Ujjayi pranayama is a type of breathing exercise of yoga which helps to get rid of your stress, fatigue and invigorate your body and mind.
The literal meaning of “Ujjayi” is breath of victory. This pranayama technique is related with victory as the breathing in expands the chest and belly of the person doing this pranayama and the body may resemble to a victorious warrior. It is one of the important pranayama mentioned in Hata Yoga Pradipika, the ancient classical yoga text.
Ujjayi pranayama -health benefits
It helps to de-stress
This breathing exercise helps to calm down your nervous system and remove your fatigue and accumulated stress. You may practice this simple breathing to address the stress of daily life in a positive and effective way.
Ujjayi contributes to meditation
Ujjayi is an integral part of meditative process and it aids to enhance focus and concentration indirectly. Meditation is calming down your nervous system and body to be receptive .Ujjayi helps in this area and as an outcome you may be gifted with better focus and improved concentration.
Helps to improve emotional stability
Ujjayi pranayama helps to reduce anxiety, agitation and impulsiveness. To get rid of this excessive mental stimulation, is crucial in achieving emotional stability with regular and consistent practice. Only an emotionally stable mind can do better decision making in your career as well as personal life.
It improves the energy flow in human body
According to yoga principles, this pranayama invigorates you by removing energy blocks in your spinal cord. It removes the stagnation of energy and facilitates smooth flow of vital force or energy.
How to do ujjayi pranayama?
The first step is sitting erect with your spine and head straight.
closing your mouth and constricting or contracting the throat with slight exertion. Avoid too much contraction of glottis.
Now try to exhale and then begin to inhale air slowly and rhythmically. Let the air pass through the constricted throat slowly.
Continue inhaling slowly the fresh air, until a sense of fullness is achieved in the chest region. It is good to retain the inhaled air for a period of 6 seconds.
Now exhale spontaneously. Please try to exhale slowly and it is advisable to avoid jerky or hasty movements.
At the end of it,breath normally in a relaxing way.
How does ujjayi breathe work for human body beneficially?
This breathing technique is capable of generating body heat with in. Actually, it is the friction of the air, going down the contracted upper airway to both lungs is generating the heat. It is soothing for all vital organs & particularly aids in stimulating the fatigued brain. Therefore, Ujjayi is also referred to as “Psychic breath”.
Ujjayi is beneficial in enhancing the capacity of your lungs. The airflow through constricted throat in this type of pranayama, compels the lungs to expand fully during inhalation of air. This maximum expansion helps increased oxygen transfer to various parts of the body.
The ujjayi pranayama is done slowly and rhythmically and it calms down the para sympathetic nervous system and brings about calmness at mental level.
While doing ujjayi pranayama certain vibrations in the larynx stimulate sensory receptors and it may signal the Vagus nerve. The whole process helps to calm down the mind and body.
The contraction of glottis throat] produced in Ujjayi pranayama exerts a gentle pressure on the carotid sinuses in the neck also, which is regulating blood pressure in the arteries. This may affect to reduce stress and slow down the excessive thinking activity.
Who should not do Ujjayi pranayama?
Individuals having high blood pressure & heart diseases better avoid doing this pranayama.
Never over do the contraction of glottis
While doing this breathing exercise, exert only a little contraction of throat so that the air flow through channel is streamlined and a little friction is generated. This is generating the adequate heat or energy. Too much exertion is the erroneous method of doing this breathing exercise and is associated with various disadvantages and adverse effects. Be cautious to be gentle.
Khejri tree is one of the most beloved trees of Indian subcontinent, with its distinctive leaves and small yellow flowers and the tree grows in arid, dry climate with tolerance to adverse weather.
Prosopis cineraria is the scientific name of this special tree which is intricately linked to the culture and traditions of Indian subcontinent since ancient times. Prosopis belongs to the pea family, Fabaceae.
Prosopis cineraria is the state tree of Rajasthan where it is known as khejri. This tree is known by various names in different parts of the country. In Western Uttar Pradesh it is known as chhonkara and inTelangana it is known as jammi. It is well-known in Madhya Pradesh& Maharashtra as Shami. Gujrati people of India knows the tree as khijro.
Its adaptability to arid & dry climatic conditions has imparted it ecological significance as the preserver of soil and biodiversity sustainability.
Khejri -the star of deserts all over the globe
Prosopis cineraria [khejri tree] is native to arid portions of Western Asia and the Indian Subcontinent. It is cultivated in Afghanistan, Bahrain, Iran, India, Oman, Pakistan, Saudi Arabia, the United Arab Emirates, and Yemen. It is the national tree of the United Arab Emirates.
The story of human sacrifice for khejri tree & the chipco movement
In 1730 AD, the village of Khejarli near Jodhpur in Rajasthan witnessed a scene of violent & vehement environmental confrontation. Maharaja Abhai Singh of Marwar had ordered to cut khejri trees of the region to build a new palace there. A family resided in that region including Amrita Devi and her three young daughters gave their lives in an attempt to protect some khejri trees. This incident led to widespread protest and resentment and later turned into a massive movement in which 363 people were killed in the attempt to save the trees. In hindsight, this tragic incident compels us to have a look at the cultural significance of the tree in the history of Indian landscapes & vegetations. Khejri was part of their ethnic culture and lives rather than the environmental significance the tree connotes currently.
Later in the 1970s, the memory of this sacrifice led to the start of the Chipko movement in India which raise voice against cutting trees indiscriminately.
Kejri – A sacred linking with the myth
The Indian epic Mahabharata narrates the story of the Pandavas spent their thirteenth year of exile in disguise in the kingdom of Virata. Before entering the kingdom of Virata, they hung their celestial weapons on the khejri [Shami]tree for safekeeping for a year. When they returned after a year, they found their weapons safe in the branches of the Shami tree. It is narrated in the epic that before taking their weapons from the Shami tree, the Pandavas worshipped the tree and thanked it for keeping their weapons safe. It is curious to know that in Indian subcontinent every landscape and vegetation has a sacred linking with divinity as well as myths. Khejri is one of the such instances of trees being part of the culture and traditions of a spiritually inclined ancient society.
Khejri tree -Botanical description
The tree is found in extremely arid conditions, with rainfall as low as 15 cm (5.9 in) annually. Prosopis cineraria is a small tree, ranging in height from 3–5 m (9.8–16.4 ft). The leaves are bipinnate, with seven to fourteen leaflets on each of one to three pinnae. Branches are thorned along the internodes. Flowers are small and creamy-yellow and followed by seeds in pods.
The plant has tolerance for highly alkaline and saline environments and thrive in these localities also.
Kejri tree- A cultural link with Dussehra
The tree is revered by Hindu community in Inda and it is intricately connected with Dusshera festival. On the tenth day of the Dasara Festival the tree has some special significance.
In the Deccan region of India, as part of the tenth-day ritual of Dussehra, the marathas used to shoot arrows onto the crown of the khejri tree and gather the falling leaves into their turbans.
