The word heritage conjures up myriad images. Depending on where you are in the world, “heritage” could be majestic forts or lacquer bowls, pristine mountains or piping hot food in wooden homes. Gilded books or intricately embroidered artefacts, or perhaps a ritual in the amber haze of a fireside.

What role have women played in the past as contributors of heritage? What do we imagine when we think of women and heritage; an old lady bent over an embroidery? Or exuberant folk dancers and singers celebrating a festival? Or a smiling face doling out delicacies? Exploring the contribution of women towards heritage through the ages leads us to think about the way traditional gender roles have shaped their participation in this field. In India, it gets more complicated as the caste system further impacts the contribution of women from marginalised groups.

We have also been trained to recreate heirloom recipes passed down through generations by maternal relatives. In truth, the decorative arts, culinary heritage and craft tradition are visibly enriched by women’s participation. The domestic household, which has served for a long time as the main turf of women in regions around the world, has imbued them with knowledge of intangible heritage. It not only shapes their identities but also the identities of entire communities through generations.

Scholars tend to highlight only certain facets of history. As a result, women are often not recognized as crucial contributors to intangible heritage. The notion of women shaping and upholding heritage in the form of folklore, ethnic attire and rituals tends to slip in the shadows. We see our mothers and grandmothers carrying forward oral traditions and rituals. The lilting wedding songs, the prayer hymns, or the couplets sung by rural Maharashtrian women as they grind flour; all constitute oral tradition that serves to enrich not just the language but the culture and identity of people.

India is often called the land of festivals. Each festival has rituals, food and decorative arts unique to itself. Women are primarily the custodians of knowledge about festive customs. Decorative arts like pookolam and rangoli are part of daily rituals for many women. These art forms utilise natural materials like flowers and flour and are often the hallmark of celebrations and momentous occasions.

Around the world, indigenous women are repositories of traditional knowledge in healing, natural resources and ecosystems, farming methods, and midwifery, among other domains. British travellers in the 19th century recorded Ugandan women performing caesarean sections using local materials. In India, women are often responsible for sourcing and processing natural materials for consumption in their homes and are engaged in preserving natural ecosystems. The Chipko movement started by women in the 1970s to protect local forests is a prime example of women joining hands to protect natural resources.

Women have also uplifted the craft traditions of India. I remember the Sujnis that my mother would create and use till much later in our home. In many handwoven textiles, women’s contribution is perhaps not much visible in the entire process, but for every master weaver, there is an army of women spinning the yarn, dyeing it, and draping and using handcrafted items with great dedication. Textiles like Sujini and Kantha bedspreads constitute an expression of identity, a fulfilling pastime born out of a necessity. Pupul Jayakar, Kamaladevi Chattopadhyay, Suraiya Hasan Bose and Laila Tyabji are some noted craft and textile revivalists who have supported artisans tirelessly over the years.

Gargi, Maitreyi, and Lopamudra were prominent philosophers in the Vedic age. The early Vedic age must have seen women contributing to culture and thought before a subsequent decline in the degrees of freedom afforded to them in the subsequent age. Globally, eminent philosophers in history include Hypatia of Alexandria, Émilie du Châtelet and Simon de Beauvoir. Compared to men, we see a sparse representation of women in leadership. Leaders like Sultan Raziya and Rani Lakshmibai are few and far between. They are often exclusively viewed in the context of their relationships with prominent men of the times. This inaccurate perspective has seen a change in modern times. Now, there is emphasis on the fact that many female inventors, scholars and scientists never got due credit for their work. Rosalind Franklin, Chien-Shiung Wu or Jocelyn Bell Burnell, there is a long list of women who were credited much later for their scientific breakthroughs and left out of the haloed annals of Nobel laureates.

In literary pursuits, women have been the creators behind riveting fiction. Indian literary trailblazers like Kamala Devi and Ismat Chugtai, who wrote fearlessly from a distinct, unabashed female perspective, are widely read and celebrated today. Moreover, women have expanded their horizons into writing and direction in cinema and theatre. Indian cinema has seen scintillating stories by directors like Fatma Begum, Honey Irani, Aparna Sen and Deepa Mehta. Globally, directors like Andrea Arnold and Kathryn Bigelow are part of a tribe of female directors that shall only increase in number. The growing popularity of “men written by women,” a phenomenon that translates to fictional characters characterised by emotional maturity and awareness, can be attributed to greater women participation or a vocal female perspective in popular culture.

Women have also left a mark on the development of performing arts across India. In Jain and Buddhist literature, ganikas were described as accomplished in music and dance and respected by society. In the later periods, tawaifs were courtesans who contributed to literary compositions, dance and other performing arts. Colonialism saw moral policing and stigmatisation of courtesans which has largely erased their contribution to Indian heritage in modern times.

Women have always been crucial patrons to the art ecosystem, especially to unconventional artists across mediums. Gertrude Stein and Peggy Guggenheim are some notable patrons who have aided the growth of modern art by supporting path-breaking artists. In Indian history, women have played a significant role in creating glorious works of architecture. Women like Rani Udayamati, Rani Hiradevi and Begum Samru had commissioned marvels like the Rani ki Vav in Patan, the Chausath Yogini temple in Hirapur and the church of Sardhana.

In visual arts, women featured prominently as muses, and their representation was affected by the male gaze. However, some women artists across the centuries gave voice to their individualities. From Élisabeth Louise Vigée Le Brun, who excelled in portraiture in the court of Queen Marie Antoinette, to abstract art pioneer Hilma af Klint, women have used visual arts to express themes close to their hearts. In Indian history, we have a few examples hinting at the presence of female painters in the Mughal court. Folk arts like Madhubani are practised by women, not only to decorate their homes but also as a vehicle for their creative expression. The Indian art scene has benefited immensely from artists like Amrita Shergil, Anjolie Ela Menon and Mrinalini Mukherjee, stalwarts who thrived in a predominantly male domain.

