One evening, I joined the throng of devotees gathered at the ghats for the Ganga Aarti. As the sun dipped below the horizon, the atmosphere became electric. Priests in their traditional attire moved gracefully, orchestrating the ancient ritual. The chants of hymns filled the air, resonating deep within my soul. The sound of conch shells and the warm flicker of brass lamps cast an ethereal glow on the sacred river. It was a visual and auditory symphony that narrated the profound connection between Varanasi and the Ganges, a connection I could feel reverberating in my own heart.

Varanasi also offers a glimpse of devotion in daily life along its bustling ghats. In the early morning hours, I joined the river’s edge where devotees and seekers embarked on their daily rituals. They bathed in the holy Ganges and offered prayers, connecting with the divine in a way that is incomprehensible to the ordinary.

Varanasi’s inclusivity shines amidst the daily chaos. Beyond its religious significance, the city emerges as a cultural melting pot. In my journey, I came across a place where different faiths coexist harmoniously. It was proof of India’s rich tapestry of cultures, where diverse beliefs come together. A temple devoted to Lord Shiva, a mosque resonating with the call to prayer, and a Sikh gurdwara where langar is served to all; Varanasi embodies the inclusive spirit of India where diverse traditions find common ground.

The liveliness of the city is most evident during Diwali. It transforms into a mesmerizing canvas of illumination. Countless lamps and candles adorn every corner, painting the night sky with a golden hue. People exchange sweets and greet one another with blessings. The celebration is more than a festival; it becomes an invitation to experience the warmth of the city’s traditions.

Venturing further into the city’s heart, I visited the colourful bazaars. Each narrow lane was a treasure trove of colors, textures, and aromas. Shopkeepers displayed intricate textiles, traditional jewelry, and an array of spices. The air mingled with the scent of incense; the sarees were in bright, striking colours that matched the sparkle of the city. Engaging with the kind locals showed me that Varanasi’s soul is deeply rooted in the spirit and dedication of its people.

In retrospect, my journey to Varanasi was not a passive observation of a city’s features; it was a visceral experience of its soul. The sizzle of street food, the resonance of ancient hymns, the warmth of shared smiles, and the joy of celebrations etched the essence of Varanasi deep into my being. This ancient city became a significant chapter in my own journey of discovery. It was an unforgettable experience that taught me about the different shades of India’s spirituality and culture. The experience proves that this ancient city is not lost in the past. It knows how to evolve while preserving its traditions. What makes Varanasi special is its ability to find a link between the past and the present. It is a place where every traveller can identify their bond with spirituality.

About the Author 

Saumya Sachan

She is a budding writer. Homesickness fuels her creativity, and when she is not immersed in the world of tech, she finds joy in dancing and devouring books. She considers writing as her sanctuary, a means of reconnecting with the warmth of home, offering escape and catharsis in a world of words.

Journey Through Jahangir’s Empire: A Tale of Cities and Dynasties

The reign of Mughal Emperor Jahangir stands out as one of the vibrant and mesmerizing chapters in the history of India, amidst the magnificent tapestry of empires and dynasties. It was an age of cultural blossoming and artistic wonders. The Jahangirnama is a unique memoir that serves as a window into the Emperor’s astonishing reign. The autobiography also reveals a kaleidoscope of cities that marked his reign, each with a distinct character and tale.

Jahangirnama is also known as Tuzuk-i-Jahangiri. Written in Persian, the autobiography was translated into English by scholars like Francis Gladwin. The entire translation by Alexander Rogers serves as a crucial contribution to the study of Jahangir’s period. Jahangir began writing his memoir in 1605 but, owing to sickness, he delegated the assignment to Mutamid Khan in the 17th year of his reign (1622), who continued writing until the 19th regnal year (1624). From that point, it is said to be written by Muhammad Hadi.

Jahangir’s memoirs are written in the same chronological order as Baburnama. The employed language is communicatively effective, idiomatic, and employs evocative phrases. They give a firsthand description of the Emperor’s everyday life, administrative details, military campaigns, official titles, and official rules. Jahangir’s memoirs also represent his personal thinking and his opinions on politics, religion, and society.

His scientific pursuits, experiments, and connections with Sufis, alongside the use of opium and wine, are also documented in depth. Jahangir’s Persian writing style is distinguished by the incorporation of lyrical quotes, frequently in the form of proverbs and references to traditional Persian authors such as Firdawsi and Baba Fighani. His knowledge of Hindustani poetry and imagery and his use of Hindustani and Kashmiri terms in his Persian memoirs demonstrate his admiration for Indian culture.

Each city in the Jahangirnama has its own story to tell. One cannot miss witnessing their lively histories while travelling and exploring the rich tapestry of the Mughal Empire under Emperor Jahangir. As we read on, we will embark on an enthralling journey to Agra, a city that gleams like a rare pearl on the banks of Yamuna. Landscapes transform into architectural marvels, and one can feel the pulse of the busy streets and labyrinthine passageways. The atmosphere of Agra perfectly merges history and modernity, paying homage to the city’s eternal character.