Mysore Dasara &Banni [ kejri] tree
According to historical references, Prosopis cineraria is known as the Banni mara, and holds a special place in the Mysore Dasara, where it’s worshipped on the Vijay-dashami day.
Conservation efforts for the Khejri Tree focus on promoting sustainable land management practices, afforestation initiatives, and the preservation of natural habitats. Protection and restoration of Khejri-dominated ecosystems contribute to the maintenance of biodiversity and sustainable use of this resilient species.
Khejri – Ecological warrior against soil erosion and climate crisis
Currently the entire world is grappled with climate crisis as the aftereffect of global warming. At another end landslides and soil erosion are continuously morphing the landscape of our habitat and ecosystem. In the wake of these grave scenarios, Khejri tree due to its adaptability to adverse weather conditions and survival in arid regions helps to mitigate the impact of climate crisis and soil erosion indirectly. Therefore we can call the plant as an ecological warrior which preserve the ecosystem with its deep roots and leaves.
As the Chipco movement advocates for preservation of trees, let us Embrace the trees , stop cutting and felling them down as long as no direct imminent threat of trees falling and endanger human lives under torrential rain and tempests. The term “Chipko” means “to hug” or “to embrace”. Let us embrace this tree and many others of its kind into human culture as well as lives to preserve our ecosystem and delve into our roots to imbibe the good practices of ancient wisdom.
Kalamkari is an ancient fabric art renowned for its mesmerizing beauty and intricate art work. kalamkari paintings portray deities and scenes taken from the Hindu epics such as Ramayana, Mahabharata and Puranas.
Kalamkari is a well-known fabric art loved by people across the world and everyone who love Indian ethnic fashion trends collect in their wardrobe at least a kalamkari shawl. Kalamkari fascinate people owing to its bright and black intricate artworks which portray Indian mythological stories.
It is an ancient textile printing art, that originated in Machilipatnam in the state of Andra Pradesh India. The name kalamkari is derived from two Hindi words “Kalam” implies ‘pen’ and “Kari” means ‘art’, which was coined by the Mughal emperors who came across this amazing art form during their conquest extended to Deccan region.
In India, silk, mulmul, cotton, and synthetic sarees portray the kalamkari art and they have great demand locally as well as in foreign lands. Printing is a much easier task than traditional Kalamkari work. Kalamkari printed dupattas and blouse pieces are popular among Indian women particularly among urban tribes.
Genesis of Kalamkari art
Kalamkari art originated about 3000 years ago in the state of Andhra Pradesh And this art form reached the zenith of its grandeur in Andra Pradesh during the reign of Vijayanagara empire.
Kalamkari is around 3000-year-old art form as per the archeological evidence. The discovery of a resist dyed piece of cloth on a silver vase at the ancient site of Harappa (c. 2600 BC) of the Bronze Age Indus Valley Civilization corroborates for its antiquity.
Kalamkari style of art originated in Machilipatnam. Centuries ago, the artisans of the hamlets were keen to depict mythological narratives using large bolts of canvas painted on the spot with simple means and dyes extracted from plants. The depictions were linking the art with Hinduism prevailed in the land for centuries since Vedic times.
Kalamkari underwent a huge transformation in its style with the Muslim invasion in Indian subcontinent. Later the Mughal empire patronized this craft in the Coromandel and Golconda provinces. The royals called the practitioners of this craft as “Qualamkars”, from which the term “Kalamkari” has evolved.
The Pedana Kalamkari craft made in Pedana close to Machilipatnam evolved under the patronage of the Mughals and the Golconda sultanate. The original kalamkari art got influenced by Persian art under the Islamic rule. This paved way for two major styles of kalamkari art in fabrics in Indian subcontinent.
The making of Kalamkari art on fabrics
Natural dyes are used since ancient times in making kalamkari art forms. Two principal styles of Kalamkari paintings exist in India. The hand painted style practiced in the town of Srikalahasti and block printed style practiced in the town of Machilipatnam. Both styles are registered as Geographical Indications from Andhra Pradesh under handicraft goods, with the Srikalahasti style registered in 2005 and the Machilipatnam style in 2008, under the Geographical Indications of Goods (Registration and Protection) Act, 1999.
Srikalahasti style of Kalamkari
In this style of kalamkari painting the “kalam” or pen is used for freehand drawing of the subject and filling in the colors. It is entirely hand worked. It is produced in Srikalahasti of Tirupati district of Andhra Pradesh. This style flourished in temples centered on creating unique religious identities, appearing on scrolls, temple hangings, chariot banners.
Srikalahasti style of kalamkari paintings portray deities and scenes taken from the Hindu epics such as Ramayana, Mahabharata and Puranas. The Kalahasti artists generally depict on the cloth the deities, scenes from the epic Ramayana, the Mahabharata, Puranas and other mythological classics mainly producing scrolls, temple backcloths, wall hangings, chariot banners etc.
Machilipatnam style of Kalamkari or Pedana Kalamkari is vegetable dyed block-painting on a fabric. It is practiced at the town of Machilipatnam in Krishna district of Andhra Pradesh.
The captivating blend of colors on the fabrics mostly depicts characters of the Indian mythology, including the divine figures of Brahma, Saraswati, Ganesh, Durga, Shiva and Parvati.
The Machilipatnam paintings, is a melange of Hindu and Islamic art forms of fabric painting owing to the patronage of the Mughals and the Golconda Sultanate. Therefore, religious motifs of Hinduism were absent on this art form. The traditional block prints in this art show Persian motifs like interlacing pattern of leaves and flowers, the cartwheel, different forms of the lotus flower, creepers, birds like parrots and peacock, and other intricate leaf designs.
In this art form there is great significance to the portrayal of tree of life.
With the conquest by the Mughal Empire in 1687, a new style emerged in Machilipatnam kalamkari work which represented personal portraits of the emperors along with panels depicting sagas of the Mughal court.
The making of pristine kalamkari fabric
The first step in creating Kalamkari fabric is steeping it in astringents and buffalo milk and then drying it under the sun. Afterwards, the red, black, brown, and violet portions of the designs are outlined with a mordant and cloth are then placed in a bath of alizarin.
Later to cover the cloth in wax, except for the parts to be dyed blue, and immerse the cloth in indigo dye. The wax is then scraped off and the remaining areas are painted by hand.
To create design contours, artists use a bamboo or date palm stick pointed at one end with a bundle of fine hair attached to this pointed end to serve as the brush or pen. This pen is soaked in a mixture of jaggery and water; one by one these are applied, then the vegetable dyes are added.
Dyes for the cloth are obtained by extracting colours from various roots, leaves, and mineral salts of iron, tin, copper, and alum.
Various effects are achieved by using cow dung, seeds, plants and crushed flowers to obtain natural dye. Along with buffalo milk, myrobalan is used in kalamkari. Myrobalan is also used to remove the odd smell of buffalo milk. The fixing agents available in the myrobalan can easily fix the dye or colour of the textile while treating the fabric. Alum is used in making natural dyes and also while treating the fabric. Alum ensures the stability of the colour in Kalamkari fabric.
