These lines from A hymn to India by Rabindranath Tagore, arguably the most luminous of all the literary figures, modern India has produced, describe not only India’s spiritual legacy but also the might of her sheer presence in terms of what the frontiers of this magnificent country holds within itself. Tagore’s India, a vast sea of humanity indeed, has never been monochromatic; a sea is seldom filled with waters from a solitary river. Displaying many hues and colours, this wavy sea is often found roaring with diversity, each being a representative of the various constituents that came together to build India to what it is today. Gandhara, today lying to the north-west of Indian borders in the regions occupying northern Afghanistan and Pakistan, may be seen as a sea-cliff from where one could stand and revere the splendor of this enormous landmass.  

Gandhara region on a contemporary political map

Origins The region of Gandhara first finds mention in the Rig Veda. Its inhabitants, the Gandharvas, were believed to be majestic performers of dance and music and were companions to the Apsaras, the celestial mythical beauties. The Gandharva School of music under the Hindustani classical style is named in reverence to them.

According to Puranic legends, the Gandharvas were responsible to guard the Soma Rasa, the nectar of the Gods. Further mentions of Gandhara can be found in the epic Mahabharata, from where Queen Gandhari, mother of the mighty yet machiavellian Kauravas, and her brother, Prince Shakuni, belonged.

As it happens in case of frontiers, Jerusalem and Constantinople being case in point, legends of various traditions often seem to overlap each other. On these lines, Gandhara’s origin also finds mention in the Zoroastrian book of Avesta where a place called Gandarewa is mentioned. It is believed that the Ahura-Mazda, the supreme lord of Zoroastrians, while creating the earth ranked Gandarewa and its surrounding areas as one of his favourites.

In recorded history of the Indian subcontinent, Gandhara is mentioned as one of the sixteen Mahajanapadas that existed around 600-400 BCE. These Mahajanapadas were distributed throughout the Indo-Gangetic plains and can be termed as the first empires to have taken root in India. Out of these sixteen, Magadha rose to a position of absolute supremacy, especially under the Mauryans around 300-200 BCE. The Mauryans were successful in creating the first pan-India empire, whose borders ranged from the Bay of Bengal in the east to beyond the Indus in the west. The Mauryan Emperor Ashoka was instrumental in introducing Buddhism in the region during his reign.

In this period when India herself was witnessing a consolidation of power never seen before, regions lying around the Hindukush Mountains were also experiencing their own rumblings. The conquests of Alexander had left a vacuum in this region and his successors clashed within themselves to claim the spoils. Selucus Nicator, one of Alexander’s Generals emerged victorious in establishing his own Seleucid Empire and started making further claims to the regions around Gandhara.

It is right here when these two maximal powers established themselves on either side of the Gandhara region that the wheels of time turned. The alliance between Chandragupta Maurya and Selucus, who gave the former his daughter, Helena, in marriage, led to a relatively peaceful co-existence of the two empires in this region. This made sure that the region was left with an unmatched legacy of heritage and history, one that combined the very best of the two continents.  

Western Influence

The cultural amalgamation in the region became a symbol of the newly evolved Greco-Buddhist culture. Further blossoming under the patronage of the Buddhist Kushans in the first century of the Common Era, the region continued its Mediterranean outreach with flourishing relations with the Romans which again influenced the region’s art and architecture in its own way. This influence is visible via the numerous motifs found on the archaeological remains of the region showing the presence of angels and cupids holding wreaths, curly vine scrolls and even a few Greek mythological creatures like the tritons and the centaurs.

It should be noted here that the Greco-Buddhist culture didn’t emerge as a separate religious movement but was more of an incorporation of Greco-Roman elements in the native narrative of Buddhist theology and its various visual depictions. Excavations at Hadda in modern day Afghanistan in the first half of the 1900s depict a number of clay and plaster objects seemingly representative of this influence. Whether it is the portrayal of people drinking and playing music on amphorae, the Stupa canopies resembling the capital of Corinthian pillars or stone palettes depicting mythological scenes, the enriching impact of these Hellenistic features stand out in Gandhara art.

