When we are young, we think it is our birth right, an ideal dream even, to change the world in utopian ways. We read four books, and then we are out on the roads for revolutions against injustice, for bringing ‘change.’ Without measuring the meaning behind the word ‘change,’ we delve into a fusillade of allegations against those who should have or could have worked for it. Understanding the world from newspapers, books, theories and textual histories, from the privileged shells wrapping around us, we forget the value of real-world experience. The belief that a scholar can invent ways to improve the condition of an unprivileged vendor from an oppressed caste without having stepped out in their world is shattered to pieces once one learns the actual difference between theory and practice, between the idea of change and the truth comprising of a complex web of multi-layered realities, different for each one of us.

After studying literature and cultural studies, I was drawn to the idea of contributing to ‘change’ through teaching and research. I believed that a teacher could shape young minds. At the same time, the power to bring change resides not with a few scattered scholars but with the united masses. The romanticized idea of being a ‘true scholar,’ as injected by the exposure to campus politics for a couple of years, was to become a keen observer, a critical thinker, a voracious reader, a passionate writer, and a rigorous activist. However, I could never fit the phenomenon of teaching in this schema, let alone teaching in a rural area, after staying in urban academic spaces for almost a decade.

As I went to teach English literature and language in a small government college in a rural area,  I began wondering if I had gone away from what I should have been doing. My should-have-been, could-have-been revolved around going to a big university campus for a doctorate, to study the dark, gloomy sides of rural India in a globally recognized university of a metropolitan city outside India. Here, I represent the prototype of average Indian scholars or scholars-to-be, trying their best to delve deeper into the ‘dark realities’ by staying as far from them as possible. But as I stepped inside a small college to teach, my ideology, my way of observing the world, my entire life went topsy-turvy. Indian postcolonial critic Gayatri Chakravorty Spivak sums up this phenomenon in the remark, ‘First world scholar in search of the third world.’ An average urban Indian scholar is not far from this, with rural areas being the third world compared to metropolitan cities.

Each day, each lecture presented a new challenge to me. Some days, I would be shocked to find eighteen-year-olds unable to spell a word as simple as ‘fruit.’ How could I teach them about literature and society? Seeing my complacent, constantly exhausted, tea-drinking colleagues, having neither any spark in their eyes nor the zeal to bring change, I felt repulsive towards the system. Can one change the system only by protesting against it from outside? I started feeling otherwise as the days passed. I developed warm bonds with people, both colleagues and students, so much so that I am barely saving myself from passing into the tea-drinking-government-college-professors category. But as I started from scratch in my classrooms, from discussions on life, education, art, purpose and society, I realized that rural classrooms are the largest experimental laboratories, brimming with the possibilities of ‘change.’ Activism cannot be confined to holding candle marches and sit-ins at the centre of large campuses. It starts at the heartlands of nation-states – the villages. It starts from the academic spaces where the future of any society is getting shaped. Every student who understands the importance of ideas, discussions and critical thinking, is a revolution, a seed of change in themselves.

Sometimes, life seems exhausting, with or without the idea of bringing change. We chase goals throughout our lives, walking, stumbling, getting hurt. One day, finally, we reach there. Then, what? What water have we turned to wine? Which four students of your class are ready to conquer the world? Which sacred song have you composed with your naïve desire to bring change?

What is ‘change’? We chase the need and the means to bring change long enough until the realization that each thought planted in a student is a seed of change. Each lesson students learn and embrace can become a gift to the world. Revolutions do not come in days or weeks. Not everyone you teach will grow up to change the world. However, that does not lessen the value of teaching.

Every learning journey is different; it can be simple or demanding. It can emerge as an engaging activity or a long, arduous process. At present, I am still learning to make people think and smile!

About the Author

Paridhi Khanna

Paridhi Khanna is an Assistant Professor of English at Government College, Derabassi, Punjab. She completed her Master’s in English literature and cultural studies from Panjab University, Chandigarh. Paridhi is dedicated to exploring art cinema, postcolonial poetry, visual storytelling, Indian art and literature.

The realms of ancient India reverberated with the Vedic hymns, the shruti. This era has deep relevance in terms of the status of women. Throughout history, women are placed in a position of servitude. At times, the attempts to restraint were countered with the rise to influential positions. The reign of Razia Sultana, the literary accomplishments of Gulbadan Banu Begum, the struggle of Chand Bibi on the ramparts of Ahmednagar Fort and Tara Bai becoming the soul of Maratha resistance against Aurangzeb’s onslaught–women played an active role in  of past. In spite of the obscuration of women’s prominence in history, they have not been silent observers in the passage of time.