Modern day kalamkari art
Contemporary kalamkari techniques are slightly different from its primitive form. In Masulipatnam, mordant is now uniformly printed with a block. Indigo dyeing has been given up and the application of the wax resist by kalam has also disappeared. The mordant for outlining in black remains unchanged, but iron acetate has replaced indigo for dyeing the larger areas black, despite its known corrosive qualities. Yellow dyes are made from dried flowers of the myrobalam, Terminalia chebula.
Kalamkari is a vastly popularized ethnic art form which has been in use in most part of the country and spread world wide as one of the most sought-after fabric art form.
Kangra fort is a historically significant ancient fort in the Kangra district of the Himachal Pradesh state in India. The fort is the largest and one of the oldest forts in the Indian Himalayan range. It is believed to have been constructed by the Katoch dynasty in the 4th century BC.
Kangra -an ancient fort in the lap of Himalayan valley where history of centuries-old conquests sleeps…
Himachal Pradesh, a state in the Himalayan range of India boasts a rich heritage, encompassing historical monuments, religious sites, and a vibrant culture. Its main heritage sites include the UNESCO World Heritage Site Great Himalayan National Park, the Kalka-Shimla Railway, and the historic Kangra Fort.
Kangra fort is a historically significant ancient fort in the Kangra Valley, Himachal Pradesh, protected by archaeological department govt of India. The fort is popularly known as ‘Nagarkot’ and ‘Kot Kangra’.
This fort is one of the largest and oldest for in the Himalayan valley. It is situated on a hillock between two rivers Manjhi and Banganga among the foothills of the Dhauladhar range.
Kangra was once an important center of Jainism. The ancient remains or relics inside the fort are of Jain and Hindu temples dated to c. 9-10 century A.D.The earliest mention about kangra fort in the records dates back to the time of invasion of the fort by Mahmud Gazni in 1009 AD. Later the fort was seized by Muhammad bin Tughlug in 1337 AD. and succeeded by Firuz Shah Tughlug in 1351 A.D. respectively.
The structural characteristics of kangra
The Kangra Fort is spread across 463 acres in the Himalayan valley. The entrance to the fort is through a small courtyard enclosed between two gates. It is believed that this area was built during the Sikh period, as depicted by an inscription over the entrance. Soon the entrance area may lead to a long and narrow passage further pointing to the top of the fort, through the Ahani and Amiri Darwaza built by Mughals.
About 500 feet from the outer gate the passage turns round at a very sharp angle and passes through the Jehangiri Darwaza.
The Darsani Darwaza, which is now flanked by defaced statues of River Goddesses Ganga and Yamuna gave access to a courtyard, along the south side of which stood the stone shrines of Lakshmi-Narayana and Ambika Devi and a Svetambara Jain temple with large idol of Rishabhanatha
The myths & history surrounding Rishabanada Jain temple of kangra fort
The Jainist temple of the fort has to unveil a curious and enchanting myth or tale. According to a local legend, King Susarmacandra, came to know about the significance of Mount Shatrunjaya, and later he took a vow to not eat or drink anything until he pays homage to Rishabhanatha at Palitana temples. It is believed that immensely pleased by the king’s devotion and determination and to save him from his vow to starve, demigoddess Ambika created a temple of Rishabhanatha at the king’s fort. After paying homage to the idol, the king broke his fast.
Within the premises of Kangra Fort lies an idol of Rishabhanatha. The inscription on the pedestal of the idol is in Sarada script. It mentions that the idol was consecrated by Jain sect Svetambara monk Amalacandra, a disciple of Acarya Abhaycandra in 854 CE.
The granite idol of Rishabhanatha is seated in Padmasana posture. An icon of bull carved on its pedestal indicates that the idol is of Rishabhanatha. However, another noteworthy feature of this idol is that it does not show a waistband and a waistcloth, as most commonly found in Svetambara [Jainist monks] icons of Tirthankaras after Bappabhattisuri’s era.Locks of hair carved on both sides of the head of the idol as well as an inscription from 854 CE, however, substantiate that the idol and the temple is of the Svetambara sect of Jainism as noted by archaeologist Sir John Marshall.
It is an astonishing fact that, this ancient bustling Jain centre fade into oblivion after migration of Jainas out of the town. The idol of Rishabhanatha was found in the Indresvara Temple. Later on, efforts to reinstall the idol were made by Svetambara Jaina nun Mrugavati. After many decades, in 1978, the idol was installed in an independent shrine within Kangra Fort. Currently, the idol is under the supervision and control of the Archaeological Survey of India. However, it is maintained as a Jain temple and Jain devotees are given the right to worship the idol.
History of Kangra fort – story of invasions & siege by Mughals & retrieval by katoch dynasty
It is the largest fort in the Himalayas and probably the oldest dated fort in India. The Kangra Fort was built by the royal Rajput family of Kangra State the Katoch dynasty, which traces its origins to the ancient Trigarta Kingdom, mentioned in the Mahabharata epic. Later years witnessed invasion by Muslim rulers in their conquest of the subcontinent which lasted many centuries.
The earliest recorded reference to the Kangra fort dates from the time of this fort’s invasion by Mahmud Ghazni in 1009 A.D. The fort was captured by Muhammad bin Tughluq in 1337 A.D., and by his successor Firuz Shah Tughluq in 1351 A.D. respectively. Khawas Khan Marwat, a superior General of Sher Shah Suri, managed to capture the fort in 1540 AD.
Raja Dharam Chand submitted to the Mughal Ruler Akbar in 1556 and agreed to pay tribute, including, renouncing claims to the fort. The fort of Kangra resisted Akbar’s siege in 1615. However, Akbar’s son Jehangir successfully subdued the fort in 1620, forcing the submission of the Raja of Chamba. Mughal Emperor Jahangir with the help of Suraj Mal garrisoned with his troops.
In 1620, Emperor Jahangir, killed that Katoch king, Raja Hari Chand and annexed the Kangra kingdom into the Mughal Empire. Under the leadership of Nawab Ali Khan and aided by Raja Jagat Singh, the fort was captured in 1620 and remained under Mughal rule until 1783. In 1621, Jahangir visited it and ordered the slaughter of a bullock there. A mosque was also built within the fort of Kangra. However, the Katoch Kings repeatedly looted Mughal controlled regions so as to weaken the Mughal control over the region in their relentless effort to be back in power in their own land.
The the decline of Mughal power inevitably happened and Raja Sansar Chand-II succeeded in recovering the ancient fort of his ancestors, in 1789. Maharaja Sansar Chand fought multiple battles with Gurkhas on one side and Sikh King Maharaja Ranjit Singh on the other. The Fort remained with the Katochs until 1828 when Ranjit Singh annexed it after Sansar Chand’s death.
The fort was finally taken by the British during the First Anglo-Sikh war after a six-week long siege. This siege was fought from mid-April to 28 May 1846. Sir Henry Lawrence reached the fort on 3 May 1846. This was the only battle fought between the Sikh forces of Kangra and the British. The British controlled the valley after defeating them and the fort. A British garrison occupied the fort until it was heavily damaged in an earthquake on the 4th of April, 1905.