It is also believed that the present portrayal of Buddha as we find today is said to have originated in Gandhara sometime between 100-200 CE. The depiction of Buddha as a human was made possible via the tradition of Mahayana Buddhism, also patronized by the Kushanas, and the subsequent representation of the Bodhisattvas, enlightened beings who achieve the ideals of Buddhism. The Buddha head found in Takshashila from the second century CE portrays typical Hellenistic features. A thick layer of curvy hair, protruding eyeballs with half-closed eyes and elongated ears mark the sculpture’s high complexity of creation. The detailing is evident by the delineation of the protruding planes of the eye-socket and that of the nose that extends to the forehead. The gentle expression of calmness adds to the attraction of this sculpture.  

The Buddha head of Takshashila

  Other statues from the Gandhara School depict Buddha and the other Bodhisattvas like Maitreya, the Buddha of the future, standing with a gesture of reassurance, also called as the abhaya-mudra. The body is adorned with a robe which itself is embellished by an impossibly real-looking flowing drapery. Presence of halo around the head of the deity is often shown. One cannot help but compare these figurines to the numerous statues of the Greek gods who themselves are represented on similar lines with well-proportioned bodies, wavy hair and sharp facial features. Depiction of the Bodhisattva Vajrapani, who holds a thunderbolt and is responsible for the protection of Buddha, is usually traced back to Zeus, the principal Greek god, or his son Heracles, the god of strength.

The various Bodhisattvas can be differentiated on the basis of minute changes in their representations. While Maitreya carries a small flask in his hand, Padmapani is gracefully shown holding a lotus. Amitabha, the Buddha of infinite light, is usually shown in varada-mudra, the gesture symbolizing granting of wishes. Vajrapani as mentioned above is shown with a thunderbolt. Seated Buddha is often shown in the dhyana-mudra, a state of meditation. Despite such subtle differences, the overall styles of their depictions aren’t too different from one other, and are strongly guided by the framework of the Gandhara School.  

Maitreya

Padmapani

Another binding agent of the Gandhara School is the depiction of elaborately carved stylized turbans atop the Bodhisattvas. Some sculptures show miniature devotional scenes on the crest of the turban with a pair of devotees offering prayers to Buddha himself, who is placed as the centerpiece of the turban. One remarkable feature found in almost all the Bodhisattvas from Gandhara is that their feet are never depicted naked. All of the sculptures are found with slippers or sandals, reminding one not only of their human origins in the spiritual world but also of their Roman influence.  

Buddha on a Bodhisattva’s turban

Conclusion

The pluralistic nature of the Gandhara School demonstrates an endorsement of provincial ingenuity coupled with excellent absorption of external influences that resulted in a completely new and independent artistic language. Anna Filigenzi from the University of Naples describes Gandhara as ‘a frontier land where regionalism and universalism found a melting pot with Hellenistic models, offering a bridge to elsewhere and anywhere.’ Influence of the Gandhara School on the domestic Mathura School has been well analysed, which went on further to aid the depictions of deities in Hinduism in a more stylized manner as well. The crux of the article lies that in a world where no borders have ever been permanent all throughout history and where elements of culture along with ideas flows with time, it is our great responsibility to preserve such syncretic creations in an age where artificial boundaries are again being made to rise. After all, Tagore did talk about the awakened mind of the holy land that is India.  