In ancient India,  proudly claimed their superior standing and contribution to the development of a picturesque civilisation. The status of women is determined by her social standing and the complex web of rights and responsibilities. It had always been a flux. Woman is depicted as a symbol of institution whose sacrificial spirit plays a significant role in societal structures.

Scholars have explored the status of women in the Vedic society. This theme is crucial for understanding questions regarding women’s position in ancient India. The Vedas are ancient texts consisting of hymns, mythological accounts, oral traditions and hold a sacred place in the history of ancient India. The Vedic concept of Brahma or the superior being, from whose right side man arose and woman arose from the left. The early Vedic age stands witness to the equality of man and woman as seen in the various texts of Rig or Atharva Veda, as well as the Samhitas. The Taitriya Samhita states man and woman, as wheels of a cart or two bulls yoked in a chariot. These portray the existing sense of equality of that age. The lines of Manava Dharmasutra talks about how motherhood is of greater respect than an upadhyaya(teacher), acharya(preceptor) or a father.

The prolific Vedic era probably stood testimony as the distant public discussions raged on with the likes of Gargi and others countering the great scholars of the age. Women had access to the knowledge of ‘The Absolute’ and were at par with their male counterparts in terms of literary and other accomplishments. The stories of Gargi, Maitreyi, Apala, Sita, Savitri and others still resonate in the minds of the people in the present times. These women of ancient India continue to be the inspiration for later works. The Brihadaranyaka Upanishad mentions Gargi as a great natural philosopher and expounder of Vedas. She challenged the sage Yajnavalkya on theories of aatman (soul) during the brahmayajna debate organised by King Janaka.

Similarly, Maitreyi had also been mentioned in the same Upanishad as one of the two wives of Yajnavalkya. In other texts she is said to be an unmarried Advaita philosopher with great knowledge. They were Mantra-receivers with extensive knowledge that was not barred by society. Considered to be embodiment of Divinities, they were called the brahmavadini or the expounders of Vedas. They explored the ideals of Brahma Vidya. These greatly showcased the high status of women during those times.

Subsequently, there are mentions of other prominent women like Gosha, Lopamudra, Viswavara and others. The story of Gosha proceeds with her suffering of a skin ailment which led to her disfigurement. The divine physicians or the ‘Ashvini Kumars’ cured her. She was a Vedic philosopher and a couple of her hymns are dedicated to the Ashvinis.

Lopamudra belongs to the tier of female sages who were married. She was supposedly the wife of Sage Agastya of the Rig Vedic period. Her identity however, traversed beyond the prestige of a wife. She held the high perch as a Rishiki herself and her hymns in Rig Veda are largely dedicated to Goddess Rati. Even the epic Mahabharata speaks of the legend of Agastya and Lopamudra.

The hymns authored by the 27 female sages in the Rig Veda exhibit the intellectual progress of women. The prime inference however, is the subsequent importance placed on the education of women alongside their male counterparts. The ancient texts are suggestive of education being a prerequisite for a worthy marriage. The hymns in themselves provide colossal information like that of Viswavara. Unrestrained and dynamic emotions are often a pivotal feature of the Vedic hymns authored by women. Viswavara of the Atri family, is a married woman who approaches the flaming sacrificial fire, facing East and prays for a good wedded life. This hymn leads analysts to ponder over the fact that probably women in that era were allowed to make individual sacrifices unlike the later ages, where they were restrained from doing so.

The Vedic times saw marriages solemnizing and brides being greatly valued. Brides were considered to be the ones who brought good luck to the family they married into. Several women were also part of societal assemblies and participated in public meetings. However there are the shades of darker practices that mark the status of women in Vedic Eras. The Later Vedic era saw women as inferior beings and there were mentions of child marriages. Widows were suppressed under the burden of laws as the Manusmriti dictates.

The rise and fall in the position of women continues on to the present periods. Women as part of the heritage of India strive to cross the thresholds of the ordinary and venture into the unknown, since time immemorial.