Women’s participation is essential for an inclusive heritage. It accounts for their representation in cultural narratives, ensuring that their experiences are heard. Apart from preserving history, there is a rise in the progress of women when they become equal stakeholders in heritage. It leads to opportunities for economic growth and sustainable development for entire communities. As digitisation reaches the grassroots level, women, for long the custodians of our intangible heritage, shall contribute to its tangible facets with a deepening agency. In doing so, they create opportunities for marginalised women to navigate their path, ascertaining that their voices seep into our heritage.

About the Author:

Swadha Sonu

Swadha is a curious soul and a closet artist who’s passionate about Indian art and culture, particularly the textile and craft traditions of India. As a professional at the intersection of marketing and design, she loves to unwind with creative pursuits in the cultural sphere.

Figure 1: Khari Baoli (Chandni Chowk)

Chandni Chowk is very close to my heart. I had bunked classes to spend time in Chandni Chowk. I came to Delhi for higher studies and lived in hostel. Whenever I used to fell homesick, I used to run away from college/hostel to Chandni Chowk, sit there for hours, observe people, culture, streets and shops. Chandni Chowk always felt me like – “a home away from home”. There is something very special about Chandni Chowk, it keeps people and culture alive. I will keep exploring Chandni Chowk and keep telling stories of Chandni Chowk by capturing its “never ending traditional beauty”.  

Chandni Chowk means different things to different people. I see in it centuries of history, as well as a vibrant contemporary culture. Chandni Chowk is of particular interest for two main reasons. Firstly, its street plan and major buildings are still mostly intact, which enables us to understand its layout and design. Secondly, it is still a living city. Though the lives of the people inhabiting it have changed over the centuries, the city’s markets, lanes and courtyard houses, to quite an extent, continue to be used as they were in Shahjahan’s time.

Figure 2 : Street of Chandni Chowk  

About Chandni Chowk Market

Figure 3: Chandni Chowk Market

If you have a quintessential shopper and a foodie in you, you must have heard about Chandni Chowk. Delhi‘s oldest and busiest market is a delight for someone who knows the art of shopping. One of the oldest markets in Old Delhi, Chandni Chowk is Old Delhi’s main thoroughfare which is a chaotic wholesale market lined by hawkers and porters offering full medieval bazaar experience. It is an important historical site renowned for the availability of every kind of goods as well as food. It was constructed in the 17th-century b the Mughal ruler of India Shah Jahan. It is situated opposite the Red Fort and provides a view of the Fatehpuri Mosque.

Figure 4: Chawri Bazar

Crisscrossed by narrow streets with shops jostling for space, Chandi Chowk gives a feel of old Delhi shopping. Since the 17th-century era, this places is rightly called a “shoppers paradise” in Delhi. During the reign of Shah Jahan, there was a tree-lined canal running through its centre, reflecting the moon. Hence, the name “Chandni Chowk” came to being which means “moonlight place”. Shopping at Chandni Chowk is fun as the market is distributed in several streets and these narrow streets are inundated with vibrant varieties of clothes, perfumes, electronic items, jewellery, candles, idols of deities and lifestyle goods.

Figure 5: Kinari Bazar

The market deals in everything that shoppers might think to buy for oneself and as well as for home. As this is a wholesale market, one can get huge discounts on most of the items. These shopping streets is heaven for retailers too. Apart from shopping, this place is equally famous for its eateries, street food, and Indian snacks. It has been aptly said for this barrage of noise, colour and smell.  

Symbols of secularism in Chandni Chowk

Figure 6: Sri Digambar Jain Lal Mandir

As you start the trail from the Red Fort, the red sandstone citadel of Shahjahanabad, you pass the Sri Digambar Jain Lal Mandir on your left. As history would have it, Shah Jahan had invited some Jain merchants to stay in the city and permitted them to build a temporary structure for worship. While he did not allow a ‘shikhara’, the carved tower-like superstructure characteristic to most Hindu temples, the post-Independence period saw considerable reconstruction. The temple is distinct, as it has influences from Hinduism, Islam and Jainism, and is one of the oldest and most well-known places of worship for Jains in Delhi.

Figure 7: Gurudwara Sis Ganj

Continue down the lane, the Gurudwara Sis Ganj Sahib built in 1783, stands witness to the Sikh resistance to the Mughal Empire, as it marks the site where the ninth Sikh guru, Guru Tegh Bahadur was beheaded at the orders of the emperor Aurangzeb for refusing to convert to Islam. Ironically, a tense political environment led to this structure alternating between a Gurudwara and a mosque in the years after it was built, with the British Empire judicial body finally granting the Sikhs worshiping rights in the early 1900s.

Figure 8: Central Baptist Church

Central Baptist Church, the oldest Christian missionary in north India. With all the other houses of faith nearby, it is strange that land should be acquired by a Baptist Missionary Society along this very stretch to erect a Christian mission, perhaps Christianity’s own, little bastion on secular street.

Figure 9: Fatehpuri Mosque

At the end of the road lies Fatehpuri Mosque, a 17th Century structure in red sandstone and marble with a little square fountain at the centre. After the bustle of Chandni Chowk, a strange calm pervades the mosque and at prayer time, one can imagine the chants resounding within the walls, calling of the faith together.    