Agra: The Jewel on Yamuna

In the embrace of Yamuna, Agra blossoms like a precious gem. This city witnessed the transformation of wild landscapes into a symphony of architectural marvels. Before the rule of Lodi Afghans, Agra flourished as a city with a citadel, a testament to its historical significance. It is a place where history whispers from every corner, reminding all who listen of its storied past. Jahangir’s father Akbar razed the old citadel, birthing a new one from hewn red stones, an unrivaled edifice. The heart of Agra pulses with life. Towering buildings create a magnificent city where time seems to lose its way. Those who visit Agra today are mesmerised by its aura, which combines the vivacity of the present with the glory of the past.

Fatehpur Sikri: The Abandoned Dream

Following that, we travel to Fatehpur Sikri, an abandoned dream set among old mountains and forests. The city grew from the earth only to be abandoned, its red sandstone structures straining for the skies, a tribute to human aspirations.

Nestled within ancient mountains and jungles, Fatehpur Sikri tells a tale of ambition and destiny. Originally Sikri, Emperor Jahangir’s birthplace, it transformed into a city of wonder, a grand capital. For fourteen or fifteen years, the landscape burgeoned with buildings, gardens, and delightful spots, all a testament to the vision of Akbar. After the conquest of Gujarat, it was renamed Fatehpur.

Walking through Fatehpur Sikri is akin to traversing the realm of dreams. Its red sandstone monuments, such as the Buland Darwaza and the Jama Masjid, rise to touch the heavens. Like a phoenix, the city rose from ashes, and echoes of the emperor’s footsteps still resonate in its silent courtyards. However, Fatehpur Sikri will only tell a story about the transience of human ambition. As the city was abruptly abandoned, it could only hold memories of the spectacular life that would never return.

Kashmir: The Enchanted Vale

The magical valley of Kashmir comes alive with its otherworldly beauty. Emperor Jahangir’s visit to Kashmir unraveled a land so ethereal it seemed plucked from the realms of fantasy. This paradise on earth enveloped the Emperor with the awe-inspiring grandeur of the Himalayas. Its landscape, cloaked in the vivid hues of autumn and spring, is a sight to behold as each season unveils a unique masterpiece.

Kashmir is a place of breathtaking splendor, where nature herself becomes an artist. Pure crystal waters of the Verinag Spring flow through the heart of the valley. The saffron fields of Pampore paint the land with a mesmerizing orange hue. The fragrance of this precious spice fills the air, leaving even the most robust souls spellbound. Reflecting the emerald mountains, the Dal Lake provides a tranquil haven for the people of Kashmir.

With its harmonious blend of flora and fauna, the Kashmir Valley is home to legends and miracles. It is believed that the “island” rising from Wular Lake, popularly known as Zaina Lank, was the creation of Sultan Zainul Abidin. His forty-day retreats and miraculous encounters with his sons paint the valley with mysticism and spirituality. The Gakhars, a resilient clan living on the fringes, add an element of intrigue and adventure to Kashmir’s narrative.

Rohtas: Sher Khan’s Impregnable Stronghold

Finally, we arrive at Rohtas, where the builders’ unbreakable spirit speaks volumes about human resolve and strategic ingenuity. As Emperor Jahangir ventured farther into the empire, he came upon a fortress perched on a patch of broken ground, a building that represented incredible strength. Rohtas stood as a sentinel against the rebellious and refractory Gakhars, a symbol of authority and power. In another part of medieval history, it used to be Sher Shah Sur’s impregnable stronghold.

But Rohtas is more than a fortress; it is a defiance of nature itself. Its seemingly insurmountable rocky terrain serves as a silent witness to history’s unfolding drama. Here, the clash of wills between emperors and their adversaries is etched into the very stones, a living testament to the resilience of the human spirit.

We are taken to a period of grandeur, ambition, and incomparable beauty as we flip through the pages of the Jahangirnama. Each city, as described in the Jahangirnama, provides a unique view into India’s rich tapestry of history and cultural variety. These cities, brought to life as people in their own right, entice us to explore their fabled pasts, where echoes of bygone times may still be

heard. They are more than simply geographical sites; they are living testament to the majesty of the Mughal Empire, especially its enduring legacy throughout Jahangir’s reign.

In the pages of his memoirs, we find not only the story of an emperor but a glimpse into the mosaic of civilizations that have thrived on the Indian subcontinent. It is another reminder that history is not just a collection of facts and dates but an exquisite treasury of experiences that enrich our understanding of the world.

References:

1. The Jahangirnama : memoirs of Jahangir, Emperor of India : Jahangir, Emperor of Hindustan, 1569-1627 : Internet Archive. (1999). Internet Archive.
2. Thackston, Wheeler M., ed. 1999. The Jahangirnama. New York, Oxford: Freer Gallery Of Art, Arthur Sackler Gallery, Smithsonian Institution
3. Lefevre, Corinne. 2007. “Recovering A Missing Voice From Mughal India: The Imperial Discourse of Jahangir (R. 1605-1627) In His Memoirs.” Journal Of The Economic And Social History Of The Orient 50(4): 452-489

About the Author :

Vidarshna

Vidarshna is a third-year student who loves navigating her way through history, society, culture and politics. She loves writing, meeting new people and trying out new experiences.