References

Books:

1. Women in Ancient India: Vedic to Vatsyayana – S.N Sinha, N.K Basu

2. A History of Ancient and Early Medieval India – Upinder Singh

Websites:

1. Status of Women in Vedic Period
https://www.ijhssi.org/papers/vol11(11)/U1111151153.pdf

file:///C:/Users/saumi/Downloads/571_positive+pyschology+Sonal+Malik%20(4).pdf

2. Women and Power during Vedic Age of Ancient India
https://sadhana-0921.dev.60fps.fr/news/women-and-power/

3. Complete Review of Vedic Literature
https://www.stephen-knapp.com/complete_review_of_vedic_literature.htm

4. On the History of Vedic Texts
https://www.jstor.org/stable/592278

Author

Saumili

I am Saumili, interning at ILF since June of 23. Based in Kolkata and studying History majors, it has been a remarkable journey delving into the innumerable realms of history. My passion for history runs deep, ever since I had first read about the Egyptian civilisation in 4^th grade. The journey since then included numerous books including academic, fiction and non-fiction. From idolising Professor Langdon’s character in the Dan Brown books to reading the most moving dramas based on Nazi invasions, history has been a part and parcel of life. As an avid literature enthusiast as well, I take interest in writing prose and poetry based on a variety of themes. Along with that, I try to impart support towards all kinds of heritage conservation. Tangible and intangible heritages are essential essences of history and need to be safeguarded at all cost. To let the heritage be lost in the course of time would be an irreversible loss to mankind. I stand for the unbiased representation of history, culture and heritage while promoting an all-inclusive approach to it.

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.

The place I call home, ghar, the place where I feel a sense of belonging is Purnea, a small district and town in northeast Bihar, about 200 miles away from the capital city, Patna. Initially a sarkar under the subah of Bengal in precolonial India, it was formed as a district on 10th February 1770 under the jurisdiction of the East India Company. The origin of the word Purnea has many contestations; one of the more plausible ones is that the name comes from the Hindi word aaranya, meaning ‘forest.’ The expansive green foliage, which led to pleasant climatic conditions, is also why Purnea was nicknamed ‘Poor Man’s Darjeeling,’ a milder cousin of the chilly hill station in West Bengal. Of course, the current sweltering summers may cause locals to rethink the sobriquet.

Ghar is about memories, about being as comforting as a plate of dal bhat chokha. For me, Purnea does not merely exist as a dot on the map sandwiched between Araria and Katihar. To slosh about categorising it into neat statistical indexes of population figures and area estimates seems a rather jarring exercise. Instead, it is the place where you can find the most delicious gajar ka halwa at the famous Maheshwari Mithai Shop, a foot’s throw away from R.N. Shaw Chowk, or the spiciest pani puris outside my old school, Ursuline Convent. It is the place of potholed roads that would cause bumpy rides in cramped autos while my friends and I echoed with laughter during school days. It is home to the charmingly named Dollar House Chowk, the residential area where my family has lived for the last 16 years. If local stories are to be believed, one of the sons from the titular house went to the United States several decades ago. He sent back dollar bills to his family in Purnea. These dollar bills from an unknown land were a source of immense fascination for the locals; hence, the name Dollar House Chowk stuck!

Take a cycle ride through Sipahi Tola and Maranga, and you will find peaceful fields of unripe, green wheat gently swaying in the breeze. Visit the local Bhatta Bazaar and listen to the excited gaggle of multiple dialects of Hindi–Angika, Magahi, Bhojpuri, and Maithili. Pouches of panch phoran, the quintessential Bengali spice mix, are sold in grocery stores like Subash’s alongside steaming plates of momos doused in fiery tamatar chutney served by roadside vendors. The marketplace and the wares sold there are testament to the wonderful and diverse confluence of people in Purnea–Assamese, Bengali, Nepali, Oriya, and Santhali.

I remember my class 12th Hindi teacher recalling with pride that Purnea was the birthplace of Phanishwar Nath Renu, one of the iconoclastic figures of modern Hindi literature. There is Rangbhoomi Maidan, where melas and political rallies happen from time to time; Girija Chowk, named after the old, towering Anglican church near it; the Indira Gandhi Stadium, named after Gandhi who had come for a rally to Purnea in the late 1970s (I gleaned this bit of information from the ayah who stayed with us; her mother had seen and spoken to Gandhi when the latter had visited), and the Mata Puran Devi Mandir, the oldest temple in Purnea and one of the possible origins for the district’s name. These names and locations tussle for space in my mind, mingling fact and memory into the deliciously addictive concoction of what can only be nostalgia.

Growing up in Purnea, I never imagined placing my small town in one of the tomes of history my ICSE primary education demanded that I read. The history I read was ‘grand,’ and within this grand narrative of vibrant New Delhis and Calcuttas, to place a dusty semi-rural Purnea–a town which seemed unsure whether it should be spelled with an ‘e’ or ‘i’–seemed uncanny.