Bibliography:  

1. Liddle, Swapna. 2017. ‘Chandni Chowk: The Mughal City of Old Delhi’, Speaking Tiger; 1-176
2. https://delhitourism.travel/chandni-chowk-delhi
3. https://www.travelscopeindia.com/blog/down-sacred-secular-street-chandni-chowk-old-delhi/
4. https://en.wikipedia.org/wiki/File:Shahjahanabad_or_Modern_Delhi_1911_map.jpg
5. https://en.wikipedia.org/wiki/File:Digambar_Jain_Lal_Mandir,_Chandni_Chowk,_Delhi.jpg
6. https://en.wikipedia.org/wiki/File:ChawriBazar.jpg
7. https://en.wikipedia.org/wiki/File:Chandni_Chowk,_2008_(18).JPG
8. https://en.wikipedia.org/wiki/File:Central_baptist_church.jpg
9. https://en.wikipedia.org/wiki/File:Gurudwara_Sis_Ganj_Sahib,_Delhi.jpg
10. https://upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Fatehpuri_Masjid_%284143074260%29.jpg/330px-Fatehpuri_Masjid_%284143074260%29.jpg

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 Sahil Raj…

Visiting Chennai’s main attractions at the peak of your trip makes you feel like you’re about to catch a suburban train during rush hours. If you enjoy this experience, or at least its sights, the beautiful Chennai Central Station, built by the Igiris in 1873, is worth a visit. 

The quaint but fascinating Chennai Railway Museum and the magnificent Well, the majestic Government Museum will be more comfortable and accessible. The same applies to Chennai’s famous crowded Ranganathan Street. This is a must-have for bargain hunters. However, if the rain turns into a downpour, we recommend going to one of the many luxury indoor shopping malls in Chennai, such as Phoenix Marketcity and Spencer Plaza. Here, meals and spectators can easily spend a rainy afternoon. 

Chennai is famous for its cheap and spicy street food, but when it rains it’s a great opportunity to visit a seated restaurant in the city. Traditional South Indian cuisine-small meats, lots of dosa, samba (lentil soup), and fluffy flat rice balls known as idli-is well represented in Chennai. Ratna Café, in the heart of the city, has been a popular facility since the middle of the last century. But today, an army of fast-growing, energetic young foodies in Chennai could go out for Thai food in Benjarong or Chinese food for a pure white modernist from the Tao city of Penn.

Chennai overlooks the Bay of Bengal, where the water is always warm.Marina Beach is the city’s most popular beach and the second longest city beach in the world. Bathing at Marina Beach is prohibited due to rough seas and dangerous undercurrents. Instead, most Chennaities head down the coast to Kovalam or Mahabalipuram for swimming or more adventurous water sports. It is one of the few surf culture outposts in India.

I’ve always been fond of the beach and its ambience. It was my first time seeing the other side of a beach. It was when I visited Fisherman’s Cove beach. I’ve never really been to the beach at night, but this was my first experience spending time on the beach late at night. I, along with my four cousins, visited the place after sunset, and it was dark. We reached the rock and started to climb that sharp and rugged rock. As we reached the end point, we moved to the next The entire place is still in my memory as if it was photographed. It was one of the most beautiful things I’ve ever seen. The waves made noise as they touched the sand, collided with the rocks, and made sound. That was the moment I realized how huge the ocean was and it made me scared. I felt the volume of the ocean and it felt like I was on top of it. I observed some crabs crawling on the rocks. The salty air gushing over me, the sound of the waves hitting rocks and the glimmering ocean will always be the best memory in my heart.

Standing on the beach and soaking your feet in the water is a ritual we always do. This was the day I realized how beautiful the bond between the moon and the ocean was. It was the full moon, and the tides were rising. Slowly, the reflection of the moon started to glimmer on the water. The distorted shine on the water was a treat for the eyes. The moon was reddish in color, which made the water shimmer like gold. It was like gold flowing from the moon and reaching the shore. It was a lovely sight to see. It was something that the camera couldn’t capture, but my eyes could! I still have the picture crystal clear recorded in my memory. 

The beach has always been a part of my leisure routine. It has been a part of all my emotions. From my childhood, the constant hangout place has been the beach. It’s a place suitable for everyone and to enjoy with anyone. As soon as we enter, we run towards the bajji shop, the corn shop with fire sparkles as they roast it. Palm reading, balloon shooting, and ice cream are the typical fun routine we follow when we go to the beach. It will always be the go-to spot no matter what time of day it is.

Bibliography :

• https://www.google.com/amp/s/blog.ihg.com/chennai-ing-rain/amp  

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 Nivetha Arulmurugan …

  It is an indivisible part of human life. Our choices are different for sure but each one of us listens to some of the other kinds of music. Some love to enjoy heavy rock music, some love to experience peace through the light music whereas some people try to experience the divinity into the depths of a raga. Because of this, we have realized that everything that has rhythm has music. Our breathing also has a rhythm. Have you ever seen a tree breathe it sways to the music of breeze? So, we can say that there is music in every entity.

(Pic credit- Pinterest)

  Throughout history, music has been an important adjunct to ritual and drama and has been credited with the capacity to reflect and influence human emotion. It is the driver/influencer of our emotions like the legend Tansen, his renditions of ragas, a musical form intended to invoke emotion or nature, were said to tame animals and turn day into night, while his voice could replicate the roar of a lion or the chirp of a bird. It has the ability to convey all sorts of emotions to people which can also not be in a  positive way cause everyone tries to perceive or understand music on their own like Helter Skelter by The Beatles which was interpreted by cult leader Charles Manson as a message predicting inter-racial war in the US. This shows that music is also our companion who knew something as simple as rhythmic sounds entwined words could invoke our emotions.  

(Pic credit- Ronald Michaud)

It’s also a way to tap around our reservoir of memories. As soon as one hears the iconic voice of Jagjit Singh or Mehdi Hassan it takes us back to the good old days when one used to sit under the wintry sun of Sunday morning getting oil champi by our mothers. 