Power. Conflict. Victory. I hear no gender. Yet, flipping back through time, we see a male-dominated narrative. Were women truly forbidden from becoming leaders unless it was to serve their men or deliver the next heir? Or were they more involved than what the storytellers narrate and what people choose to believe today? Indian history takes us thousands of years back with countless settlements having flourished, diminished and rejuvenated. Despite its unique features, each settlement shares in common a sense of community, a distinct cultural identity and a seat of authority. Today, the evidence confirming human, cultural and social evolution, lies trapped in ancient edifices and prevails through the people. While many legends glorify male leaders who have done great for their kingdom, the women of action remain hidden in their shadows. However, history has not let women down just yet. Some have been celebrated for their bravery, intellect and authority. Their pursuit of progress and freedom led them to shine decades after their deaths. Let’s embark on the journey of three such women warriors, who have shown great feats in fulfilling not only household duties but also demonstrated great administrative control, bravery on the battlefield and an ambitious architectural vision.

As Indira Gandhi once said, “the power to question is the basis of all human progress.”

Who saved the Rajshahi Zamindari estate in Natore from the British in the 18th century?

Rani Bhabani was brought to fame overnight when her husband, Raja Ramkanta Moitra, died in 1748 and left behind almost 13000 square miles in Natore along with the responsibility of several families and towns. His death, her destiny. Without hesitation, she spent almost 50 years in the Rajshahi estate of Natore, now in Bangladesh, managing her husband’s lands efficiently.

Image 1

The 18^th century saw the rise of the British Empire in the Indian subcontinent. At a time when women heading the table were not given a single thought, the Rani of Natore made her roaring appearance and emerged as a fine administrator. Marking her legacy in architecture, she built numerous shrines and constructed a road from Howrah to Varanasi. Rani Bhabani, having visited Varanasi in 1770 and built the Durga temple, returned with the vision to create a Kashi in Bangladesh. So, she executed the ambitious project of erecting over a hundred temples in a large complex in Baranagar. Additionally, she sponsored the construction of several water tanks to cater to the water shortage in the region. Rani Bhabani was also recognized for her benevolence. She donated a vast amount of money to encourage learning and education. Temples with charity houses were built to support the needy and the helpless. Throughout her rule, Rani Bhabani exhibited intellect, strength and generosity. Her adventures came to an end with her death in 1803 and the vanishing of the glory of the Rajshahi zamindari family.

Several temples built by the queen perished as the surrounding river deviated from its course. However, some landmarks like the Natore Palace continue to exist today, resonating with the ambition and valour of the queen.

Who ascended the Malwa throne to protect the welfare of her kingdom after the death of the male leaders of her family?

The year 1725 marked the birth of a female warrior. Rani Ahilyabai Holkar was born in a small village south-west of the kingdom. Against all odds, she was taught reading and writing by her father from an early stage and was raised with simplicity. When she was eight years old, Ahilya married Khande Rao, the son of Malhar Rao Holkar. Her father-in-law trained her in military and administrative affairs. Hardly had Ahilya reached the age of twenty years that she was widowed. It is said that she prepared herself for sati before Malhar Rao stopped her from doing so. From this moment, Ahilya began performing various duties as a leader. Her training of several years prepared her for the courage to continue her battles when she lost her son.

Image 2

After Malhar Rao’s death, the responsibility was passed on to Ahilyabai’s son Male Rao, who too passed away soon, hardly giving any time for his rule. Finally, in 1767, Indore found a new ruler, a name synonymous with the city today – Rani Ahilyabai Holkar. She proved her worth to male leaders, countering rebellions and gaining victories in battles. Rani Ahilyabai carried forth a 28-year rule from the nearby town of Maheshwar, with the kingdom flourishing in the administrative, commercial, cultural and social realms. She would hold public meetings and address the grievances of citizens. The homeless and the orphaned were no longer neglected, and the merchants were encouraged to enhance trade. Another legendary contribution attributed to Rani Ahilyabai is the creation of the Maheshwari saris. She made Maheshwar an exquisite platter of music, literature and art, with several Marathi poets and Sanskrit scholars treading through the town. She took an interest in architecture, establishing numerous forts, highways, wells and temples. Her enthusiasm spread as she built dozens of temples, ghats, wells, tanks and rest houses. While Rani Ahilyabai paved her own path, she must have faced emotional scars that often left her broken. One such scar was losing her daughter to sati – the biggest irony of her life. In 1795, the Malwa kingdom shut its eyes to an incomparable legend.

In The Discovery of India, Jawaharlal Nehru writes how Ahilyabai’s reign “became almost legendary as a period during which perfect order and good government prevailed and the people prospered.” Besides being “a very able ruler and organizer,” Ahilyabai was remembered as “a saint.”