References:

• PAL, PRATAPADITYA. “Reflections on the Gandhāra Bodhisattva Images.” <i>Bulletin of the Asia Institute</i>, vol. 20, 2006, pp. 101–115. <i>JSTOR</i>, www.jstor.org/stable/24049185.
• https://collections.vam.ac.uk/item/O25038/head-of-the-buddha-sculpture-unknown/
• http://sites.asiasociety.org/gandhara/maps/
• https://www.metmuseum.org/art/collection/search/38474
• https://www.sundayguardianlive.com/culture/introduction-graeco-buddhism-gandhara-school-art  

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 Pushkar Raj …

 I am an observer of people, of places, and of things that go unnoticed in the usual pace of life. I have a thing for history, the story the stones tell, and like to ponder how we, the mankind, ‘evolved’ the way we did.

Inherently, I feel that maybe I was an archaeologist in my previous birth, or sometimes I even feel that I missed the boat in this life! Thinking back, childhood memories of various trips taken, I recollect that the mementoes I collected were things like a rock chipped off from a historic site we visited, or a brick which had an imprint, small trinkets like these. Flash forward 2021…and we all know what a year 2020 was!!  I found myself at a loose end, with my children both grown up and me having a lot of free time on my hands. Scouting around different avenues and trying to find something I love was a tall order!! My daughter on her IG page came across ILF and they were looking for interns!!! I just jumped at the opportunity! The work being done by ILF seemed absolutely marvellous! I was super super excited, I applied, after which I spoke with Amit Sir, who shared the ILF vision with me…. And the rest as they say is HISTORY!   

“History’s like a story in a way: it depends on who’s telling it.” ~ Dorothy Salisbury Davis. 

Being part of the Narrator team has been extremely satisfying, it gives me a deep feeling of satisfaction and pride that I am able to contribute in my own small way in creating the vast digital map of India. It may not be anything but every word counts and so does every site. Baby steps… Writing was also something that I had thought I might have wanted to do at some point, especially as a travel writer. So my work at ILF ticks off two items on that bucket list… Archaeology (tick) and travel writer ( tick), puts me in a happy place. I get to virtually travel to all these wonderful and unique sites lost and forgotten, only to be brought alive by India Lost & Found.

The various models bring out the best of the site, from all angles and I particularly enjoy writing, which is a conversation between 2 characters, animate and inanimate which brings out the details of the site, in a beautiful manner, often humorous. When I was approached to write or put up something for the blog, I was thrilled and after giving it much thought, I thought that instead of me writing or putting up something about ‘a’ particular sites or sites, I would write my thoughts about my journey here till now, hoping that it will inspire more like me to join the ILF family and be a part of shaping our rich cultural and historic heritage.

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 Karishma Agarwal …

The Jaswant Thada

Source: Jaswant Thada in Jodhpur – White Marble Mausoleum in Jodhpur (indianholiday.com)

‘Such monuments are full of wisdom, for they have been filled with what they have seen and heard over hundreds of years.’

  A gigantic equestrian statue of Maharaja Jaswant Singh II stands around 100 meters before the mausoleum’s main gate. We were greeted by Rajasthani melodies sung by local musicians and folk singers seated on the monument’s steps as we proceeded to the entrance. The sepulchre is made from innumerable intricately cut marble sheets. The exquisite marble surfaces of the mausoleum exude a beautiful gentle glow, caressed by the sunlight and the surface being polished to perfection. Because the primary building material used in Jodhpur is buff-coloured sandstone, the pristine white marble provides a remarkable contrast not just with the reds of the staircase and walls, but also with anything else ever built in the region. The emerald greens of the doors and windows add to the charm of the structure.  