This is why music is known as the universal language because it knows no boundaries. It flows freely beyond the barriers of language, religion, country, etc, which also unifies us as a country. India, a country of diversities has numerous styles of music. Some of them are Classical, Pop, Ghazals, Bhajans, Carnatic, Folk, Khyal, Thumri, Qawwali, Bhangra, Drupad, Dadra, Dhamar, Bandish, Baithak Gana, Sufi, Indo Jazz, Odissi, Tarana, Sugama Sangeet, Bhavageet, etc which are beautifully sometimes paired with our diverse dance forms. 

That music carefully curated and woven over the centuries is passed down from history to today’s generation who consciously try to preserve them in their own special way.

Therefore music is the essence of life, actually a being in itself. Showcasing itself through various mediums and being part of our very existence. 

(Pic credit- Still from the movie- Call me by your name)

  Here’s a link to a playlist carefully curated to get the feels of my love, Delhi

https://open.spotify.com/playlist/37PdSvZEvi9QGFqRF44IDQ?si=15aeac217da34092  

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 Devanshi Basu …

Though a critical student’s interest in the Muslim state’s stance toward Sati under the Sultanate is irresistible, the scarcity of literature on the subject makes it difficult to understand the topic. However, given the absence of clear proof, one is forced to speculate, properly, that the Delhi Sultans, although not precisely apathetic, avoided interfering in the traditional customs of the newly conquered country. Muhammad bin Tughlaq was maybe the first Muslim ruler of India to speak out against the heinous tradition of burning widows in their husbands’ burial pyres. According to Ibn Battuta, the Sultan has made it mandatory to seek a licence or permission to burn the widow. The goal was to discourage and abolish the use of force and social pressure. However, the licence was typically given as a matter of routine. Therefore, outside of the system of formal permissions, no direct State action was taken against Sati during the Sultanate period.

During the 16th Century, Emperor Humayun was the first to try a royal accord against the practice. Humayun, the second Mughal emperor, took a firm stand against sati and attempted to eradicate it. He placed a ban on widows performing sati, in instances when the woman was beyond a child bearing age.This rule was implemented even when the woman voluntarily offered herself for sacrifice. But after a second thought, the God-fearing monarch revoked his instructions. He could have thought that interfering with and forcibly preventing Hindus from practising their “hallowed customs and religious rituals” would provoke God’s wrath, bringing about the demise of his dynasty and, possibly, his own death. However, the normal law – the system of formal authorization for burning a widow – remained in effect. According to Sidi Ali Reis, officials from the Padishah were present on such occasions to prevent any acts of violence.

Akbar issued broad orders to outlaw sati and, in one notable case, personally intervened to prevent a Rajput princess from immolating herself on her husband’s pyre. According to Akbarnama, Akbar designated vigilant and truthful individuals in every city and region to prevent the forceful burning of widows. Though it is debatable if Akbar considered an universal prohibition of Sati, it is known that he attempted to prevent forced Sati in his Kingdom. In 1582 an order was issued to prevent compulsion in Sati. In Ain-i-Akbari, he instructs the Kotawal, “He should not let a woman be burned against her inclination”. ‘If a Hindu lady desires to be burnt alongside her husband, they should not prohibit her; but she should not be forced against her will,’ his decree against sati states. His efforts to prevent indiscriminate self-immolation of widows become even more admirable when we learn from the Akbarnama that watchful and truthful persons have been chosen in every city and district so that the two groups of cases may be kept apart and forced burning is not authorised.

Figure 1: A painting by Mohammad Rizā showing Hindu princess committing Sati against the wishes but with the reluctant approval of the emperor Akbar. In the right foreground, attending the Sati on horseback, is the third son of Akbar, Prince Daniyal.

Figure 2: A Sati (widow-burning), Mughal Empire. Miniature painting from Storia do Mogor by Niccolao Manucci, 17th Century.  

An order can be found in Tuzuk-i-Jahangiri that not only prohibits sati and infanticide but also stipulates punishment for its violation. According to Jean Baptiste Tavernier (1670-89), Shah Jahan issued a decree that without the special permission from the king or governor no widow was to be allowed to burn herself. He also prohibited women with children from burning themselves.

Aurangzeb issued an order in 1663 which prohibited the sacrificial burning of widows throughout Mughal India. Some traveller accounts suggest that Aurangzeb did not fully succeed in suppressing the practice but altogether saved a great number of women from being immolated in their husband’s pyre. He employed governors to stay vigilant so as to prevent the large-scale slaughter of widows throughout the subcontinent.

Bernier praises the Mughals’ hesitant approach toward widespread ban of Sati, writing, “They do not really outlaw it by a formal legislation, because it is a part of their policy to have the idolatrous populace, which is so much more numerous than their own, in the free expression of its faith.” On the authority of the travellers, it can be shown beyond any question that the practise of Sati was greatly curtailed during the Mughals through different ways. At the same time, it is true that ambitious Sati candidates and their family would occasionally purchase permission from governors and other officials. Still, it may be argued that the Mughal emperors’ and their officials’ zealous monitoring resulted in a significant reduction in the number of instances throughout the Mughal reign, a fact loudly stated by most tourists of the time.  

References: –

1. Annemarie Schimmel (2004). Burzine K. Waghmar (ed.). The Empire of the Great Mughals: History, Art and Culture. Reaktion. pp. 113–114. ISBN 978-1-86189-185-3.
2. XVII. “Economic and Social Developments under the Mughals” from Muslim Civilization in India by S. M. Ikram, edited by Ainslie T. Embree New York: Columbia University Press, 1964
3. Chaudhuri, Susil. “SATI AS SOCIAL INSTITUTION AND THE MUGHALS.” Proceedings of the Indian History Congress, vol. 37, Indian History Congress, 1976, pp. 218–23, http://www.jstor.org/stable/44138937.