Location
The Kangra Fort is located 20 kilometers from the town of Dharamsala on the outskirts of the town of Kangra, in the Kangra district.
Currently, this ancient fort[ built in 4th century] is well- maintained and well-preserved by Archaeological survey of India, with lush green lawns and exquisitely beautiful stone pavements. Visitors of kangra fort can walk over the sandstone and granite pathways experiencing the grandeur of huge walls surrounding the fort where the history of the fort is unravelled by inscriptions and sign boards. On passing over five gates of ancient architectural styles, walking over the stone pavement you may reach the temples of kangra fort. A few of them are in dilapidated condition due to an earth quake happened in this region many years ago. However you can see the walls of ancient temples and sculptures.
The fort is located over a hillock surrounded by innumerable trees of the Himalayan valley and rivers. As you ascend through the pavements to the higher elevations you may get a fantastic, breathtaking and ethereal view of azure blue sky and lush green Himalayan valley surrounding the fort. If you are a traveller with a bend to ancient history as I am this is a perfect location for delving into the past & rich heritage of the subcontinent.
How to reach kangra fort?
By air:
Gaggal airport is the nearest airport to Kangra Fort, located at a distance of only 14 km from Kangra valley. This airport is connected to Delhi through frequent flights
By train :
The nearest broad gauge railway station is Pathankot Cantt. (Chakki) at a distance of 87 km from Kangra and nearest narrow gauge railway station is Kangra mandir railway station
By bus:
Distance between New Delhi to Kangra is 471km. You can take overnight Volvo buses or can hire a taxi
Tamil Nadu is a state of unparalleled cultural vibrancy due to its vast heritage temples, art forms, festivals and being the cradle of various dance forms. Have a glimpse at Tamil Nadu’s cultural heritage.
According to historical data Tamilakam region indicates a continuous history of human occupation for more than 3,800 years. The region was inhabited by Tamil-speaking Dravidian people. The cultural heritage of Tamilakam evolved from a diverse range of empires ruled the region over many centuries.
The region was reigned by many renowned kingdoms including the Sangam period (3rd century BCE to 3rd century CE) triumvirate of the Cheras, Cholas and Pandyas, the Pallavas (3rd–9th century CE), and the later Vijayanagara Empire (14th–17th century CE). European colonization began in the 17th century CE, and lasted for over two centuries.
Tamil Nadu boasts a vibrant tapestry of cultural festivals, some of which are harvest-related such as Pongal while some of the festivals are intricately linked with the myths and legends of the land. For instance, Thaipusam is a Tamil festival celebrated on the first full moon day of the Tamil month of Thai coinciding with Pusam star and dedicated to God Murugan.
Pongal, the harvest festival, is one of the most celebrated, lasting four days and honouring the Sun God and farm animals.
The Chithirai Festival is a festival that takes place at Madurai, which puts on a grand spectacle marking the celestial wedding of Lord Sundareswarar and Goddess Meenakshi.
The state has a rich cultural heritage steeped in history and myth and people of this land still preserve it with great fervour and passion.
Dravidian temple architecture of Tamil Nadu
The state is famous for its temple architectural styles and millions of pilgrims visit Tamil Nadu from all over the world every year. Dravidian architecture style of temple architecture defines the spiritual landscape of the state. The temples consisted of a central sanctum (garbhagriha) topped by pyramidal tower or vimana, porches or mantapas preceding the door leading to the sanctum and large gate-pyramids or gopurams on the quadrangular enclosures that surround the temple. Besides these, they consisted of large pillared halls and one or more water tanks or wells.
Murals &Fresco paintings adorn Tamilakam temples
Tamil paintings are usually centered around natural, religious or aesthetic themes. Sittanavasal is a rock-cut monastery and temple attributed to Pandyas and Pallavas which consist of frescoes and murals from the 7th century CE, painted with vegetable and mineral dyes in over a thin wet surface of lime plaster.
The murals on the Ranganathaswamy Temple at Srirangam and the Brihadeeswarar temple at Thanjavur are amazing examples.
One of the major forms of Tamil ancient painting is Thanjavur painting. Thanjavoor painting originated in the 16th century CE. In this visual art form, a base made of cloth and coated with zinc oxide is painted using dyes and then decorated with semi-precious stones, as well as silver or gold threads.
The musical heritage history of Tamilakam
The ancient Tamilakam region had its own system of music called Tamil Pannisai.
The Sangam literature, Silappatikaram from 2nd century CE states about music notes and instruments.
From the 9th century CE, Shaivite hymns Thevaram and Vaishnavite hymns Tiruvaymoli were sung along while musical instruments were played in the background.
There are many traditional instruments received from the region dating back to the Sangam period such as parai, tharai, yazh,and murasu. Nadaswaram, a reed instrument that is often accompanied by the thavil, a type of drum instrument are the major musical instruments used in temples and weddings.
Melam is from a group of percussion instruments from the ancient Tamilakam which are played during events and functions.
Carnatic music originated later from the region which included rhythmic and structured music by composers such as Thyagaraja, Muthuswami Dikshitar, and Shyama Shastri.
Villu Paatu is an ancient form of musical story-telling method where narration is interspersed with music played from a string bow and accompanying instruments.
Gaana is a combination of various folk music sung mainly in Chennai region of Tamil Nadu.
Tamilakam -the cradle of Bharatanatyam
Bharatanatyam is a major genre of Indian classical dance that originated from Tamil Nadu and reached global platforms through talented and renowned artists from the country. It is one of the oldest classical dance forms of India.
There are many folk-dance forms that originated and are practiced in Tamil Naadu.
Karakattam involves dancers balancing decorated pot(s) on the head while making dance movements with the body.
Kavadiattam is part of a ceremonial act of sacrifice, wherein the dancers bear a kavadi, an arch shaped wooden stick balanced on the shoulders with weights on both the ends.
Kolattam is a folk-dance form performed by women in which two small sticks (kols) are crisscrossed to make specific rhythms while singing songs.
Kummi is similar to Kolattam, with slight difference that hands are used to make sounds while dancing instead of sticks used in the later.
Mayilattam is another folk-dance form. In Mayilattam, dancers wear attires and outfits resembling the peacocks and peacock feathers and head dresses. They perform movements to various folk songs and tunes while trying to imitate the movements of a peacock.
Koothu is a form of theatre performance usually happening on streets. The play consists of dance along with music, narration and singing. The performers wear elaborate wooden headgear, special costumes with swirling skirts, ornaments such as heavy anklets along with prominent face painting and make-up. This art of Koothu is performed during festivals in open places and streets and it is dedicated to goddesses such as Mariamman or Draupadi with stories drawn from Hindu epics, mythology and folklore.
Bommalattam is a type of puppetry that uses various doll marionettes manipulated by rods and strings attached to them.
The themes are drawn from various Hindu scriptures such as the Puranas and epics and/with local folklore.
Cultural festivals of Tamil Nadu
The state of Tamil Nadu has been celebrating many cultural festivals commemorating its ancient pride and grandeur. Most of these festivals are connected to the epics and the divinity associated with the landscape.
