Saturday, 13 July 2013

Rivers in Indian Literature 5 The Brahmaputra

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Being a masculine river (Nada), the Brahmaputra literally means ‘Son of Brahma’, one of the Hindu Holy Trinity. Even though the river was first called Lauhitya; the name, as we know it, finds first mention around the 10th century in the Kalika Purana. But, the very first narration was in the Srishti Khanda of the fifth book of the Padma Purana.

Kalika Purana narrates how Lord Bramha was impressed by the piety of a couple, Shantanu and Amogha. He deemed that Amogha had all the requisites to bring forth His own son, whom He wanted humanity to benefit from. Shantanu placed Lord Brahma’s son in the midst of four mountains, from where the boy assumed the form of the river Brahmaputra.

We could read in the Padma Purana that Lake Brahmakunda was the original source of the Brahmaputra. Lord Parasurama had axed His own mother to death, upon orders from His father. The axe got stuck to His hand and He set forth on a pilgrimage, ultimately reaching the lake, where He cut a channel for the rising waters to flow down. From the Brahmakunda, waters entered Lake Lohita in the Kailash valley. The river, thus, got the ancient name Lauhitya.


Photographed by Vikramjit Kakati. Source: Wikimedia Commons.
The powerful Brahmaputra is considered the backbone of Assam and has been at the core of Assamese folklore. Perhaps, the most abiding symbols of Hindu-Muslim synthesis are the zikirs composed by Sufi Saint, Azan Fakir in the 17th century. Many of his compositions use Hindu imagery when they refer to the harp of Kailasa or to Sankar Deva and Madhava Deva.

When it comes to Assamese literature, we can’t ignore the inspired works of Bhupen Hazarika. A line from his song Mahabahu Brahmaputra is a fitting tribute to the great river.

O great Brahmaputra!

You are the pilgrimage of the great harmony,

For ages you have been expressing

The meaning of harmony.

Contribution - Suresh yesuthasen
(Team - The Indian Me)

Friday, 12 July 2013

South Indian Arts & Crafts – Kalamkari.




Origin: Srikalahasti and Machilipatnam, Andhra Pradesh – circa: uncertain.
While Kalamkari is certainly the most ancient form of hand painting, using natural dyes on resists-dyed cloth, its antiquity is however uncertain. It is believed that the earliest fragments were found in Mohenjodaro, setting the period of origin back to the pre-Christian era. Evidence of import was also found in the excavations in Al-Fustat - the capital of ancient Egypt.

Srikalahasti kalamkari - Image source: Dolls of IndiaSrikalahasti kalamkari - Image source: Dolls of India


Literally meaning ‘Pen Craft’, the etymology of ‘Kalamkari’ can be traced to the 16th century - the period of alliance between Safavid Persian and Qutub Shahi Golconda. The Persian word ‘Kalam’ or ‘qalam’ alludes to a pen or an instrument used for painting whereas the Urdu word ‘Kari’ implies the craftsmanship involved.

Styles of Kalamkari:


Of the two distinct gharanas of Kalamkari, the Masulipatnam or Machilipatnam style has the intricate and delicate Muslim and Persian influence and has evolved to using block printing. The primary motifs are floral butas, mihrab of the mosques, the famed tree of life (cypress) and animals mentioned in the Quran and in Sufi writings. Under the Dutch and the British reigns, the art flourished and evolved to cater to their taste and Machilipatnam, being a port town, played a major role in its trade and export.
Machilipatnam kalamkari - Tree of Life – courtesy Monica Saurab


But to this day, the Srikalahasti style remains close to the original art form. The artists rely strictly on free-hand painting and the use of natural dyes. Being a temple town, this style has a religious flavour, depicting Hindu Deities and feature narratives from the epics and mythological classics.

A third traditional style is Karupur Kalamkari, which originated in Thanjavoor (Tamil Nadu) during the Maratha rule. This style is distinctly embellished with gold brocade and was mostly worn as sarees and dhotis by the royal families, during the period of Raja Serfoji and later Raja Shivaji.

Contributor Suresh Yesuthasen
(Team The Indian Me)

Rivers in Indian Literature 4 The Sarasvati.


Even though the river does not physically exist today, there are several references to the Sarasvati in the ancient Indian literature of the Vedic and post-Vedic period. It is the only river with entire hymns (6.61, 7.95 and 7.96) dedicated to it in the Rigveda.
The awe and reverence the Sarasvati inspired is best summed by the three-word tribute to her in the Rigveda - Ambitamé, the best of the mothers; Naditamé, the best of the rivers; and Devitamé, the best of the goddesses.
From his base in Kotagiri (The Nilgiris), where I hail from, Ralph T.H. Griffith had translated the Rigveda. Here are some verses, exalting the river:
Pure in her course from mountains to the ocean, alone of streams Sarasvatī hath listened.
Thinking of wealth and the great world of creatures, she poured for Nahuṣa her milk and fatness. (RV 7.95.2)

The Course of Saraswati
An ISRO image of River Saraswati's course




Marked out by majesty among the Mighty Ones, in glory swifter than the other rapid Streams,
Created vast for victory like a chariot, Sarasvatī must be extolled by every sage. (RV 6.59.13)
Coming together, glorious, loudly roaring - Sarasvatī, Mother of Floods, the seventh -
With copious milk, with fair streams, strongly flowing, full swelling with the volume of their water. (RV 7.36.6)
From copiousness to her drying up, we move to post-Vedic literature. According to the Mahabharata, the Sarasvati dried up in a desert at a place named Vinasana or Adarsana (MB 3.82.111; 3.130.3; 6.7.47; 6.37.1-4; 9.34.81 and 9.37.1-2); reappears in some places (MB 3.80.118); and joins the sea "impetuously" (MB 3.88.2).
We have references too in the Skanda Purana, Vamana Purana, Manu Smriti, Vasistha Dharmasutra and Baudhayana Dharmasutra.
In the literary context, it’s interesting to note that the Sarasvati is associated with speech. Such epithets as Vagdevl (goddess of speech), Jihvagravasini (dwelling in the front of the tongue), Kavijihvagravasini (she who dwells on the tongues of poets), Sabdavasini (she who dwells in sound), Vagisa (mistress of speech) and Mahavani (possessing great speech) abound.

Contribution - Suresh Yesuthasen
(Team - The Indian Me)