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 Rohit Kumar Shaw …

A graduate student in Political Science from University of Calcutta. If I am to describe myself then it would be a person who is curious enough to know the depth of anything that lingers my interest especially on social & political issues, crime, food with an essence of history behind it. I am neither especially clever nor gifted. I am only very, very curious.

Young people today, myself included, are constantly bombarded with information. School, parents, social media, the internet, all have something to say in our lives, all day every day. Everybody wants to have a free and easy-going social life. Between all this newness, there are people who want to learn about history, heritage and culture. As a curious student myself, I often wonder about the architecture and history of our country. I wish to know more about it and that’s when I discovered ILF, a place that connects modern day social media life to historical India.

In this blog, I will write about the experience I had in ILF and the knowledge I gained here.  

On a fine day when I was randomly scrolling through my Instagram feed and chatting with my friend, talking about anything and everything, he sent me a post from ILF. As a lover of architecture, I immediately opened it and then I read the caption which explained what that place was about and its historical importance. I was intrigued, and wanted to know more about this page. Scrolling through the profile, I read thoughts from the experts, and got to know about many beautiful places. It was great to learn that social media is being used in an amazing way and helping people know about heritage and culture. Me and my friend then used to send each other some posts from ILF and then we would talk about how beautiful a place is and how we did not know about that place until now.  

After a few months of following ILF, I saw a story of them wanting a social media intern, I immediately perked up and sent a message. A few days later, Amit sir called me and we had a short interview. I got selected and then sir was kind enough to welcome me in the group on the same evening. I became a part of the Social Media team, a team full of creative people.  

Soon after that, I was selected as a member of the Pinterest team at ILF. I was filled with excitement and nervousness at the same time. But I believed in myself and took the opportunity as a chance to enhance my abilities.  

The team was welcoming and friendly, and I was so happy to be a part of the team. I approached them with my ideas and suggestions and was delighted when my ideas got a green signal. This encouraged me to learn and develop. For me, learning and development is a systematic process to enhance a person’s skills, knowledge, and competency, resulting in better performance in a work setting.  

At ILF, the work is vast and diverse, various departments are there to perform different activities. It is that thrill which boosts up the morale of an intern and the environment of the working space that helps one to learn and develop. All the work is done online, which seems like a task at once but once you enter the space of ILF, you will feel that nothing is tough. From research experts to social media interns to marketing personnel, everyone is treated respectfully and communication between the colleagues is one of the key reasons why ILF is thriving.  

After a week of working, I was selected to lead Pinterest and guide the team. I was nervous at first as I was told to conduct my first meeting with the team. To explain the ideas in a way that everyone understands was not new to me but I was still nervous. ILF has helped me gain knowledge about our history and heritage.

A number of steps goes behind a single post/pin. As Pinterest is an information-based platform, we used that point to our advantage and thought of ways in which we could pass on facts about our history to a large audience.  

As we wanted to share facts about Indian heritage, the team decided to create a Pin Board for each Indian state. Then, after considerations and suggestions, we finally got started with our work and posted the pictures. What looked like a tedious task before got easier with teamwork and efforts.  

The pin numbers started increasing and then, the team decided to create some new boards.

All things flow smoothly when you have a great team with you. From social media calendars to weekly planners, everything started to fall into place and Pinterest started to accelerate. We all have an eye for aesthetics. We therefore got our graphic designer to make some mood boards for the page. Combining heritage pictures with aesthetics and creating a beautiful image together. Truly, the results were astonishing.

There are many things that are needed to be pinned on Pinterest, as a result of which the team follows a weekly planner that mentions what posts are posted when. It is as easy as it looks but as distinct as it is. During the weekly team meeting, we all would thank each other for all the efforts and work.  

Just like our increasing coordination, the monthly views on our Pinterest profile started increasing and within a month we crossed 15k monthly views. And now, after 2 months, we crossed 31k monthly views. As they say, Teamwork makes the Dreamwork. And we aspire to make our dreams come true and our goals achieved.

It’s surreal how there are innumerable places that a person can visit in India. I wish to visit these places one day. It’s all these and many more reasons that make me enchanted about working with ILF and growing myself. It’s the process from discussing the plans and ideas to finally executing them that helps a person to develop their skills and thought processes. A great use of resources and information always attracts an audience and generates interest in people to know more about the untold culture.   Thank you ILF for giving this opportunity and helping many people learn and grow. It’s an experience to cheer on for a lifetime!  

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 Nandini Dhoot …

 A law student by profession, a creative art admirer by heart. Indian Architecture has always captivated me and so has photography. Easy going and funny, that’s how I like to describe myself because as they say, YOLO. Apart from this, I am a zentangle artist and love dancing too. A mix of all these makes me who I am and that’s what drives me to live life in the best way possible.

(Image: Quwwat – ul – Islam mosque pillars)

  On the pillars, I noticed that Brahminical motifs like the overflowing kalasa spouting flowering creepers, bells, and the lotus flower are repeatedly seen. On observing closely I found large numbers of Savaite, Vaishnavite, and Jaina images.  

(Image: Hindu and Jain remains)

  The pillars to the right of the east entrance may have come from a Vaishnava temple, while those in the aisles to the left of the east gate may be of Jain origin. The latter is less elaborately carved and there are some easily discernible figures of Parshvanatha. Then I saw the  Qutub Minar, the main attraction of the Qutub complex The inscription near it gives the complete history of it I.e from its commencement of the building into its repair during the reign of  Sikandar Lodi. The tower has a diameter of 14.32 metres at the base and about 2.75 metres at the top with red and buff sandstone on the first three storeys while the storeys added by the Firoz Shah Tughlaq make free use of marble. Compared with that of the Quwwat-ul- Islam Mosque, the decoration of the Qutb Minar is consistently Islamic in corrector from base to top. The Feroz Shah Tughlaq hybrid style could be seen as distinct.  