Who protected the Maratha Empire from the Mughals in the beginning of 18th century AD after the death of three heirs?
Image 3

Dialling back a few years, a woman warrior of the Mohite clan was born in 1675. Like Ahilyabai Holkar, Tarabai Bhonsale learnt archery, horsemanship and sword fighting from the early years of her life; she is also said to have been married at the age of 8. Her new Maratha family led to a big transformation in her life. The first 17 years of her marriage were marred by the absence of her father-in-law, the founder of the Maratha kingdom; the loss of the next heir, Sambhaji, followed by the death of her husband, Rajaram I, only to be left with their infant son, Shivaji II. Tarabai did not commit sati after her husband’s death. As Shivaji II was crowned the king, Tarabai became the regent queen. She could barely fathom the tumultuous events unfolding before her, and then the Mughals from the north raided the Maratha Empire. But Rani Tarabai Bhonsale fought with a rare courage that left all her enemies open-mouthed. Tarabai’s intelligence and awareness of civil and military affairs helped her rise above every obstacle. The rise of Tarabai came with the numerous battles she fought against the Mughals. From 1700 to 1707, Tarabai solely organized the Marathas’ defence against the armies of the sixth Mughal Emperor, Aurangzeb. She kept evolving as a leader, emerging as an unstoppable, resilient woman. After Aurangzeb’s death, Tarabai faced the most difficult battle – a clash with her family. The release of Shahu by the Mughals caused cracks in the strong political edifice of the Marathas. Tarabai did not acknowledge Shahu’s superiority. As he became the sovereign in Satara, she established a rival court at Kolhapur. Her son eventually lost the Kolhapur throne as Shahu conspired against her with Rajaram’s second wife. Even after being imprisoned and losing her son, Tarabai’s story did not end in Maratha history. Growing tension between Shahu and Sambhaji II, the son of Rajaram and his second wife, and later, the failing health of Shahu allowed her to regain her influence in politics. She proposed that her “grandson,” a man hidden for several years, ascend the throne after Shahu’s death. Unfortunately, he would be lured by the Peshwa and refuse to obey Tarabai. Tarabai’s story would come to a close some months after the third Battle of Panipat, which led to the tragic defeat inflicted on the Maratha Empire by Ahmed Shah Abdali. Some believe that because of Tarabai, the Mughals failed in overpowering the kingdom decades ago.

These were just three stories of women who have become eternal legends. There were other women too, those who challenged and defeated powerful enemies. Rani Lakshmibai, Maharani Jind Kaur of Punjab, Naiki Devi of Chalukya dynasty, Rani Abbakka Chowta of Ullal, Rani Durgavati of Gondwana, Sethu Lakshmi Bayi of the Travancore kingdom, Rani Chennabhairadevi of Saluva dynasty and Sultan Raziya of the Delhi Sultanate; the past is filled with stories of powerful women.

Women from different backgrounds, presenting different stories, had unique ways of creating history. As Mother Teresa once said, “I can do things you cannot, you can do things I cannot; together we can do great things.”

REFERENCES

• https://buzzchronicles.com/b/all/19657/
• https://www.natore.gov.bd/en/site/page/gUnK-%E0%A6%9C%E0%A7%87%E0%A6%B2%E0%A6%BE%E0%A6%B0-%E0%A6%AA%E0%A6%9F%E0%A6%AD%E0%A7%82%E0%A6%AE%E0%A6%BF
• https://www.thebetterindia.com/292468/brave-indian-queens-in-history-ahilyabai-holkar-abbaka-chowta-rani-chennama-durgavati/
• https://indianculture.gov.in/snippets/rajmata-ahilyabai-holkar
• https://www.thebetterindia.com/119761/queen-ahilyabai-holkar-maratha/
• https://www.historified.in/rani-tarabai-bhonsale-the-warrior-maratha-queen/

Image 1: Natore Rajbhari, Palace of Rani Bhabani

Source : https://en.wikipedia.org/wiki/Natore_Rajbari

Image 2: Rani Ahilyabai Holkar

Source : https://indianculture.gov.in/snippets/rajmata-ahilyabai-holkar

Image 3: Rani Tarabai Bhonsale

Source : https://www.historified.in/rani-tarabai-bhonsale-the-warrior-maratha-queen/

About The Author

Aalya Rekhi

Aalya Rekhi is an architect with work experience of 5 years in the field of cultural heritage from ICOMOS and INTACH. Currently, she is pursuing her Master’s in Applied Sciences of Cultural Heritage, Materials and Sites from the University of Padua, Italy. At a conference, she once heard someone say, “Heritage is what you choose to inherit,” and with “such great power comes great responsibility.” Breathing in a land of rich and diverse history, she has always been passionate about documenting and preserving the precious archives of the past that are fast-decaying but hold memories that have shaped the world today.

It is a tale as old as time: “A beautiful, pious queen who had a tragic fate, a king who could not accept her independence.” This story resembles the incidents one finds in newspapers or social media daily. Men tend to control women. They find it hard to accept that women can follow their choices. Although history (or “his-story”) tends to be biased towards kings rather than documenting the lives of queens, it always carries the opportunity to learn and improve the present.

Akola is a dry, arid town in the Vidarbha region of Maharashtra. For some, it may not fit the vision of an ideal tourist place. The populace, however, is faithful to the local temple. The Raj Rajeshwar Temple is so popular that some people call the city Rajeshwar Nagari. Today, this Shiva temple is part of the Akola fort or the Asadgadh fort. As the city stands today in a drought-prone region, it is hard to believe that it was once a part of the famous Dandakaranya with lush tree cover, probably a passing path for the Ramayana trio during their vanvas. The temple was originally built as a shivling in dense forests. As per the District Census Handbook of Akola, “no mention of Akola is available in historical records till 1658 when Aurangzeb ascended the throne of Delhi . . . as no exploration or archaeological excavation has yet been undertaken in this district, there is no definite information about its prehistoric and protohistoric periods.” Such is the history of this city, relying on anecdotes that locals remember with fondness while the remaining ruins at the fort continue to enchant visitors.