The equestrian statue of Maharaja Jaswant Singh II

Source: https://commons.wikimedia.org/wiki/File:Jaswant_thada.png

The contrast of white marble and red stone

Source: Clicked by me

Folk singer greeting the visitors with Rajasthani melodies

Source: File:Jodhpur-Jaswant Thada-10-Musiker-2018-gje.jpg – Wikimedia Commons

The edifice is an epitome of Rajputana architectural style but the quaint domes are influenced by some of the most innovative Mughal architecture, demonstrating how Rajput rulers blended Mughal motifs in their structures. The monument has marble lattice screens (jaali work) and whimsical domes that reflect the creative brilliance and artistic expertise of the craftsmen of the time. The arches, pillars and jharokhas of the cenotaph are embellished with elaborate carvings. The walls of the hall, which houses a silver throne, are adorned with the exclusive portraits of Maharajas of Jodhpur. The impeccable architecture and design are evocative of the fine craftsmanship of the bygone era. The monument is more of a temple dedicated to previous kings, as Rajput clans are known for their ancestor worship. The main hall, built like a temple, was used for various rituals. As a method of paying respect to the deceased, it is highly recommended that you remove your shoes while entering the cenotaph.  

The inside of the hall

Source: Jaswant Thada – Kevin Standage (wordpress.com)

The jaalis at the cenotaph

Source: https://commons.wikimedia.org/wiki/Category:Jaswant_Thada#/media/File:Jodhpur-Jaswant_Thada-34-Fenster-2018-gje.jpg

The green doors which add to the charm of the building

Source: https://commons.wikimedia.org/wiki/Category:Jaswant_Thada#/media/File:Jaswant_Thada_-_Tür.jpg

A minor cenotaph in the area

Source: Clicked by me

In addition to the cenotaph of Jaswant Singh, there are minor cenotaphs of various Rajput kings, such as Maharaja Umaid Singh, Maharaja Hanwant Singh, and a memorial of a peacock that is believed to have flown into the funeral pyre while the rites were in progress. It also houses the crematorium which is reserved only for the royal family. Maharaja Jaswant Singh’s queens, who sacrificed their life on the king’s pyre, have their own portion in the monument. Several beautiful pillars that depict dancing figures decorate this section of the monument. To the west of the complex lies Dev Kund, a water body that was formerly utilized for performing traditional rites and rituals for the deceased and is now home to a few ducks. Jaswant Thada was taken over by the government of Rajasthan in 1949 with the merging of Jodhpur. It was later returned to the Mehrangarh Museum Trust, which currently manages and looks after it. The Trust runs a museum at Jaswant Thada that has portraits of Marwar kings as well as educational didactics which provides information about the history of the region. It has also undertaken a comprehensive restoration and conservation plan, which involved the development of additional gardens, among other things.  

The small lake to the west of the complex

Source: File:Jaswant Thada .jpg – Wikimedia Commons

One of the cenotaph’s most striking features is its location. The monument is complemented by the lush greens, spick-and-span lawns, chhatris, and a shallow lake nearby. During events such as the Rajasthan International Folk Festival and the World Sacred Spirit Festival, its grounds are used as a venue for performances and concerts. Amidst the bustling city, Jaswant Thada provides a peaceful escape for visitors and locals. The breathtaking view of the blue city and the Mehrangarh fort from this vantage point enthralled us. With all these elements put together, the structure of Jaswant Thada creates a truly mesmerizing effect and hence one should never miss an opportunity to visit this royal cenotaph.  

Bibliography:

• Sinha, J. (2007). Beyond the Dunes: Journeys in Rajasthan. India: Penguin Books.
• Jaswant Thada, Information about Jaswant Thada, Jaswant Thada in Jodhpur (indovacations.net)
• Jaswant Thada- Royal Splendor of Jodhpur | AapNo Desh – RajasThan
• Jaswant Thada – Mehrangarh Museum Trust
• Jaswant Thada Jodhpur Rajasthan – Palaces on Wheels
• Jaswant Thada ‘ Taj Mahal of Marwar ‘ In Jodhpur. A white marble commemorative tomb (jodhpursearch.com)

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 Priya Agarwal …

Currently pursuing a Masters in Ancient Indian Culture and Archaeology, I aspire to create a link between heritage and people. I find solace in historical monuments and like to capture them through my lens. In the creative space, I love to sketch and try new DIYs. Ghazals and virtual tours of museums have been my best companion and kept me sane during the pandemic.