(Image: Qutub Minar)

What I liked most about the Qutub Minar is that it had projected balconies at every stage. This balcony is held up by a technique called Stalactite Vaulting. Nearby Quwwat-ul-Islam Mosque, there is an Iron Pillar set in the inner Court.  The inscription mentions king Chandra, Vishnu devotee,  as a “lofty standard’ (Dhwaja Stambha) of that divinity on the Hill of Vishnupada’. This king has now been identified as Chandragupta II (AD 375- 413) of the Gupta dynasty, who was also known as Vikramaditya. There is a probability that this pillar was brought here from some other place. This is confirmed by the fact that there are no other relics from the same period on this site. The local tradition says that it was brought here by Anangpal, the Tomar king from an unspecified place. The base of the pillar has small pieces of iron tying it to its foundations, and it is covered by a lead sheet around the portion concealed below the floor level. The total length of the pillar is 7.2 metres and around 93 cm is buried underground. The metal used in the pillar is an almost pure malleable iron, which shows very little signs of rust, and even that below the ground. This Iron Pillar is a standing testimony to the metallurgical skill of ancient Indians as it has not deteriorated much in the sixteen hundred years of its existence.  

(Image: Iron Pillar)

  When I moved towards the East, I found the Iltutmish Tomb. It is a square chamber, covered originally by a circular dome that was carried on a form of squinch-arch, which has the difference in shape between the square plan below and the circle above. On observing the ornamented interior of the tomb, I found the whole interior surface, both walls, and roof (except the lower walls on all but the west side which were probably plastered) is intricately combined with a diaper of arabesque designs, and Quranic inscriptions in both Naskh and the combined Kufic and Tughra characters.  

(Image: Iltutmish’s tomb)

On moving further south I found the Alai Darwaza. It is 17.2 metres square and pierced by arched openings that echo the contours of the covering dome. The arch to the north is semi-circular while the others are of the pointed horseshoe shape. These are all true arches built with radiating voussoirs and these lead into the central chamber. Towards the south side of the court, there is a large square structure that was once covered originally by a dome which has now fallen. It is supposedly the tomb of Sultan Alauddin Khalji. Parts of a boldly projecting portico still exist. Alai Minar, which is  24.5 metres in height, adores the whole complex. Its construction was abandoned after Alauddin’s death.  

(Image: Alai Darwaza; and Alai Minar)

  On moving southwest of the Quwwat-ul Islam Mosque, I saw Alauddin Madrasa. A simple quadrangular court surrounds the Madrasa. I entered on the north side through a triple gateway. It has been suggested that this madrasa was built by Iltutmish, but according to J A Page, the balance of probability rests with Alauddin. He decided so because of the high-drummed domes and the more advanced tie beam pendentive shape beneath them. These are different from the flat conical Hindu type of dome that supposedly covered the Iltutmish’s Tomb originally, and the primitive hunch arches which carried that dome across the corners of the tomb.  

(Image: Alauddin’s Madrasa)

  On moving east of the Alai Darwaza, I saw the Imam Zamin’s tomb. The 7.3 metre square tomb is constructed following the Lodi style. A sandstone dome rises over an octagonal drum and it is decorated with marble paneling above the chajja and kanguras row. A geometrical jali of red sandstone fills the spaces between the pilasters supporting the superstructure in all but the central bays of the west and south sides. These contain a mihrab and an entrance doorway, both inscribed in marble. Above the doorway is an inscription in beautiful Naskh characters recording the saint’s name.

(Image: Imam Zamin’s tomb)

  These facets of art, architecture, and history made me love heritage. Every single stone in the complex told a thousand stories of the past. From the lofty Qutub Minar to ruined Quwwat al Islam, from the unbreakable Iron Pillar to the unfinished Alai Minar and so on, every monument had its own history. This triggered my curiosity and I started reading more about the heritage sites. Today, I am an intern at India Lost & Found. This has given me the opportunity to bring out the heritage lover in me.  

Reference:-

Image and Information source – World Heritage series Qutub Minar and Adjoining Monuments Travel Guide  

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 Mehak Takkar…

ILF Look and Feel Ambassador As a student of history, for me, heritage is not merely the ruin of the past but as a way of representing ideological, aesthetical, historical, cultural, and social values. I believe in the supremacy of the Indian chisel that has carved the most beautiful structures ever built.  

To me, Heritage Week was more than just an event. It was a journey. An experience that was insightful and enriching. We celebrated Heritage Week from the 11th to the 18th of April, the latter being World Heritage Day. You may have participated in the event or viewed our stories and if you haven’t yet already, check out our Instagram story highlights to catch up! And while you’re at it, check out Museums with ILF, another event hosted by us shortly after!

World Heritage Day is a day about preserving human heritage, diversity and vulnerability of the world’s built monuments and heritage sites. Also, the efforts required to protect and conserve it and to draw attention towards it. We all know that Ancient buildings and monuments are an asset for us and for the world. Therefore, World Heritage Day is a collective effort of the communities in the world to do the needful. This day maintains the cultural legacy and makes people think about its susceptibility. A day for us to celebrate Heritage.

Now, it’s time for me to take you through what went down behind the scenes! Our first step was planning and execution. All heads brainstormed and decided how we wanted the week to pan out. Each department head decided to pick a particular day to contribute to which would be showcased on our Instagram and Facebook pages. Each day, a department would take over; from fun mini games to interactive sessions, it was incredible.

Our goal was simple- we wanted to create content for our wonderful and supportive audience by celebrating our Heritage. Watching and interacting with our audience and fellow history enthusiasts was exhilarating. For us, it wasn’t just about the numbers but the feeling it evoked within every one of us.