Chithirai Festival is a festival that takes place at Madurai, which puts on a grand spectacle marking the celestial wedding of Lord Sundareswarar and Goddess Meenakshi.
Pongal
Pongal is a major and multi-day harvest festival celebrated by Tamils in the month of Thai according to the Tamil solar calendar (usually falls on 14 or 15 January). The harvest festival also has a sacred linking with Indian mythology as it dedicated to the Sun God .This festival is named after the ceremonial “Pongal”[ meaning -to boil, overflow] which is the traditional dish prepared from the new harvest of rice boiled in milk with jaggery offered to Surya.
Mattu Pongal is meant for celebration of cattle when the cattle are bathed, their horns polished and painted in bright colors, garlands of flowers placed around their necks and processions.
Jallikattu is yet another traditional event held during the Pongal festival period. In this event a bull is released into a crowd of people, and multiple human participants attempt to grab the large hump on the bull’s back with both arms and hang on to it while the bull attempts to escape. Although it is a scary event jeopardizing human lives and has claimed legal attention several times it part of the tradition of the state.
Karthikai Deepam is a festival of lights that is observed on the full moon day of the Kartika month, called the Kartika Pournami, [on the months of November or December].
Aadi Perukku is a Tamil cultural festival celebrated on the 18th day of the Tamil month of Adi which pays tribute to water’s life-sustaining properties. The worship of Amman and Ayyanar deities are organized during the month in temples across Tamil Nadu with much fanfare.
Panguni Uthiram is a festival marked on the purnima (full moon) of the month of Panguni and celebrates the wedding of various Hindu gods.
Vinayaka Chaturthi is a festival of Lord Ganesha. It is celebrated with special temple poojas to pay respect to Lord Ganesha. On the fourth day after the new moon in the Tamil month of Avani, devotees start eleven days of celebrations by worshipping clay idols of the Lord. These idols will be installed outdoors in pandals or marquees. The legend linked with this festival is that it was on this day that Lord Shiva beheaded Lord Ganesh for refusing him entry into his abode. Lord Ganesh was guarding Lord Parvati while she was taking a bath. Later, Lord Shiva brought him back to life, by replacing his head with that of an elephant. Pran Pratishtha, Shodashopachara, Uttar Puja and Ganpati Visarjan are the four rituals associated with the festival. Grand celebrations are held at the Vinayaka temples on this day.
Mahamaham
This bathing ritual is celebrated once in 12 years in the quaint town of Kumbakonam and it is a festival event attracting huge crowd.
The Mahamaham festival is a bathing ritual that is believed to cleanse one of all sins. The bathing takes place in the Mahamaham tank that is situated at the heart of the land of temples. The date and time for the celebration of this festival is calculated according to the astrological positions of planets.
There is a myth associated with this holy bath. It was the prayer by the holy rivers Ganga, Yamuna, Sarayu, Cauvery, Saraswati, Mahanadi and Narmada which paved way for Mahamaham bathing festival. These river goddesses prayed to Lord Bhrahma to get rid of the sins of theirs that occurred by humans washing in these rivers. As they prayed to Lord Brahma, he instructed them to take a bath in Mahamaham waters together so that they attain purity. Since that time, it is believed that the Mahamaham tank comprise of the waters of all the holy rivers and taking a dip in the tank is equivalent to taking a dip in all the holy rivers.
During the mahamaham festival Kumbakonam town bustles with celebration and the fervour of devotion. During the event the whole town glistens with lamps and vibrant colours.
Natyanjali dance festival
Natyanjali is an annual classical Indian dance festival. It denotes to the dance festival at Chidambaram Nataraja temple. Originally, the festival was introduced at the Chidambaram temple, but nowadays it has been organized at many other temples in Kumbakonam, Thanjavur, Chennai, Nagapatinam, Mayavaram, Thirunallar, Thiruvanaikoil, etc.
This dance festival provides an opportunity for all dancers, from all over India, to perform and to pay their tribute to Lord Nataraja. It begins on the auspicious occasion of MahaShivarathiri. Many famous dancers from all over the country congregate and dance in the temple as an offering to Lord Nataraja on this occasion.
Other notable cultural festivals of Tamilnadu include Thaipusam, a spiritual celebration honouring Lord Murugan. Tamil Nadu also celebrates Navaratri & Deepavali festivals with its vibrance and fervour.
Chennai Sangamam is yet another big Tamil cultural festival held in Chennai every year with the noble purpose of rejuvenating the old village festivals , folk art forms and for encouraging artists from the remote hamlets of Tamil Nadu.
Location of Tamil Nadu
Coordinates: 11°N 79°E
Country India
Region South India
It is a south Indian state of India with many heritage spots.
Creativity is an innate trait which can instill contentment and joy to every humanbeing .However, sometimes creative pursuits are recommended by the intellectual community as well as mental wellness professionals to enhance positivity as well as professional talents. It is one of the most significant tools for boosting mental health globally.
Creative pursuits encompass a wide range of activities that involve imagination, expression, and the development of original ideas. These may range from simple house hold chores like cooking and crafting to vivid artistic performances by professionals.
Creativity offers a broad horizon to explore and practice. It is curious to know that since time immemorial creative pursuit was part of all civilizations, quite often developed as a part of the social evolution of ancient tribes from hunter gatherers into a society or population.
In the present era of advanced science and technology too, creative pursuits have indispensable role. Across the globe, people may be pursuing creativity either instinctively or as an integral part of profession as arts provide you rewards, contentment and joy, elevating the mood towards more positive outlook. Some of you may have adopted creative professions which also provide you wealth & sense of joy while stimulating your cognitive skills as well.
Research data about creative pursuits & health benefits
Do you know the creative mind is more stable, balanced and intellectually keen. Of late numerous neuroscientific research studies have been published focusing on creativity and mental and cognitive health. They point out that engaging in creative pursuits is associated with numerous benefits, including improved mental health, enhanced creativity, and increased opportunities for personal growth and expression. In short, creativity and creative pursuits boost physical, mental and emotional health.
A few examples of creative pursuits you may incorporate into life:
Artistic pursuits
Performing arts such as acting, singing, dancing etc.
Visual arts – drawing, painting, sculpture, pottery, digital arts
Creative writing of poems, short stories, fictions, journaling etc.
Other types of hobbies you are pursuing may be considered as creative pursuits if it involves your mental and physical contribution such as:
Gardening
Photography & editing
Home decoration & renovation
Learning new languages
Cooking experiments
Creating video games
Playing musical instruments
Story scripting and narration
blogging
Apart from the listed pursuits you can add more creative hobbies and ventures into your life and enjoy its positive effects on life. Creativity is the ability to discover innovative and original ideas. It is one of the 10 life skills advocated by the World Health Organization.
Four-C model of creativity given by Kaufman and Beghetto
According to this model creativity is classified as:
Mini-cmodel
It means transformative learning, meaningful interpretations of daily experiences that can make changes in the understanding at the individual level.