(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.  

Following is an example of an interesting analysis of the architectural style of Mahanirban Math located in the Kalighat area of Kolkata  : Mahanirban Math(Nitya Thakur Math)is a religious heritage structure located at Rashbehari Avenue in the busy Kalighat area of Kolkata established by the saint Sri Sri Nityagopal in 1980. It has a garden with a temple, Natmandir, and a small office. Outside the temple, a beautiful pond and a garden filled with rare species of trees welcomes the visitors. It is a busy space during different festivals of the Math and also welcomes visitors for their daily prayers.  

Insert Image here– Plan 1 

The above is a rough sketch plan of the temple drawn based on its photos and description.

Insert Image – Arches 

Arches- The temple has both multifoliate cusped arches and pointed arches outside and inside on the walls of the doors of the temple. On the top of these arches, detailing of flowers and leaves can be seen.

Insert Image – Corinthian capital 

Corinthian columns –In the colonnaded corridor Corinthian columns are observed which are a representation of Neo- Classical architecture in the British Colonial period of India. The column originates from the Greek architecture style, and it is one of the classical orders of architecture. The capital of the column has lavish ornamentation which resembles leaves and flowers. (Basel)The columns have fluted shafts and the height of the capitals gives them a more slender effect. The Corinthian column base rests on the plinth. The columns in the Math are now colored in bright orange, yellow and red. In all the corners of the corridor the columns are grouped in four to support the roof.

Insert Image – Dome 

Dome- The dome on the top of the flat roof is an Islamic faceted dome with convolutions(called a melon dome). It also has finials on the top and is articulately painted with floral design.

Insert Image – Roof Detailing 

Roof detailing – The flat roof of the temple is decorated with elements of Islamic architecture with recurring leaves on the top and painted stars on the roofline. The parapet also has columns with lights fixed in the corners. From the above details, we come up to a conclusion that the architectural style of the Math is a mix of Islamic architecture with an addition of some Neo-Classical elements.

Bibliography: 

Basel, E. S. (n.d.). Kolkata’s architecture legacy- and the question of identity. Retrieved from https://www.scribd.com/document/299679969/Kolkata-Architecture

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 Prachi Pushkar Buche Marathe …

I am a conservation architect from India, currently based in Belgium on a mission to explore and conserve lost and unidentified heritage around the world. My site visits while studying architecture in India made me realize the significance of our tangible and intangible heritage in India. I am an ardent lover of history and have a passion for painting, design and art.

• Lady Hardringe

This illustration is of Lady Hardinge, who established the Lady Hardinge Medical College for women in 1914. The character’s design was inspired from the 20th century wherein there is a rose pattern on the dress and a flower brooch is also patterned on the dress.

• Arana

This illustration is of Arana, a young photographer. The character was made for Hutheesing Haveli and its design was inspired from the 21th century woman, and one can see more detailing was given to have expressive eyes and overall character.

• Umang Hutheesing

This illustration is of Umang Hutheesing, who belongs to the 5th generation of the Hutheesing family of Ahmedabad. The character was made for Hutheesing Haveli and the character’s designing was inspired from the 21th century with detailing focused on the shawl.

• Bird

This illustration is of a bird. This character was made for the William Fraser McDonell’ Fountain at Kolkata and detailing can be seen on the wings and body too.

• Lion

This illustration is of a lion. It was made once again for the William Fraser McDonell’ Fountain at Kolkata and the detailing was focused on the body and the lion’s hairs.  

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 Yuvraj Singh Kaushal …

Hi, I’m Yuvraj Singh Kaushal! I am an architecture student and currently pursuing my degree at Symbiosis Skills and Professional University, Pune.

I love to make paintings and sculptures in my free time as a hobby and have been working with India Lost and Found since the past 5 months. In this short period of time I gained a lot of experience and it helped me with designing, color compositions and improving my skills in using Illustrator.