Introduction:
The monastic complex at Alchi in Central Ladakh largely datable to 10th - 11th century A.D. lies in the scenic mountain valley of Indus. It is considered as the most important of all the monastic complexes masterminded by Rinchen-bzang-po (958-1055 A.D.) primarily because it has been left intact. This complex comprises a group of six buildings and its importance lies in the fact that it has the best preserved mural paintings in the area especially in two of its monuments viz. Du-khang (The assembly hall) and Sum-tsek (three tiered temple)
According to the inscriptions at Alchi , the Du-khang was built by Kalden Sherap and Sum-tsek by Tshultrim O, both followers of Rinchen-bzang-po , undoubtedly the most dominating religious personality in Ladakh of that time. Moreover the iconographic program followed at Du-khang reflects teaching of this great religious teacher and the complete layout almost parallel the one seen at Sumda which can be directly attributed to him.
While on the one hand the mural paintings on the monuments here are considered as hallmark of Buddhist painting in the area on the other they have multitude of stories to tell about the contemporary painting scenario in Kashmir valley. Unfortunately as Huntington[i] ,Snellgrove[ii] and P. Pal[iii] unanimously observe there is hardly left any trace of Kashmiri painting of that time which can be directly compared to the ones at Alchi. Nevertheless there are enough historical, stylistic and epigraphical evidences which strengthen the contention and here onwards my hypothesis that Kashmir valley played a very important role in the the stylistic and iconographical development of the murals at Alchi and other temples/monasteries which fall on the route between Srinagar to Guge.
[i] Susan L. Huntington., ‘The Art of Ancient India’, NewYork ,1999 pp.385
[ii] David L. Snellgrove and Thaddeus Syrups, ‘The Cultural heritage of Ladakh’ Volt I- Central Ladakh, New Delhi, 1977 pp 8
[iii] Pratapaditya Pal., ‘Marvels of Buddhist Art’ Alchi- Ladakh, Paris, 1988 pp 19-20
The complete paper published in
Cultural Heritage of Kashmiri Pandits
Edited by S.S. Toshkhani and K. Warikoo, Pentagon Press, 2009, xxviii, 364 p, 26 black and white figs, ISBN : 81-8274-398-4
Contents: Preface.
1. Kashmiri Pandits and India’s cultural traditions/S.S. Toshkhani.
2. Kashmiri Pandits through history: from the early times to 1947/Tej N. Dhar.
3. Abhinvagupta and the Shaivite tradition of the Sarada Desa/Rajnish Mishra.
4. Social structure and cultural identity of Kashmiri Pandits/S.S. Toshkhani.
5. Religious rituals and ritual arts of Kashmiri Hindus/S.S. Toshkhani.
6. Kashmir’s Contribution to Sanskrit poetry and poetics/Ved Kumari Ghai.
7. Some Kashmiri Pandit historiographers/Mushtaq A. Kaw.
8. Shrines and pilgrimage places/K. Warikoo.
9. Amarnath—the Abode of the God of Immortality/K. Warikoo.
10. In search of roots/A.R. Nazki.
11. Shankaracharya and some Kashmiri Pandit traditions/Rashnik Kher.
12. Beginnings of Bhakti in Kashmir/S.S. Toshkhani.
13. Lal Ded and her spiritual journey/S.S. Toshkhani.
14. Political content in the Vaakhs of Lal Ded/R.L. Bhat.
15. The mystic and the romantic: Two Kashmiri women poets—Rupa Bhavani and Arnimal/Neerja Mattoo.
16. Paramanand: devotional raptures of Krishna Lila/S.S. Toshkhani.
17. Prakash Ramayana and other works on Ramayana Theme in Kashmiri/S.S. Toshkhani.
18. Krishnajoo Razdan—melodic expression of devotional ecstasy/S.S. Toshkhani.
19. Swami Lakshman Joo: the sage of Ishaber/Jankinath Kaul ‘Kamal’.
20. Kashmiri Pandits—originators of Pahari-Kangra School of Art/P.N. Kachru.
21. Kashmir’s contribution to the visual imagery at Alchi/Geetika Kaw Kher.
22. Deodar in a storm: Nadim and the Pantheon/Braj B. Kachru.
23. Kashmiri Pandits in journalism/M.L. Kak.
24. Kashmiri Pandits in retrospect and prospect/K. Warikoo.
Sunday, August 23, 2009
Sunday, July 12, 2009
Vacant Eyes
Vacant eyes
staring hard at nothingness
Contemplate
on the growing void
Branded a naysayer
Othered at once
Tries to look forward
but for the blackhole blinding her vision
Scared
she shuts her eyes
Lest the gravity
sucks her sight too
In her closed eyes
dreams dwell
Her sole respite
where her gaze
for a change
can pierce the dense blackhole
And lead her to light
staring hard at nothingness
Contemplate
on the growing void
Branded a naysayer
Othered at once
Tries to look forward
but for the blackhole blinding her vision
Scared
she shuts her eyes
Lest the gravity
sucks her sight too
In her closed eyes
dreams dwell
Her sole respite
where her gaze
for a change
can pierce the dense blackhole
And lead her to light
Monday, May 18, 2009
Monday, April 6, 2009
Hollowness of White Man’s Burden ...A book review
With the arrival of Vasco da Gama at the port of Kozikhode way back in 1498 began the process of colonization of India, which unfortunately has been celebrated as the ‘discovery of India’ in our history books. It is this ‘discovery of India’ that has been problematized by George Thundiparambil in his novel ‘Maya.’