Little-c model
This modelincludes creative actions and thoughts that is out-of-box thinking in anything we do & it impacts individuals and their zone of influence
Pro-c model
It includes the creative acts of experts/experiences people learn within an organization, community, or domain or organization, field system of practice. It has impact on the market
Big-c model
This includes eminent creativity of exceptional people that is self-taught, unconventional thinking. This can make profound impact on culture, society and the world.
Benefits of creative pursuits
Psychological or mental health is improved by creativity
Enhanced self-efficacy, coping skills and emotional regulation or balanced emotions are achieved by creative people more easily. All creative pursuits orient the mind for positive focus. Purposeful creative involvement promotes well-being.
Creativity helps to reduce stress
Creative pursuits lower stress hormone response and thus help in reducing the impact of stress on your physical and mental health.
Immunity is better in creative & active people
Enhanced immune function is another added benefit of creative pursuits
Creativity improves social involvement
Creative pursuits reduce loneliness and isolation, particularly presentation of artistic performances, digital art work etc. These kinds of pursuits are shared with audience and receive feedback also. It enhances social support, and improves social involvement.
Adoption of healthy Behaviors
A focused attempt at creativity fosters healthy habits including increased exercise or physical activity, adoption of healthier behaviors & skills development.
Creativity as an important way of enhancing and maintaining a sense of well-being. Research studies have recognized that the practice of creative pursuits can be beneficial in influencing positively psychological, physical and social components.
For example, music as a creative pursuit is associated with numerous health benefits on the brain. A study conducted on children shows that music plays an important role in reading, language, and auditory skill development. Studies have shown structural differences in grey matter and white matter in children who engage in music (especially during early childhood) compared with those who do not.
Another study shows that in adults with a mental illness, activities such as choir singing, art-making, expressive writing, and group drumming reduce mental distress, depression, and anxiety while simultaneously enhancing individual and social well-being.
The benefits achieved through creative pursuits of these kinds may be attributed to the modulation of serotonin and other neurotransmitters, a decrease in cortisol and other stress hormones. The creative activities also cause a reduction in inflammatory immune responses.
Sleep studies on music indicates that music helps to improve sleep quality, sleep efficiency, and time to sleep onset in a way much better than meditation can do.
Written by Dr Sanjana p Souparnika [ dr sanjana vb]
Reference
Hyde KL, Lerch J, Norton A, Forgeard M, Winner E, Evans AC, et al. Musical training shapes structural brain development. J Neurosci. 2009;29:3019–25. doi: 10.1523/JNEUROSCI.5118-08.2009. https://pubmed.ncbi.nlm.nih.gov/19279238/
Cordi MJ, Ackermann S, Rasch B. Effects of relaxing music on healthy sleep. Sci Rep. 2019;9:9079. doi: 10.1038/s41598-019-45608-y. doi: 10.1038/s41598-019-45608-y. https://pubmed.ncbi.nlm.nih.gov/31235748/
The great Himalayan national park, a UNESCO World Heritage Site and a biodiversity hotspot is located in Banjar sub-division of Kullu in the state of Himachal Pradesh, India.
This amazing Park in the western part of the Himalayan Mountains is characterized by high alpine peaks, alpine meadows and riverine forests. It is part of the Himalaya biodiversity hotspot and includes twenty-five forest types.
Historical geography of the region
The national park and biodiversity hotspot lies within the ecologically distinct Western Himalayas at the junction between two of the world’s major biogeographic realms, the Palearctic and Indo-malayan Realms. Displaying biotic elements from both these realms.
The evolution of this region is related to tectonic plate movements. Over 100 million years ago, the Indian sub-continent broke off from the large, southern landmass, Gondwanaland and moved north. It eventually slammed into the northern land mass, Laurasia, and formed the gigantic folded mountains of the Himalaya.
Due to this union of Gondwanaland and Asiatic landmasses, exchange of flora and fauna was possible and this ultimately led to the unique biogeographical features in the region.
Biodiversity of the Great Himalayan National Park
The park was established in 1984 and it spreads over an area of 1171 km2. It is a habitat to numerous floras and incorporates more than 375 fauna species, including approximately 31 mammals, 181 birds, 3 reptiles, 9 amphibians, 11 annelids, 17 mollusks and 127 insects. It is indeed an ethereal experience to walk amidst the snow cladded muntain valley forests exploring its rich biodiversity.
This ecologically fragile region is protected under the strict guidelines of the Wildlife Protection Act of 1972. The high elevation ecosystem of the Northwest Himalaya has common plant elements with the adjacent Western and Central Asiatic region.The4,100 m elevation range of the park has a diversity of zones with their representative flora and fauna. The high elevation ecosystem incorporates alpine, glacial, temperate, and subtropical forests.
Most of the Himalayan fauna has been protected under the high priority protection category of Schedule I of the Indian Wildlife (Protection) Act, 1972. The state government of Himachal Pradesh has banned hunting in the state for more than ten years. It is a commendable
The park is home to a wide variety of vegetation ranging from pines ,spruces and the horse chestnuts of the lower valleys, to the alpine herbs and junipers.
On this part of Western Himalayas, forests and alpine meadows can be seen in their pristine forms. The subalpine zone is richest in species, followed by the alpine and upper temperate zones.
The Great Himalayan National Park Conservation Area is an epitome for elucidatting the significance of biodiversity conservation.
It is located within the globally significant “Western Himalayan Temperate Forests” eco-region. The National Park Conservation Area is home to 805 vascular plant species, 192 species of lichen, 12 species of liverworts and 25 species of mosses.
Trekking & Tourism prospects in the great Himalayan national park
The park has emerged as a popular trekking and ecotourism destination. The GHNP office at Sai Ropa issues the permits needed for trekking. There are several popular trekking routes in the park, ranging from those that can be done in a day or two, to those that can take up from a week to ten days.
How to reach the Great Himalayan national park?
By air :
Fly to Kullu Manali Airport (Bhuntar) from Delhi, and then traveling by road to the park’s entrance.[ about 60 km from the park].
You need a permit to enter the park, which can be obtained from the park’s head office in Shamshi or zonal offices in Ropa and Shairopa. The park is only accessible by foot, and trekking is the only way to truly explore its wilderness.you can hire a guide.
By train :
Joginder Nagar is the nearest railhead, about 143 km away
By road :
Aut is the major stop on the Kullu-Manali highway, Aut is the gateway to the park and Parvati Valley. From Aut take a taxi or local bus to Banjar.
Madhubani paintings is a popular art form which has been widely used in Indian ethnic fashion for many decades. It is passionately loved by Indian fashion aficionados across the globe and fabrics and outfits with madhubani paintings are in huge demand. This ancient ethnic art originated from Madhubani district of the Mithila region of present Bihar,India. Madhubani paintings use two-dimensional imagery, and traditional colors derived from nature.
Madhubani art mostly depicts people and their intricate connection with nature along with scenes and deities from the ancient epics. This painting style is named after the Madhubani district of Bihar, India, where it originated.
It is a style of painting practiced in the Mithila region of India and Nepal and hence Madhubani art is also known as Mithila art.