The tale of Raj Rajeshwar Temple is the one that has survived the longest. Akol Singh, or Akoli Raja, was the king who made the town, lending the place his name. His queen was a dedicated visitor of the shivling and often went to the temple in the late hours to offer prayer. The king became suspicious, and one day, he followed the queen with a sword in his hand. Believing that the queen was immoral, the king was prepared to kill her the moment he caught her red-handed. The queen was a regular visitor to the temple and knew the path. She noticed that someone was following her. Seeing the king with his sword, she felt her fate was sealed. She rushed to the shivling and prayed to Lord Shiva to help her. She asked him for refuge as she had nothing except for true devotion to him. She was also anguished that her husband could believe her to be disloyal. The shivling split open, like earth opening her womb, and the queen jumped in. By the time the king reached, he could only see a piece of cloth and a crack on the shivling. Another version of the story revolves around locals from the village near the forest. In a different narrative, the queen steps out of the fort for illicit reasons and prays to the shivling to save her. In one version, the king repents his decision and lives a sore life after the disappearance of the queen. Stories that capture the individuality of women are always timeless.

If you visit the temple today, you shall either notice a photo of a piece of cloth protruding from the shivling. A local may even show you the crack on the shivling. Plus, you shall come across a different version of the story. The fort, which lies in a ruinous state in the present-day temple, has inscriptions pointing to many details about its establishment. The Dahihanda gate and the bastion will tell you that it was constructed in 1114 AH or 1697 AD by Asad Khan. Akola, then a small town compared to the neighboring richer Balapur, was known as Akola Balapur. Asad Khan received the town as jagir from Aurangzeb and built the fort, which would be called Asadgadh. Few archaeological records and a district handbook mention that it was a notable fort in the second Anglo-Maratha war, serving as a camping ground for General Arthur Wellesley in 1803. It is believed that the British destroyed the fort in 1870. However, a source dating to 1910 reveals that the central portion of the fort was supposedly used as a school.

Most locals may not have visited the fort at all, but they are familiar with the tragic story of the queen. It is another testament to the power of stories and how they bring vivacity to built heritage.

Pictures:

1.Raj Rajeshwar Temple

2. Akola Fort

References:

• Annual Report of the Archaeological Survey of India, 1924-45 https://archive.org/stream/annualreportofth030750mbp/annualreportofth030750mbp_djvu.txt

• District Census Handbook, Akola

https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&cad=rja&uact=8&ved=2ahUKEwjsvJXAjvyAAxU1zDgGHcZKAv8QFnoECD4QAQ&url=https%3A%2F%2Fcensusindia.gov.in%2Fnada%2Findex.php%2Fcatalog%2F27787%2Fdownload%2F30956%2FDH_27_2001_AKO.pdf&usg=AOvVaw1OcHHCTGRnPNBbNkmp8Y2O&opi=89978449

• https://www.tourmyindia.com/states/maharashtra/raj-rajeshwar-temple-akola.html

About the Author:

Aishwarya Lahariya

Aishwarya is a circular textile entrepreneur. She is a chemist/scientist by profession. She calls herself a part-time creative who loves to write. When not involved with her start-up, she is either writing her blog, leading her zero-waste project at home or playing catch up on unread books

Mir Taqi Mir’s verse captures deep love and longing for Delhi. His poetry echoes the feeling of finding one’s true self in the city.

 Deeda-e-giryaan hamara neher hai

Dil-e-kharaaba jaise Dilli shehar hai

 “My weeping eyes are like a river

My heart ruined like the city of Delhi”

Delhi is a city that lures people from different places who romanticize it as their muse. Many prominent works revolve around the heritage and history of Delhi. The city has gone through various phases and continues to get built and broken again. While cinema has portrayed Delhi in its full glory through films like Rockstar, Band Baaja Baaraat, or Delhi 6, literature brings the city’s soul to life. Books make people wander the streets of Delhi and interact with its different facets through vivid descriptions.

 Several writers have told the stories underlying Delhi’s heritage interlinked with their accounts, one such prolific poet being Mirza Ghalib. Talking about Delhi without mentioning Ghalib feels like a sin. His writings covered the chronicles of Delhi and were found after he died in 1869. Author Pavan K. Varma talks about this through a biography titled Ghalib: The Man, The Times. The book opens with Ghalib’s stature in the Mughal court and depicts the chain of events that the city underwent after the Revolt of 1857, which marked the beginning of the British atrocities.

Then comes Korma, Kheer and Kismet, the illuminating work of Scottish journalist Pamela Timms. She churns many tales about the food of Old Delhi, taking readers to those places in the city and capturing the distinct fragrance of the delicacies described in the book. This book also serves as a strong counterpoint to the belief that heritage lies only in monuments. It notes how heritage covers each aspect of culture and life.

Before heritage walks became a trend, books played a major role in the lives of those who shared a curiosity for extraordinary places. The Forgotten Cities of Delhi is a remarkable book by Rana Safvi that incorporates all the hidden gems of Delhi. Beginning from the historical trails in Siri, Tughlaqabad to the serenity of the holy dargahs of Central Delhi, the book feels surreal with its illustrations and poetic excerpts.