However, as I begin to understand the flaws in dominant historiography, I am keen to seek out the historical story of my town. Names fascinate me–both within my hometown and ones that I encounter in various states. Such as Gulabh Bagh (rose garden in Hindi), Oli Tola in Purnea, or tongue-twisting ones like Chirayinkeezhu and Pathanamthitta in Kerala. These small tangles of consonants and vowels can reveal so much about a place–its rich history interwoven with local beliefs, cultures, and languages. With immense curiosity about this quest, I began to see Jhanda Chowk of Purnea in a different light.

The reason why Jhanda Chowk got its name is interesting. As a child, going past the roundabout into Bhatta Bazaar, I rarely gave a second thought as to why Jhanda Chowk was named the way it was. To me, it was simply one among the other intriguing names like Line Baazar or Baksa Ghat; the latter, I thought for a long time, was a ghat filled with cardboard boxes!

Jhanda in Hindi refers to ‘flag,’ and chowk is the quintessential name given to the area at the junction of two roads in any small Indian town or semi-rural region. Jhanda Chowk got its name when the tiranga was hoisted there in the year of independence. After the international Wagah border between Amritsar and Lahore, Purnea is considered the only place in the country where the flag is unfurled at midnight.

As locals enthusiastically recall, on 14th August 1947, a group of people were anxiously riveted to their radios late at night, around 11 p.m., at the Chowk (then, unnamed perhaps). They were tuning in to the proceedings from the fifth session of the Constituent Assembly of India, which had assembled in New Delhi. Sipping cups of lal chai, all were expectantly waiting for Pandit Jawaharlal Nehru’s speech, his declaration of ‘India’s victorious tryst with Destiny.’ Shortly after, one of the attendees, Rameshwar Prasad Singh, decided to hoist the national flag at the Chowk to coincide with Nehru’s unfurling of the tricolour in the Central Hall of Parliament. A well-known barrister, Singh was one of the most vocal supporters of the Indian National Congress at that time, having participated in Jail Bharo Andolan, the Non-Cooperation Movement, and the Dandi March. Alongside stalwarts like Satinath Bhaduri, a well-known literary figure, Singh unfurled the flag to shouts of Bharat Mata ki Jai ringing all around. Men and women flowed out of their houses in excitement, breathing in the night breeze of a new country, awakening, as Nehru declared, to ‘life and freedom.’

Whether the statistics regarding this celebration are accurate or not is a story for another day. What is, however, evident is that there were large-scale celebrations around the Chowk, people mingling in joyous camaraderie. Locals even recall hearing about throngs of women blowing on conch shells, usually used during evening puja, as symbolic of ushering in a new dawn.

Rameshwar Singh’s family has continued the tradition of hoisting the flag at the eponymous Jhanda Chowk. It has been carried forward for over 75 years, first by Rameshwar’s son, Suresh Prasad Singh, and now by his grandson, Vipul Kumar Singh. The Dainik Jagran recently reported that the local MLAs and MPs are rallying that the Chowk is given the distinction of a state site, judging by its historical significance.

Purnea’s fascination with flags continues. In 2016, the town held the record for making and displaying the world’s longest tricolour flag at an estimated 7,100 metres. To the dismay of the residents of my hometown, this record was unfortunately broken three years later by Chhattisgarh’s Raipur.

My exploration of names continues in Hyderabad, where I recently started my post-graduate studies. On a recent metro ride, this writer was jostled out of her weary state at the startling announcement by the metro rail as it arrived at the Lakdi Ka Pool station. But that is a story for another day!

Sources:

https://www.jagran.com/bihar/bhagalpur-independence-day-2020-as-soon-as-12-oclock-in-the-night-purnia-resonated-with-the-sound-of-bande-mataram-flag-hoisting-took-place-at-jhanda-chowk-its-beginning-is-interesting-22981967.html

https://www.bhaskar.com/local/bihar/purnia/news/know-the-history-of-jhanda-chowk-of-purnia-130189854.html

https://www.indiatoday.in/india/story/midnight-tricolour-unfurling-independence-day-purnea-bihar-1029659-2017-08-14

https://purnea.nic.in/about-district/history/

https://www.bhaskar.com/bihar/purnia/news/activists-launched-campaign-to-get-jhanda-chowk-state-status-085505-4979523.html

About the Author

Joanna Philip

A postgraduate student of English Literature, Joanna has a budding interest in studying the heritage monuments of India and the contours of history, culture, and time that amplify them! When not writing a poem or two, she likes to spend her time talking (to herself) or trying to finish a task from her gazillion to-do lists.

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.

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.

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).

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

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

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

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

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

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

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

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

Sources

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

About the Author :  Viraal Saini

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