Mithila painting’s themes include natural objects like the sun, the moon, and sacred plants like Tulsi along with scenes from the royal court and social events like weddings. In this art form the gaps between main figures and objects are filled by paintings of flowers, animals, birds etc. It includes geometric designs also.
The origin & style of Madhubani painting
The Madhubani art is traditionally practiced for many decades by women of Jitwarpur, Ranti and Rasidpur. The paintings were traditionally done on freshly plastered mud walls and floors of huts, but later they started doing it on cloth, handmade paper and canvas.
Madhubani paintings use traditional colors derived from nature. The pigments used for making this art include vermilion powder mixed with grounded mustard seeds for red, cow dung mixed with lampblack for greenish black, rice paste for white, Pevdi for lemon yellow, turmeric for yellow ochre, Indigo for blue, palash flower for orange, bilva leaf for green, and red clay for indian red.
Gum arabic or goat’s milk constitutes the paint’s binder. Gum arabic is used for painting on paper and goat’s milk used mainly for wall paintings.
The paint is created using natural dyes and pigments such as ochre and lampblack are used for reddish brown and black respectively.
The creation of painting is done using twigs, brushes, nib-pens, matchsticks and sometimes with fingers. Still the artists continue to utilize traditional brushes, which consist of bamboo slivers, rags, and sticks.
Madhubani painting art is still confined to specific geographical area and the skills have been passed on to generations through centuries. However, the content and the style of Madhubani painting have not transformed overtime. It has stood the test of time with its unique and exquisite style and popularity. Thus, Madhubani painting has received GI (Geographical Indication) status.
The paintings are characterized by their astounding geometrical patterns. There is also ritual content made available for particular occasions, such as birth or marriage, and festivals, such as Holi, Surya Shasti, Kali Puja, Upanayana, and Durga Puja.
Mithila art has five distinctive styles:
Bharni
Katchni
Tantrik
Godna
Kohbar
In the 1960s, Bharni and Tantrik styles of Madhubani art were predominantly created by Brahmin women in India and Nepal, focusing on religious themes and depictions of gods and goddesses.
Artists from other castes incorporated elements from their daily lives, local legends like the story of Raja Shailesh, and various symbols into their paintings.
Khobar style Madhubani
It is also known as puren , and it is traditionally painted on the wall of a Mithila wedding chamber, where a bride and groom spend their first night together. They most often depict circular motifs made up on feminized faces, and lines drawn in red and black ink. There are both Brahman and Kayastha versions of the Khobar style.
Madhubani mythological linking
Madhubani paintings also known as Mithila art has a mythological linking with epic Ramayana. It is believed that the Mahbubani painting was first created at Mithila, the birthplace of Hindu goddess Sita of Ramayana. According to the epic, Mithila is the birthplace of Sita and she was the daughter of king Janak. During the marriage rituals of Lord Ram and Sita , King Janak asked to capture the moments of marriage as paintings.
Later Madhubani painting was traditionally created by the women of various communities in the Mithila region for many centuries.
Madhubani painting -on the trajectory of growth &popularity
Deliberate and consistent efforts have been taken by many institutions in India to sustain this beautiful ancient art form. It is still practiced and kept alive in institutions spread across the Mithila region. Kalakriti in Darbhanga.
Vaidehi in Benipatti in Madhubani district and Gram Vikas Parishad in Ranti are some of the major centres of Madhubani painting which have taken taken tremendous efforts to preserve & sustain this ancient art form for generations yet to come and it is indeed awe-inspiring.
Madhubani artists have been featured in multiple museum collections and exhibitions, including a UNESCO Christmas card collection and an exhibit from San Francisco’s Asian Art Museum titled Painting is My Everything: Art From India’s Mithila Region. It denotes the global recognition this ancient art form has achieved over the years.
In contemporary times, Madhubani art has evolved into a global art form, transcending caste distinctions unlike as in the past. Artists now freely work across all five styles of Madhubani, and has gained international recognition.
Nation honouring the artisans of Midhila paintings
Madubani artists have been honoured by the government of India several times and still it is a continuing tradition. Madhubani painting received official recognition for the first time in 1969 when Sita Devi received the State award by the Government of Bihar. Later Indian government honoured her with National Award also. Mamta Devi from the village Jitwarpur also received the National Award.
Jagdamba Devi from Bhajparaul, was honoured with Padma Shri by the nation in 1975. In 1984 Ganga Devi was awarded by Padma Shri& Mahasundari Devi received the Padma Shri in 2011.
It is a famous tourist destination in Jabalpur district well known for its incredible natural beauty, marble situated on the sides of the Narmada River which flows through the gorge.
Bhedaghat has a famous water falls known as Dhuandhar Falls. Bhedaghat has been added on UNESCO list of natural world heritage sites.
Location:
Bhedaghat is located in Jabalpur district in the state of Madhya Pradesh, India. It is situated by the side of river Narmada and is approximately 20 km from Jabalpur city.
Narmada river is the 5th longest river in India and the longest west-flowing river in the country. It is also the largest flowing river in the state of Madhya Pradesh. It is one of the rivers in India that flows in a rift valley, bordered by the Satpura and Vindhya ranges. The source of the Narmada is a small reservoir, known as the Narmada Kund, located at Amarkantak in the Anuppur District [Madhya Pradesh].
Narmada -Through the veil of myths & beliefs
In Indian subcontinent landscapes and rivers have a sacred linking with mythology. Narmada River is not an exception and which is considered as a goddess as well as a river in Hindu mythology. The Matsya Purana states that all of the banks along the Narmada are sacred.
According to Hindu mythological stories and legends the Narmada was created from Shiva’s perspiration while he was performing penance on Mount Riksha and therefore the Narmada River is considered as Shiva’s daughter.
As per another legend, the river Narmada has a different story of origin. The two teardrops fell from the eyes of Brahma [ the creator of the universe] started flowing as two rivers – the Narmada and the Son River.
The pebbles of Narmada River also speak a story of mythological linking. Narmada Riverbeds’ pebbles are known as banalinga. The pebbles are made up of white quartz and are linga shaped [ Shiv linga]. They are believed to be the personified form of Shiva.
The Narmada River is also worshipped as mother goddess Muktidayani, or liberating mother.
Dhuandhar Falls
The Narmada river descends from Sonmuda, then falls over a cliff as Kapildhara waterfall and meanders in the hills, flowing through a tortuous course crossing the rocks and islands up to the ruined palace of Ramnagar. The river then runs north–west in a narrow loop towards Jabalpur. Close to Jabalpur city , at Bedaghat the river forms Dhuander falls.
This waterfall is located on the Narmada River in Bhedaghat and the fall is 30 meters high. Dhuandhar waterfalls can be accessed from the east bank as well as the west bank of the Narmada River.
The Narmada River, making its way through the world-famous Marble Rocks, narrows down and then plunges into a waterfall known as Dhuandhar. The plunge creates a bouncing mass of mist. The waterfall creates a smoky atmosphere and hence it is known as Dhuander fall. The word ‘Dhuandhar’ is derived from two Hindi words Dhuan which means smoke and Dhar meaning flow.