Moreover, I loved working with our core team. It was when we truly bonded and I got to know them better, beyond our workspace. The week wouldn’t have been possible without our talented graphic designers from the Social Media team, Ruju and Hetvi and video editor Vedant. I’ll always appreciate you and the hard work you’ve put into this. Cheers guys!

To my dearest fellow heads, Mimi, Wink, Man, Sukh, Angi, Khus, Amu, Vee and Rad, this one’s for you.

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 Aashna Kapoor …

Hi folks! Your fellow Social Media-holic here or the face behind ILF’s Socials? Your pick! Your regular Second Year student by day, history buff and ILF’s Surfboard Supervisor by night. Spontaneous, outgoing, eccentric are some of the key traits my closest have used to describe me (and I don’t deny it!). Being the Social Media and Graphic Design Manager at ILF was a truly enriching experience and will forever be grateful for the opportunities presented to me.

Ramchandra Guha in his book, ‘India after Gandhi’ has mentioned the repercussions that India’s archaeological past had to face due to an account of the demographic flood and also the division of assets. After the partition, the museums were divided on the basis of territory. The Lahore museum was split between East and West Punjab. In 1949 the museum committee agreed on 50/50 divisions of the artefacts of the Mohenjodaro and Chanhu-daro collection. Mortimer Wheeler , director general of archaeology in India, suggested the collection of the Indus Valley civilization into two equal parts, which would compromise the integrity of the objects.

In Delhi, camps were set up in monuments like Purana Qila, Feroz Shah Kotla, Humayun’s Tomb and Safdarjung’s Tomb. ASI had to deal with all the pressures on the Islamic monuments in India. During a riot in September,1947 many monuments were attacked and several muslims were butchered. It was a anti- muslim riot so ancient mosques and masjids were attacked. Moti Masjid in Mehrauli had its marble minars torn off and smashed. At Wazirabad, the grave of saint Shahi Alam was wiped out, mimbar was pulled down, Sultan Ghari’s  tomb was destroyed and pillars were demolished. After destroying masjids, people tried to install hindu deity. This instilled the sense of hatred in muslim communities for Hindus too.

ASI made a request for police guarding the monument. There was a shortage of police guards so the Commissioner couldn’t help. For them, protecting monuments was not as important as protecting people as the whole country was suffering from displacements, riots and communal tensions.

In 1949, 3000 refugees took shelter in Humayun’s tomb, 1400 refugees were housed in Safdarjang’s tomb, 4500 people lived in the tents in Purana Qila and 1500 refugees took shelter at Feroz shah kotla. Nayanjot Lahiri by saying that exceptional times evidently required exceptional measures, justifies the ignorance of ASI. Because of humanitarian reasons, monuments protected by it could not be occupied. They permitted some of the monuments to be used as temporary refugee camps only with certain conditions; however these conditions could rarely be enforced.

According to the evidence, stones at Sher Shah’s mosque in Purana Qila were found broken when Mortimer Wheeler refused to accommodate a primary school in the mosque for the children of refugees living in Purana Qila. Several destructive acts were seen in Arab Sarai. The Indian army also inflicted some damage on Gol Gumbad monumental complex, when they entered without prior permission from ASI.

Finally in the 1950s when refugees moved out, ASI started repairing the destroyed monuments. V.K Gupta, Director general central public works department, Minister of Urban Development(2013) has truly said that the past is all around us. Our lives are surrounded by various historic buildings, landscapes and artefacts. Historic environment is the most important factor which defines our evolution as a human being. It is a physical record of what a country was and what it has become. The styles can define the regions, localities and communities. Our historic landscapes and iconic buildings are our community identity and pride.

The heritage buildings constructed in the past have high historical, architectural, spiritual, social, political and economical values. Similarly, heritage buildings are highly valuable and informative in terms of socio-cultural, socio-political, socio-economical and even technological activities of a specific society or group of individuals. However, since Independence hundreds of sites and monuments have been destroyed. Encroachments and destruction have been initiated in many cases by religious lobbies. Even where ASI officers have not been able to prevent unlawful encroachments.

Nayanjot Lahiri has suggested many ideas to conserve our Heritage. The most important is that the heritage laws need to be re-examined as the laws and legislations have clearly failed to protect and preserve our heritage. Antiquity laws need to be more realistic and transparent, The laws should also have to be people friendly. And as a responsible and proud citizen of India let’s take an oath on this 15th August to preserve our rich heritage, monuments and culture and value it’s integrity above all.

REFERENCE

1. https://theconversation.com/how-the-partition-of-india-happened-and-why-its-effects-are-still-felt-today-81766
2. https://www.timesnownews.com/india/article/hope-and-grief-the-joy-of-15-august-1947-was-punctured-by-the-sufferings-of-partition/637215
3. https://caravanmagazine.in/vantage/partition-impacted-monuments-newly-formed-india
4. India After Gandhi-Nayanjot lahiri

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.

Hiya, I’m BHAVYA DEEP…

Final year History student at Hansraj college, fascinated by the dynamism of history. I am currently handling the Pinterest and LinkedIn page of ILF, It has given me the platform or an opportunity to explore my skills and knowledge so that I can choose my career prudently.

In parts of Rajasthan, Gujarat, Delhi, Madhya Pradesh, Maharashtra, and North Karnataka (Karnataka)-several step-wells are still present. They not only provided water supply but were utilitarian in strategy. And often have architectural and social significance by serving as temple tanks. Since step-wells are located deep into the ground, not being exposed to heat helps in keeping the water cool. During the monsoon, water is recharged that eventually dries up in summer. It also served as a retreating place for travellers, caravans, even the villagers in hot season with stone benches, beautiful ornamentation. Ritualistic activities that satisfied spiritual needs were performed. Today, more than 200 step-wells are likely to be discovered in Gujarat alone. It is said that the first step-wells were erected in Gujarat, and hence the moniker of ‘land of step-wells. 