Delhi has such a rich history one cannot just confine it to the indisputable connection the city shares with the Mughal culture. It dates back to the period of Mahabharata, a crucial landmark in the heritage of India. A notable Urdu writer, Intizar Hussain has recounted the origin of Delhi, the then Indraprastha, while also glimpsing into the present life of the city that lies beyond description. His book was later translated by Ghazala Jamil and Faiz Ullah into English and titled Once There Was a City Named Dilli.

The true way to explore a city is to walk through its streets and cross every puddle in between, but literary works that focus on a city as a living entity give deep insights into its history. They stand the test of time, providing ample evidence and stories from the past as the city constantly transforms, as its heritage gets rooted out to build other cemented structures. But no matter if it has taken a different hue, Delhi remains home to its people. They must relate to one of Sheikh Ibrahim Zauq’s oft-quoted lines: Kaun jaye Zauq par Dilli ki galiyan chhod kar. “Who then can leave the streets of Delhi?”

About the Author:

Anshita Jain

I am a literature student and an avid reader. In addition to to my love to hoard books, I am also interested in exploring the various realms of art in the hope finding my true passion (who am I kidding).

Several years have passed; filmmakers have brought stories of different genres. But what stands out is that now, the cinema yearns to bring a change.

Looking at the recently released movies, we shall notice how many have stood out and gathered praise from the audience for voicing unsaid, complex issues.

Sanjay Leela Bhansali’s Gangubai Kathiawadi is a heart-wrenching yet powerful story about a sex worker who doesn’t let her circumstances bury her within the brothels. Instead, she faces them with utmost grace, inspiring other sex workers around her too. The movie demystifies what it feels like to have nothing in your control. Still, you rise from the ashes and prove that your situation cannot define you!

Jayeshbhai Jordaar, directed by Divyang Thakkar, is an amalgamation of filmmaking skills to talk about the sensitive issue of girl child. Though it revolves around a serious topic, it makes people laugh by putting the actors in hilarious situations. At the same time, it ensures that the central theme remains in the spotlight. Through wonderful dramatic and comedy scenes, the film raises the message that a girl child isn’t a burden.

The inspiring musical movie, Cinderella by Kay Cannon released in 2021, is a contemporary take on the age-old fairytale Cinderella. The 2021 movie illustrates that a girl doesn’t need a hero to come, rescue her and unravel her worth. In an era when young girls are concerned about their appearance and kindle a dislike for themselves after seeing perfect models, the cinema demonstrates that it doesn’t matter what others think about you; only what you think about yourself when you look in the mirror matters.

The recent release, Jug Jugg Jeeyo also focuses on an imperative topic. It shows that divorce isn’t taboo and features two different generations dealing with it. The movie highlights that we must put our best foot forward to make relationships sustain. However, if they hamper our well-being and become tiresome, it is okay to move on. Also, unlike many movies, Jug Jugg Jeeyo decodes a beautiful relationship between a young woman and her mother-in-law. The cliché fight isn’t entertained here. On the contrary, the film showcases that the two can have a magnificent bond, understand each other and share unconditional love.

The cinema has evolved and proves that it aims to bring positive change in society. I would love to mention a few television series as they have become an important part of cinema today. Heartstopper defines queer relationships and how it feels to be part of the LGBTQ community; The Bold Type indicates that women can have successful careers and personal lives; finally, Mai illustrates that when it comes to her children, a mother can do anything.

Contemporary cinema has now moved on from orthodox ideas and is leaping gracefully towards building a new world by discussing hush-hush topics and normalizing the same. The cinema around us is changing for the good!

Reference:

Feature Image – www.the-bigger-picture.com

Palak Dogra

Hey, this is Palak Dogra, a media student, writer, and blogger. In this busy world, I find my escape in writing.

Let us go two days back. On December 11, 2021, I read the book Jonathan Livingston Seagull in a single sitting. I was intrigued by its basic philosophical discussions and the questions it raised, and it immediately became one of my favorites. That’s the first day of the Richard Bach trilogy in my life.

Entry 2: Day 2. December 12, 2021.

I wanted to watch Vaaranam Aayiram (2008). It had been a long time since I watched it. And I wanted some dose of energy that movie gives me every time I watch it. Especially Krishnan’s simple, sweet, not-so-heavy dialogues and Suriya’s amazing responses to those dialogues. And I was watching it. It all went well, as it always does, and suddenly it happened. It was the first time I noticed the book Priya gifted to Suriya. The book was Illusions: The Adventures of a Reluctant Messiah by Richard Bach. Surprise! He made the second entry in my life.

Entry 3: Now, the third day. December 13, 2021.

I don’t know what pushed me to watch Aval Appadithan (1978). Maybe it was the opening sequence from Vaaranam Aayiram where Gautham Vasudev Menon is heard singing Uravugal Thodarkathai. The movie was interesting from the very first frame. Aval Appadithan was so ahead of its time that, even in 2021, it seemed radical in a sense or two. And all the while the movie was going on, there came a picture of a seagull. My heart had an instant reaction before the next moment unfolded on the screen. My subconscious mind somehow guessed that the seagull would turn out to be a reference from Jonathan Livingston Seagull. And guess what! It actually was! It contained the quote from the book,

“We’re free to go where we wish and to be what we are.”

