, the most famous of them all is the Sheetla Mata Temple, which is dedicated to Kirpai, the wife of Guru Dronacharya, who lived in the village of Keshopur. She committed her life to the service of children suffering from smallpox.  

Sheetla (Sitla/Shitla) Mata Mandir

“Despite technological advancement, Gurugram as a city has been deeply attached to its root of the old ancient tradition.”

In late 4th century BCE, the city was absorbed by the Maurya Empire as part of Chandragupta Maurya’s earliest expansions of his kingdom. It was in Akbar’s reign in the second half of the sixteenth century that Gurgaon garnered some notice. Barely had Akbar and his regent, Bairam Khan, taken charge when they were attacked by a powerful Hindu foe, King Hemu, who hailed from Gurgaon pargana, born in the village of Rewari. By this time Hemu had become the dominant force in northern India and defeated the Mughal forces in Kannauj and in the Battle of Delhi in 1556, and came within a hair of wrestling the Mughal Empire in the next battle. During Akbar’s reign, Gurugram fell within the governing regions of Delhi and Agra. Many monuments were constructed during this period.Mughal era monuments such as Sheesh Mahal, Baoli and Jama Masjid built by Faujdar Khan are Dilli Darwaza (Delhi Gate) are notable structures. Badshahpur Qila, this fort dates back to the Mughal era. It served as the residence of one of the wives of the last Mughal Emperor, Bahadur Shah Zafar who often came here to meet his begum. Alivardi Khan, the Nawab of Bengal, built this mosque and sarai or rest house back in the 18th century when the Mughal King Mohammad Shah II was ruling Delhi. What makes this mosque stand out from other places of worship is that the mosque complex included a rest house as well as a well. The mosque and the sarai were built for travelers to rest for a while when passing through that route.

According to Veena Talwar Oldenburg, author of Gurgaon: From Mythic Village to Millennium City (2018), this was a small, brick pavilion with classic Mughal arches where the emperor’s entourage used to stop for refreshment en route to Amber. Unfortunately, this piao, over 500 years old, was demolished to make way for the Guru Dronacharya Metro Station in 2009. How ironic! Since Gurgaon lay on the important route from Delhi to Ajmer, sarais, or rest houses, were constructed for the convenience of travellers. A remnant of that time still exists in the form of the Sarai and Mosque of Nawab Ali Vardi Khan, which was constructed in the 18th century during the reign of Mughal emperor Muhammad Shah. As the Mughal empire started to decline, the place was torn between contending powers.

As the Mughal empire started to decline, the place was torn between late Mughals & Marathas. By 1803 most of it came under British rule through the treaty of Surji Arjungaon with Gwalior State.  It became a part of the district, which was divided into units called Parganas. These units were given to petty chiefs for the military service rendered by them.During the Mughal and initially during the British colonial era, Gurguram was just a small village in Jharsa pargana of Delhi subah. Report of a Tour in Eastern Rajputana in 1882–83 (published in 1885) by Alexander Cunningham, the then Director-General of Archaeological Survey of India, he mentions a stone pillar at Gurugram of a local feudal lord “Durga Naga” with a 3-line inscription “Samvat 729 or 928, Vaisakh badi 4, Durgga Naga lokatari bhuta” dating back to 672 AD or 871 AD. Aliwardi mosque” in Gurugram, “Badshahpur baoli” and ”Bhondsi” (16th to 17th century) were built during mughal and British era. The “Church of the Epiphany” and “Kaman Serai” (Corrupted form of the “Command Serai” or “Officer’s Mess”) was built by the Britishers in 1925 inside the civil lines. It is interesting to again see the contribution of the People of Gurugram (earlier Gurgaon) in the British military during World War I and the changing strategy of the British after that. This policy of ignoring Gurgaon district was modified after World War I, in which people of the district contributed substantially with manpower and money.  