To read the edited version log on to
http://www.vijayvaani.com/FrmPublicDisplayArticle.aspx?id=486
Wednesday, March 25, 2009
Musings
Existence
Unsolved mystery
This unbreakable code
Mocking
All our senses
Yet
Yearning
This hopeless yearning
Yearning to know
Neither feels insulted
Nor dies a silent death
Unsolved mystery
This unbreakable code
Mocking
All our senses
Yet
Yearning
This hopeless yearning
Yearning to know
Neither feels insulted
Nor dies a silent death
Tuesday, March 24, 2009
Ponderings
I long for the sea
sheer mystery of it
The silent waves………carrying a story
Clashing
Breaking
Receding back……..to carry another one
Stories of incomplete lives
Broken hearts
And love unconsummated
Not only that
In some secret corner
From time immemorial
Carry tales of slaughter
Deceit
Lust
And caprice too
Their deadly silence
Holding so much violence
Dumbfounded by the utter noise of hatred
Possessing power to benumb the senses
Ironically
Bestow a strange sense of peace
Perhaps
Human optimism
In its extreme
Waiting to find in debris
Beginning of a new life.
sheer mystery of it
The silent waves………carrying a story
Clashing
Breaking
Receding back……..to carry another one
Stories of incomplete lives
Broken hearts
And love unconsummated
Not only that
In some secret corner
From time immemorial
Carry tales of slaughter
Deceit
Lust
And caprice too
Their deadly silence
Holding so much violence
Dumbfounded by the utter noise of hatred
Possessing power to benumb the senses
Ironically
Bestow a strange sense of peace
Perhaps
Human optimism
In its extreme
Waiting to find in debris
Beginning of a new life.
Saturday, March 7, 2009
Monday, March 2, 2009
Sunday on the island of Elephanta: by Octavio Paz
I had been introduced to Paz way back in year 2000 but somehow never got to delve too much into his writings...probably because they have not been written in english...I remember finding him extremely profound and simple. The directness of his approach instantly appealed to me...
and when last night me and my husband got to read his poems i couldn't help but marvel at his style...
Moreover Elepanta holds a very special place in my heart...its the first arthistorical site that i visited with my department...i recall being completely floored by the over life size sculptures of siva in various lilamurtis...
Here is Sunday on the island of Elephanta by Paz trans by Eliot Weinberger.....hope every one enjoys it as much as i did
IMPRECATION:
At the feet of the sublime sculptures,
disfigured by the Muslims and the Portuguese,
the crowds have left a picnic of garbage
for the crows and dogs
I condemn them to be reborn a hundred times
on a dungheap,
and as for the others,
for eons they must carve living flesh
in the hell for the mutilators of statues
INVOCATION:
Shiva and Parvati:
we worship you
not as gods
but as images
of the divinity of man
You are what man makes and is not,
what man will be
when he has served the sentence of hard labor
Shiva:
your four arms are four rivers,
four jets of water.
Your whole being is a fountain
where the lovely Parvati bathes,
where she rocks like a graceful boat.
The sea beats beneath the sun:
it is the great lips of Shiva laughing;
the sea is ablaze:
it is the steps of parvati on the waters
Shiva and Parvati:
the woman who is my wife
and I
ask you for nothing, nothing
that comes from the other world:
only
the light on the sea,
the barefoot light on the sleeping land and sea.
and when last night me and my husband got to read his poems i couldn't help but marvel at his style...
Moreover Elepanta holds a very special place in my heart...its the first arthistorical site that i visited with my department...i recall being completely floored by the over life size sculptures of siva in various lilamurtis...
Here is Sunday on the island of Elephanta by Paz trans by Eliot Weinberger.....hope every one enjoys it as much as i did
IMPRECATION:
At the feet of the sublime sculptures,
disfigured by the Muslims and the Portuguese,
the crowds have left a picnic of garbage
for the crows and dogs
I condemn them to be reborn a hundred times
on a dungheap,
and as for the others,
for eons they must carve living flesh
in the hell for the mutilators of statues
INVOCATION:
Shiva and Parvati:
we worship you
not as gods
but as images
of the divinity of man
You are what man makes and is not,
what man will be
when he has served the sentence of hard labor
Shiva:
your four arms are four rivers,
four jets of water.
Your whole being is a fountain
where the lovely Parvati bathes,
where she rocks like a graceful boat.
The sea beats beneath the sun:
it is the great lips of Shiva laughing;
the sea is ablaze:
it is the steps of parvati on the waters
Shiva and Parvati:
the woman who is my wife
and I
ask you for nothing, nothing
that comes from the other world:
only
the light on the sea,
the barefoot light on the sleeping land and sea.
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