They are referred to as Vav in Gujarati and Baori in Hindi. One fine day when going out was considered healthy, along with my college friends, we went to venture into the infamous yet secluded Sevasi Vav. Built during the reign of Sultan Mehmud Begada, the Sevasi Vav is located in the Sevasi Village, outskirts of Vadodara. Said to be built in 1543 CE by Raja Haridas in the memory of a spiritual leader, Vidhyadhar. The vav is seven floors below ground and we entered through a gate-like structure with a dome in the middle. The elephant and tiger relief work on both sides of its gate welcomed us. It is said to be constructed with a mix of brick masonry and a system of stone columns. Keeping in mind the orientation like the rest step-wells, it’s in the east-west direction. Researchers have claimed that one can feel the sudden drop in the temperature on entering the vav which proves the vav’s ability of water storage efficiency. The locals depended on it for hundreds of years surviving the semi-arid climate of the state. It is a treat to the eyes as the structure shines brighter with sunlight beaming in and the vav lits up gloriously.

Figure 1: Entrance of Sevasi Vav

Figure 2: Top view

 Standing on the seventh step on your right side lies a mandala. The mandala is presumed to be associated with the Vastu Shastra diagram. The walls are intricately carved with motifs that can be spotted on each level. Torans, flowers, bells, animals such as elephants, horses, and bird engraving can be seen. False ‘jharokhas’ with floral patterns on their walls are seen. Following the stairs, as one proceeds down, on every intermediary floor, pillar gateway, carved with magnificent floral motifs, horse subjects, a pair of birds carved can be seen on either side of its capital. On the 63rd step, a large platform with a Trishul, dedicated to Shiva is placed in front of an ‘Agnikund‘. Religious activities like hawans, puja, and such are held there as it performs as an active temple. The 80th step has a pillar with an elephant motif on both sides of a Gujarati inscription mentioning the date and year of construction of the Vav. 

Figure 3: A diagram which is assumed to be related to Vastu Shastra

Figure 4: Horse motif on the pillar

Figure 5: Gujarati Inscription

Figure 6: Agnikund, on the right-hand side lies the Trishul

A dried-out-up well stands parallelly across the 99th step. The last few steps got submerged in the water. Two lanes run on either side of the stepwell, which may have once served as a bridge. These two alleys form a mini-narrow entrance exit to a platform-like structure directly in the centre of the stepwell, on the 7^th storey. Following the two alleyways, the dome-like building awaits at the other end. The dome has two entrances and exits via stairwells. The balcony inside the dome provides a clear view of the stepwell from the top as well as the well on the opposite side.

Figure 7: Water filled with Garbage

Figure 9: Top view of the well

Figure 10: View of the Doom from the top storey

Figure 11: View from within the Sevasi Vav. 

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. Even the 25-foot-deep well is overflowing with trash, leaving little place for water. Avantika Singh, a former collector of the district, visited the place with other prominent people a few years ago and was shown around the steps by the villagers. They had also presented a case for its rehabilitation. In 2014, a city-based wildlife NGO and an Ahmedabad-based NGO had cleaned the Vav as a part of the ‘Swachh Monuments’ campaign. However, it is only Patel who looks after the monument.

  Due to lack of protection, the vav’s paintings got harmed by a person. The acid produced by the mixture of smoke and moisture from burning offerings has harmed the plasterwork. Despite complaints to authorities, the problem has not been investigated, and the individual continues to do so without consequence.

Richard Moe, National Trust for Historic Preservation, says:

“There may have been a time when preservation was about saving an old building here or there, but those days are gone. Preservation is in the business of saving communities and the values they embody.”

 The heritage monuments are gradually losing their essence due to a lack of preservation. They are inhabited, utilized, transformed, and incorporated into the everyday lives of the people. Water is one of the most basic needs. India is severely water-stressed. We should try to rely on the practical and sustainable water conservation techniques that have emerged throughout ancient periods.

Bibliography:

1. Pathak, A. and Kulkarni, U.D., 2007. Influence of Chalukya architecture on Hampi stepwell. In National Seminar on Water and Culture: June 25 (Vol. 27).
2. Tayyibji, R., 2016. Ancient Stepwells of Ahmedabad: A Conversation on Water and Heritage. Sutra Journal.
3. http://edugreen.teri.res.in/explore/water/conser.htm
4. https://medcraveonline.com/IJH/IJH-04-00250.pdf
5. https://www.myindiamyglory.com/2019/12/17/sevasi-vidyadhar-vav-1543-stepwell-built-by-raja-haridas-awaits-revival/
6. https://historyofvadodara.in/vav-stepwells/#:~:text=According%20to%20a%20Devnagari%20inscription,was%20revered%20in%20Sevasi%20village
7. https://www.sciencedirect.com/topics/engineering/natural-resource-conservation
8. https://timesofindia.indiatimes.com/city/vadodara/529-year-old-vav-lies-in-a-shambles/articleshow/55534190.cms
9. https://www.downtoearth.org.in/news/water/pride-in-ruins-60781
10. https://www.sciencedirect.com/topics/engineering/natural-resource-conservation

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.

Hello, I’m Ramyani Sengupta…

Currently my career is in ruins with a degree on grave robbing; I graduated in Archaeology and Ancient History from Maharaja Sayajirao University of Baroda, Gujarat. I’m the social media manager at India Lost & Found. I keep an avid interest in art and aesthetics and a lot of things. Art and cultural learnings are my major pillars of interest. I’m fascinated by different languages, while poetry and dance attracts me as it signifies the true colours of life. I also have a craving for different kinds of food which radiates my positive energy!