The preservation of heritage and historical monuments was probably never Haryana’s priority. Haryana till date has no scientific or planned initiative to revive the lost heritage and preserve the available heritage to develop tourism opportunities.One of the many souvenirs of Gurugram’s forgotten history, the ‘sarai’ served as a resting place for travellers. The structure now is a dilapidated piece that has been mostly overlooked, and has been heavily encroached upon from all sides. Badshahpur village once had a fort built on 17 acres that has been lost to massive encroachments. All that exists today is a crumbled wall and a decrepit bastion. However, a slice of history remains in the form of a step-well. However, decades of neglect have damaged the building, which is now in disrepair. One of the walls has even slanted slightly, and some pillars have developed fractures. According to locals, if the wall is not provided external support, the entire building may collapse. Despite its strategic position, tourism in Gurugram sadly is all about new age marvels. No monument has properly been converted into a tourist spot or promoted as one, leading to poor visitors’ experience.

“Monuments are for the living, not the dead. Preserve them, love them and pass it on to generations to understand their importance.”

Ironically, the city may be just a few kilometres from Delhi (the hub of historical monuments of the country), it has failed to preserve, promote and value its own history and monuments. There is a need to look beyond the sheen of corporate towers and high-end neighbourhoods in Gurgaon so that what remains of the city’s glorious past is preserved. Collectively, the historic towns and remains around Gurugram present a wide range of heritage, ranging from the ancient to the Sultanate, Mughal, Rajput and colonial periods. The protection, thematic organisation and promotion of this cultural heritage could contribute significantly to heritage tourism in the city, besides boosting the local economy by creating new employment opportunities for them.  

Bibliography

• https://m-tribuneindia-com.cdn.ampproject.org/v/s/m.tribuneindia.com/news/archive/haryanatribune/gurugram-s-forgotten-past-774745?amp_js_v=a6&amp_gsa=1&usqp=mq331AQKKAFQArABIIACAw%3D%3D#aoh=16304018827762&referrer=https%3A%2F%2Fwww.google.com&amp_tf=From%20%251%24s&ampshare=https%3A%2F%2Fwww.tribuneindia.com%2Fnews%2Farchive%2Fharyanatribune%2f Gurugram-s-forgotten-past-774745
• https://www.britannica.com/place/Gurgaon
• https://gurugram.gov.in/
• ANCIENT INDIA-A BULLETIN OF ARCHAEOLOGICAL SURVEY OF INDIA

Veena Talwar Oldenburg, : From Mythic Village to Millennium City  

The views, information, or opinions expressed above are solely those of the author(s) involved and do not necessarily represent those held by India Lost & Found and its creative community.

Hi, I’m Vishakha Chaudhary …

This enthusiasm towards heritage studies led me to discover the enriching initiative of India Lost and Found (ILF). The segment of ILF which has amazed me the most was the Mapping segment. I have been associated with this segment as a Heritage Mapper for six months (30 March 2021 – 30 September 2021) and I must admit that it was a wonderful experience for me.

Firstly, I would like to express my sincere gratitude to Amit Sir for providing me with an opportunity to excel in my research interest towards heritage. India, being one of the world’s oldest civilizations, possesses an all-embracing confluences of cultures, religions, traditions, customs, etc. making her a centre of rich heritage (Heritage, n.d). I belong to Chinsurah, an urbanscape on the bank of the river Ganges in the district of Hoogly in the southern part of West Bengal, an eastern state of this country. Chinsurah has always been a cultural hub since its inception. It represents a confluence of diverse cultural flavours from 16th century onwards. 

Dutch Cemetery

Chinsurah was a prosperous trading post of the Dutch East India Company between the 17th and 19th century. Besides, British, Armenian, Iranian, native Bengali, etc. had been living here since then. Along with Chinsurah, there existed a string of European settlements along Hooghly’s west bank, making the region the “Europe on the Ganges” (Vajpayee, 2017). This is my hometown which has always thrilled me about its heritage and led me to try to understand its importance in the heritage map of the country.

Motijhil Mosque

The voluntary post of Heritage Mapper at ILF has bought me the opportunity of researching my hometown’s heritage closely. In this journey, I would like to express my immense gratitude to Gaurav Sir and Maryam Madam; my two mentors for constantly guiding me during my internship period and also after its completion. With their kind support, I have also been able to map the heritage sites of some historically significant nearby places of Chinsurah, such as Chananagar, Pandua, Hooghly, Bandel, etc.