Man, Richard Bach made the third entry into my life in as many days.

Isn’t this a sign from the universe to push me into reading more of Richard Bach’s works? Because I am someone who’s always looking for signs from the universe. Eventually, Richard Bach also seems the same kind of person. When I read Illusions, I almost confirmed that.

It all brings back my life to that specific quote by Paulo Coelho, AGAIN.

“When you want something, all the universe conspires in helping you to achieve it.”

Sibiraj

A writer, filmbuff and an engineer (in that order) who is looking for more and more words in this world to weave the train of thoughts running amok in his mind. Whenever I’m not writing or watching a movie, I spend my time watching funny cat videos on Instagram.

Along with the religious activities, life carries on as usual. Pilgrims take dips in the holy waters to cleanse themselves of all sin. Monkeys scavenge for rice grains or fallen prasad, while a woman sweeps the steps. Varanasi’s culture stems from the religious importance of the River Ganga, considered to be the river of salvation. According to Hindu scriptures, Varanasi was founded by Lord Siva, and is also referred to as ‘Kashi’ or the City of Light, and is an eminent seat of spiritual enlightenment.  

Varanasi was named after two Ganges tributaries, Varuna, and Assi, that form the city’s borders. It is a dynamic medley of tangible, and intangible heritage. Benares is rich in architecture, with hundreds of monuments sprinkled all over, dating back to different historical periods. It is one of the oldest, continuously inhabited cities. Varanasi is believed to be older than Athens, Babylon, Thebes, and even Jerusalem. The city is equally opulent when it comes to its culture which is seen in the form of art and craft, music, dance, and literature.

The Varanasi Ghats

 As the Subah-e-Banaras events fade to an end on the Assi Ghat, boats crammed with tourists cruise along the illuminated waters of the Ganga. Often resonating with holy chants throughout the day, the 80-odd ghats of Varanasi are always buzzing with activity. Local children run around in happy groups playing cricket matches or selling souvenirs, while babas with ash smeared across their foreheads, beg for alms. Small stalls flank the ghats, offering hot refreshments.  

These world-renowned stone slabs beautifully represent the Hindu concepts of divinity and mystical elements. These are mostly used for religious ceremonies, bathing, and tourism. At the Manikarnika and Harishchandra Ghats, where bodies are cremated, men cut logs for funeral pyres.  

Here, families mourn for their deceased, while priests pray to the gods for the soul to attain salvation. The water is sprinkled orange by marigold garlands, and the burning flames of the pyres. The ashes are poured into the waters, in a tradition spanning back centuries, but tainting its purity with water pollution.

Temples of Varanasi

  As you traverse the narrow, winding lanes of the old city, with the scent of incense and smoke lingering in the air, you’ll come across a temple in almost every lane. Varanasi is often referred to as the City of Temples, as its landscape is dotted with close to 23,000 temples. The 24 x 7 fire at the Manikarnika Ghat rages on, to complete the final rites of corpses swaddled in white, red, or gold.  

Nearby, the Ratneshwar Mahadev Mandir, popularly known as the Leaning Temple of Varanasi, is the subject of many awestruck photographers. Built in the classical architectural style of temples in north India, it features an elaborately detailed nagara shikhara. The temple leans at an angle of nearly 9-degrees, which is why its garbha griha or sanctum remains submerged in non-summer months.  

Varanasi is also home to the holiest of the twelve Jyotirlingas, or Shiva Temples in India, the Kashi Vishwanath Temple. Throughout the course of history, the temple has been destroyed and reconstructed several times. Clad in saffron robes, thousands of pilgrims visit Varanasi every year, to visit Kashi Vishwanath. The temple complex is riddled with several smaller shrines, while the main temple sits at its center. The temple, along with the city, comes to life on several auspicious occasions, including the Maha Shivratri festivities in February.

Varanasi’s Intangible Heritage

  Varanasi’s bazaars are always teeming with a vibrant display of Banarasi Sarees, carpets, and shawls. These glisten with the intricate gold and silver weaves of traditional zari embroidery. Melodious tunes of classical Indian music add a lively charm to the place. People flock to shops to savor the sweet flavors of the Banarasi paan.  

Varanasi’s heart and soul lie in its rich culture that speaks volumes about beautiful literature, soulful music tracing back to the Pauranic days, and vibrant handicrafts. Perfumes, brass and copper accessories, bangles, and others made it an important center for trade. Prominent writers, poets, philosophers, and musicians including Tulsidas, produced some of their best work here.  

During festivals, the city comes alive with lights, colors, and throngs of people. Every year a five-day festival, the Ganga Mahotsav is observed across all the ghats, to celebrate the River Ganga. It honors the nurturing Ganga and the spiritual, traditional, and cultural vibrancy of Varanasi. On the last day of the Ganga Mahotsav, thousands of pilgrims float lighted oil lamps into the river. This tradition is meant to welcome the Gods who descend to earth to bathe in the Ganga’s holy waters. As the day draws to a close, the locals wrap up their chess or card games, and young artists sharpening their sketching skills on the ghats, return home. At dusk, the Dashashwamedh Ghat comes to life, with men, women, and children gathering to celebrate the Ganga. Hundreds of diyas on brass lamps are set ablaze, and hymns resonate all across.  