This huge waterfall can be heard from a far distance as water plunges with intense force.
To view the other side of Dhuandhar Falls, cable car service is available at Bhedaghat. The ropeway facility starts from the east bank of the Narmada River, crosses the river and then drops tourists off at the river’s west bank
Bhedaghat a favourite shooting location for Hindi movie makers
Many famous and superhit movies have been shot in this hilly terrain.
The Hindi film Asoka was shot in Bhedaghat among the marble rocks by the Narmada River [2001].
The crocodile fight scenes of the Hindi film Mohenjo Daro also are shot at Bhedaghat[2016].
How to reach Bhedaghat?
The nearest railway station is Bhedaghat Railway station. It is possible to take a tempo (auto-rickshaw) from Jabalpur to Bhedaghat. Its distance from the main city is about 28 km. The nearest airport is Jabalpur.
Bhimbetka in Madhya Pradesh stands tall with the grandeur of seven hills and over 750 rock shelters with cave paintings of ancient times, distributed over 10 km.
It is a UNESCO World Heritage Site near Bhopal, renowned for its rock shelters and cave paintings. Bhimbetka has the oldest-known rock art in India, as well as it is one of the largest prehistoric complexes.
The place name Bhimbetka originated from a myth related to Bhima of Mahabharatha . Bhimbetka means “Bhima’s resting place” or “Bhima’s lounge”.
This amazing rock shelter consists of seven hills: Vinayaka, Bhonrawali, Bhimbetka, Lakha Juar (east and west), Jhondra and Muni Babaki Pahari
South of these rock shelters are successive ranges of the Satpura hills. It is within the Ratapani Wildlife Sanctuary, embedded in sandstone rocks, in the foothills of the Vindhya Range.
The Auditorium rock is the largest shelter at Bhimbetka. According to the accounts of Robert G. Bednarik this prehistoric cave has “cathedral-like” ambience with its Gothic arches and soaring spaces.
There is an ancient Mata Vaishavi Temple in Bhimbetka.
Location
Bhimbetka rock shelter is situated at Bhojpur Raisen in Bhopal District about 45 kilometres south-east of Bhopal, at the southern edge of the Vindhya Range.
Historical significance
Bhimbetka is a scenic and picturesque site with it is world famous rock shelters which throw light into the earliest traces of human life in India and evidence of the Stone Age starting at the site in Acheulean times.
Some of the Bhimbetka rock shelters feature prehistoric cave paintings and the earliest are dated to 10,000 BCE, corresponding to the Indian Mesolithic.
These cave paintings depict various types of animals and human figures with early evidence of community living with dance and hunting from the Stone Age. The paintings also depict warriors on horseback from a later time.
Link with Mythology
Indigenous people of Bhimbetka believes that Bhima during his exile used to rest here to interact with the locals. There is also a narrative that Bhima Worshiped Mata Vaishavi at this location and blessed for concurring the forthcoming war.
Auditorium cave.
The cave is one of the prominent features of Bhimbetka which throws light into the history of this place. It is surrounded by quartzite towers.
The cave’s plan is similar to a “right-angled cross” with four of its branches aligned to the four cardinal directions. The main entrance points to the east. At the end of this eastern passage, at the cave’s entrance, is a boulder with a near-vertical panel that is distinctive, one visible from distance and all directions – Chief’s Rock” or “King’s Rock]. The boulder with the Auditorium cave is the central feature of the Bhimbetka.
Cave paintings of Bhimbetka unravel the evolution of a civilization
The rock shelters and caves of Bhimbetka have a large number of paintings. Some of the oldest paintings are dated to 10,000 BCE.
It was W. Kincaid, a British India era official who first mentioned Bhimbetka in a scholarly paper in 1888.But the archeological significance of this rock caves was found by V. S. Wakankar. However, the prehistoric significance of Bhimbetka was revealed only in the 1970s.
There was human settlement here from the Stone Age through the late Acheulian to the late Mesolithic until the 2nd century BCE. The artefacts from the excavation site and the pigments present in deposits, as well as the rock paintings points to that.
The drawings and paintings of Bhimbetka can be classified under seven different periods.
V. S. Wakankar classified the drawings and paintings into seven different periods and dated the earliest paintings to have belonged to the upper Palaeolithic to be as early as 40,000 years ago
The colours used are vegetable colours which have endured through time because the drawings were generally made deep inside a niche or on inner walls.
Period I – (Upper Paleolithic): These are linear representations in green and include humans dancing and hunting.
Period II – (Mesolithic): small figures in this group show linear decorations on the body. There is animal as well as human figures and hunting scenes with the weapons such as barbed spears, pointed sticks, bows and arrows. The types of weapons used are clear indicators to the periods of history.
Tribal wars also have been portrayed here. The depiction of communal dances, birds, musical instruments, mothers and children, pregnant women, men carrying dead animals, drinking and burials are detected among the paintings.
Period III – (Chalcolithic) – These resemble paintings of the Mesolithic. These paintings denote that during this period the cave dwellers of this area were in contact with the agricultural communities of the Malwa plains, exchanging goods with them.
Period IV & V – (Early historic): The figures of this group have a schematic and decorative style and are painted mainly in red, white and yellow colors.
The association is of riders, depiction of religious symbols, tunic-like dresses and the existence of scripts of different periods.
The figures of yakshas, tree gods and magical sky chariots also have been found here.
Period VI & VII – (Medieval): These paintings are geometric linear and more schematic, however they show degeneration and crudeness in their artistic style. The colors used in these paintings seems to be prepared by combining black manganese oxides, red hematite and charcoal.
In one of the desolate rock shelters, the painting of a man holding a trident-like object and dancing has been found and it is assumed by many as Lord Shiva.
Many paintings of Bhimbetka has been lost or degenerated overtime.
It has been estimated that paintings of at least 100 rock shelters might have eroded away.
Bhimbetka stands with its numerous rock shelters in the lush green valley of Vindya ranges, since many centuries unravelling the history of mankind. It offers new lessons for exploring our roots taking a stroll through the depth of the caves which unfolds the untold history of people who thrived here centuries and decades ago.
How to reach Bhimbetka?
By air : Raja Bhoj Airport is the major airport of Bhopal, located around 15 km from the city center in Bairagarh suburban area on National Highway 12. Bhopal is well connected to the metros other cities by various companies’ airlines.
To reach Bhimbetka Rock Shelters from Bhopal, you can take a bus or taxi on NH46, which is about a 46 km drive.
By rail: The nearest railway station to the Bhimbetka Rock Shelters is Bhopal Junction (BPL]. It is served by the West Central Railways. Bhopal is on one of the two main Delhi to Mumbai railway lines and also on the main line to the southern state capitals of Chennai, Hyderabad, Bangalore and Thiruvananthpuram.
By road:
The nearest bus stand to the Bhimbetka Rock Shelters is Obaidullaganj, which is about 9 km away, and buses from Bhopal can take you there.