Edwardian Clock Tower

My aim as a Heritage Mapper was mainly to map the ‘Built Heritage Sites’ of the chosen location with a focus on the lesser-known sites. For this, I have been initially given training on how to research the available sites using literary sources and through field visits. I have also given a list of heritage sites for a concise categorization which has helped give a sense of the diversity of ‘things’ that might be considered to be official heritage (2.1.What is heritage?, n.d). Besides correctly marking the geo-coordinates of the heritage sites, I have also tried to include the other details to it, such as its characteristics, oral history related to it (if any), etc.

Bankim Bhavan

The most satisfying part was obviously the field visits to collect the raw data about the sites. From the remnants of the old Dutch Cemetery to Motijhil Mosque, from the traces of old houses in Suri Para to the rooms of Bankim Bhavan in Jora Ghat, from the five centuries-old Sandeshwar Temple complex to the big clock tower in the memory of King Edward VII of England, I have roamed here and there and every time, fallen in love with these magnificent representations of our composite culture.

Because of the Covid-19 pandemic and the restrictions that followed , I was not able to do frequent field visits. Going to the sites, searching for a new one, talking to the nearby people, understanding their perceptions about heritage has been fascinating to me all the time. With the blessings of the people of Chinsurah and its surroundings, I have been able to map 261 built heritage sites from the districts of Hooghly.

Sandeshwar Temple Complex

During this whole journey, I must say that have been able to rediscover my hometown and its surroundings and it helped me boost my research interest in heritage studies; as a result of which I, along with my two co-researchers have been able to initiate a reconnaissance survey about the perceptions of people about their heritage in Chinsurah. All these have been possible because of my association with ILF. I strongly believe that the mission ILF has taken to boost the picture of the built heritage sites of India through its different segments is appreciative and I wish for its success wholeheartedly.

References:
2.1. What is Heritage?. (n.d). OpenLearn Retrieved December 13, 2021, from What is
heritage?: 2.1 What is heritage? – OpenLearn – Open University – AD281_1

Heritage. (n.d). Incredible India. Retrieved December 13, 2021, from
https://www.incredibleindia.org/content/incredibleindia/en/experiences/heritage.html

What is Heritage? (n.d). UMassAhmerst. Retrieved December 13, 2021, from What is
Heritage? (umass.edu)

Vajpayee, S. (2017, January 3). Photos: The forgotten history of Chinsurah, a part of
Holland on the Ganges. Scroll.In. Retrieved December 13, 2021, from
https://scroll.in/roving/728222/photos-the-forgotten-history-of-chinsurah-a-part-of-holland-
on-the-ganges

The views, information, or opinions expressed above are solely those of the author(s) involved and do not necessarily represent those held by India Lost & Found and its creative community.

Hi, I’m Debajit Ghosh …

A trainee of Archaeology by profession, a poet by nature, I always try to feel the essence of Human Culture through a fascinating journey of my discipline. Being a heritage enthusiast, I aim at highlighting our relationships with our heritage through research paradigm.

The movie Jait Re Jait, a 1977 Filmfare award winning Marathi language film, directed by Dr. Jabbar Patel, is based on a book by G. N. Dandekar. Its story revolves around the Thakar tribal caste, where Nagya, the protagonist (played by Dr. Mohan Agashe), is a drummer, obsessed with being ‘punyavant’ or pure. He meets Chindhi, (played by the evergreen actress late Ms. Smita Patil) who has abandoned her ineffectual husband. Nagya and Chindhi fall in love and the story unravels their struggle to find union. The movie delivers the message, that if you want to achieve your goals, you should be willing to take efforts, even if it means paying the ultimate price! (No spoilers here!)

Additionally, more crucial to the theme, the film depicts the beliefs of the people who worship a bare mountain peak, called ‘Lingana’, as their god. So entwined is this god or force of nature in their lives, that it finds mention as the flora and fauna, the day and night, in every alternate phrase of the tribe’s folk songs. Interestingly, highlighting their close relationship with nature, the people of the tribe also count their days and identify seasons by referring to the colours of leaves and trees. In their folksongs, the Thakar tribe address themselves as the ‘birds of this jungle’.