The crumbling facades of the buildings, the stray leaves floating in the river, and the ghats are illuminated by warm, yellow light. The city of Varanasi is a brilliant example of an eternal human settlement, where both life and death are celebrated with equal vigor. The city finally rests at night, only to come alive with colors, people, music, and ceremonies, in a few hours.  

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 Deeksha Kamath…

George Santayana

Honestly, is it too hard to care for priceless things? Do we care about how irretrievable our vacuous inflictions can be? It breaks my heart to imagine how ruthless we are being. How much of ourselves are we losing, as we stand aloof, blithely watching the days of our past fade into a void of neglect and dereliction? Can you hear the cacophony of decay yet? Do you care to?

Indeed, the past is a cycle, it always comes full circle. We are humans, after all. Humans, who had committed those mistakes in those bygone days. How are we any different from them? Multifaceted and disparate in some way, but when did human nature and its diabolical fallibility ever alter its ways?

A familiar apprehension clenches my heart, as almost every feature of fascism matches that of the regime of my country. Controlled press and media, a slow and steady onset of a one- party nation, religious bias, suppression of freedom of expression, disdain for human rights, ultranationalism and protecting corporate power whilst imposing fiscal sanctions over common man. I wonder if they see what rabbit hole all of this is winding into, or are a lot of them carried away by the cult of a leader, another badge of fascism, by the way? Intricately intertwined, isn’t it?

When that one distantly-related fellow, who himself knows not how to listen, rambles about how womanhood intrinsically attaches one to domesticity, I wish I could grab a duct tape, besides willing them to understand that it is society’s inferiority complex and insecurities that makes a ‘second sex’ out of women. I wish they understood that human society was never originally misogynistic, and that it was warped into this structure of sexism that became a tradition. Perhaps, they never knew that the ancient civilizations, like the Indus Valley civilization and the early Vedic society, treated women with respect and as equal to men.

When some pedagogue ingrains into young ladies the idea that “one can never go against society”, I wish they pondered upon the irony. It was the effort of the liberal few who stood apart from teeming multitudes, that enabled education to be availed by all females today.

Sycophancy never birthed the path to liberation, rebellion did. Do they know that even a British man could establish the Indian National Congress when India was trampled and tormented by his own country? Certainly, there are specks of light in the dark, too, because that age-old sycophancy can never make a way out.

That snob who derides that person with their English as torn as their nation, I wish they understood that they are the ones speaking a language foreign to a country which made it its own—but English was never Indian. It matters little if one doesn’t speak it, unless they need to. They do not understand so they think that a language can amass the entire education which the world spins around. They do not understand why I am writing in English, why English is our first language in our admission forms even though our mother tongue was never that. They do not understand their past. They are like adults with amnesia who do not remember their childhood, what their past was like—they do not understand their identities, they do not care to.

When I see my nation rife with communal hatred, I wish they remembered that a Hindu Queen could own mighty ships and trade with the Portuguese in a Mughal Court. I wish they remembered that one of Aurangzeb’s daughters was actually a liberal poet who was hidden behind the bars of society, and adopted Sufism—the path of the liberal mystics. I wish they remembered that Jahangir would touch the feet of his mother out of respect, honourably greet her, doing sajda and taslim, and carry her palanquin, when she would leave the fort, on his own shoulders, even though she was a Hindu woman–and this is not even a miniscule drop in the ocean.

When they denounce homosexuality as some soi-disant distortion stirred up in the modern age, I wish they knew that the “Madho” in “Madho Lal Hussain” is the name of the boy he loved with all his heart even though he was a poet who lived four centuries before us.

When they dismiss people as either black or white characters, I wish they remembered that the same Akbar who piled up corpses in the Chittor Siege could also commence Din-i-illahi and still not enforce it and transform the cultural fabric of Mughal India for the better. That same Akbar could ride his horse with all speed to thwart the forced sati of Rani Damayenti, even when he was in his forties.

They never understood that history is what makes them who they are. It is what has made our society what it is today. Most are conditioned to see history as a one-dimensional, unfeeling monotony, books which we study and keep at the tip of our tongues just for the exam to score those cent marks. As a profession, it is highly neglected and politicised. History is not boring lessons and yawns, it is just the system that often makes it so rampantly misinterpreted—it is wrong. However, it’s never too long to make a change. If you are someone who does not understand that history and heritage is not just a few textbooks, I will refuse to agree. It is what lives before our eyes, our customs, language, culture, ideals, our prejudices, our follies, a part of our being as a society.

It is true that we will make the same mistakes until we learn from them. Nonetheless, we turn blind to our own past even though every corner of it is screeching in our ears to be heard because it can teach us the way to the right path, like a discerning mother holding your finger tenderly in a dark and lonesome tunnel.

How do you truly understand yourself without knowing all the trauma, happiness, crests and troughs that you have walked past? You wouldn’t be who you are if all that happened to you wouldn’t have happened to you. Your existence has no meaning if you abjure your own past—it is like treading a dark tunnel without knowing what hides inside it. It is similar when it comes to history, heritage and culture. You cannot truly understand your existence, your being, the world surrounding your being if you do not understand, accept or respect where you come from. The utmost least that can be done is to render respect. How much should we lose, either due to baseless politics, mindless negligence or deliberate ignorance?  

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 Rasita Sarkar. …