Here is a stanza from one of the songs in the movie:

 “आम्ही ठाकर ठाकर ह्या रानाची पाखरं
या झांबर्‍या गर्दीत मांडुन इवले घर…”

“We are Thakars, Thakars, the birds of this jungle,

We’ve established our tiny houses between these serried trees…”

The plot of the movie is interesting. It starts out with Nagya using his father’s dhol or drum, which he finds difficult to use. He demands a new, smaller dhol from his father instead, to make things easier for him. Reality is, as is usually the case, very different. Nagya’s father explains that making a dhol from scratch takes one and a half year, and is quite a challenging task. When you depend on nature, you move along with it, and cannot speed things up, unsustainably. Nonetheless, because Nagya is so obdurate, father and son finally proceed to make a dhol. They cut a suitable tree trunk and locate an ancient rock-cut water body at Lingana hillock, since the wood has to be submerged in water for a whole year. Simultaneously, the skin of an animal has to be dried and prepared. Only then can the dhol finally be assembled.

This whole process of making the dhol is intriguing and interesting. It not only shows the amount of patience the tribal members have, but also how wholly dependent they are on nature for meeting their needs and requirements. The patience, intricacies and excitement depicted in this relationship reveals how the people seek joy in nature and in the smaller things of life.

Another striking moment from the film for me, was when Nagya’s father warns him not to utter any bad word during the ‘Sugiche Divas’, or days of harvest, considered to be the happiest days for the tribe. The time of harvest is considered by them as their only festival, where any kind of negativity should be eliminated.  

What caught my attention was the unique calendar used by the people of Thakarwadi (the tribal settlement). The calendar closely follows the patterns of nature, similar to the traditional calendar system of the Hindus. Full moon and new moon days are significant.

The movie does a good job of bringing out the tribe’s lifestyle and communion with nature. Throughout the movie, the background and foreground score depends largely on folk songs.  There is a mention of plants, animals, the sun and moon, days and nights, in all these songs, composed poetically and with great music to go with it.

“आल्या बरसाती घेऊन, मेघ मल्हाराची धून, या झिंगल्या झाडांना बांधले पैंजन…

चांदन्या गोंदून, चांदन्या गोंदून…धरलिया चादर…”

“The music of ‘Raga Malhara’ has invited the monsoon showers. The wind makes the trees swing, they sound as though ghungaroos (anklets) are tied to them.

The raindrops sparkling in the moonlight emit light as if the roofs (and Mother Earth) are covered with a blanket of stars!”

“चैत्र गेला, वैशाखाचं ऊन गेलं,

पाऊस पाणी सरलं, सरली हंगामाची घाई…”

“Chaitra (the first month of the Hindu calendar) has passed, the harsh summer of the month of Vaisakha has been survived,

Monsoon showers have ended, so has the bustle of the farming season…”

The message conveyed by the Thakar community and their relationship with nature indicates how finding oneself equals to finding god. That is the journey of life. The tribal community has found god in nature. Material desires such as wealth and fame take one further away from this higher purpose. Finding god is a reward in itself, and to the people of the tribe, god lives solely in nature. To survive and thrive, we must co-exist with nature, our god.

This symbiotic relationship with nature is what caught my attention, and the words “sustainable habitats” promptly reminded me of this film. Many such stories of natural heritage mingled with our culture exist in India, they are only waiting to be explored, and gazed at with a fresher lens. I hope the snippets of this movie push you to watching it too, and I hope you like it, just as I did.

On the theme of being one with nature and with god, I am reminded of the words of Lord Byron,

“There is a pleasure in the pathless woods,

There is a rapture on the lonely shore,

There is a society, where none intrudes, by the deep sea, and music in its roar:

I love not man the less, but Nature more.”

The views, information, or opinions expressed above are solely those of the author(s) involved and do not necessarily represent those held by India Lost & Found and its creative community.