Tag Archives: Hinduism

Tulsi trees and temples within the fort at Jaisalmer

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 THE WALLS OF THE fort in Jaisalmer (Rajasthan) contain a living city that has been in existence since the early 18th century,  but the fort itself was established in the 12th century. It is enjoyable to wander the narrow lanes that thread their way between houses, many of which are decorated with elaborate, Rajput style carving.

 

The only thing that can cause the visitor some concern is the regular passage of motorbikes and scooters along the thoroughfares which are severely limited in width. These vehicles, often driven by impatient people who sound the horn loudly and frequently, squeeze past one, narrowly avoiding injuring pedestrians. I suspect that these motorists find the tourists as irritating as the pedestrians regard them. That said, like Venice, whose main thoroughfares are crammed with visitors,  Jaisalmer, like Venice,  has byways that are almost deserted apart from the few residents who dwell in the houses lining them.

 

A tulsi tree

Today, we made a second visit to the fort and tried to avoid the busiest lanes as much as possible.  In so doing, we stumbled across two lovely old mandirs (Hindu temples). Both were constructed in the 15th century, long before the fort became a residential area for civilians. 

 

Both mandirs are still used for worship. In one of them, the Laxmi Narayan mandir, two pandits (priests) were having a heated argument  yelling at each other across the courtyard.  At this mandir, there was a tulsi (holy basil) tree, growing in a container, which has small alcoves in which lighted diyas (oil lamps) can be placed. I watched a man walking clockwise around the tulsi tree several times. When he had done this,  he plucked one of its leaves and touched it reverently  against his forehead.

 

The tulsi tree is of religious significance to devout Hindus. I read somewhere that when the Portuguese were occupying Goa and trying to encourage people to become Roman Catholic, tulsi trees were outlawed in that former colony.

 

The courtyard of the Laxmi Narayan was partly shaded by a peepal tree, whose leaves are heart shaped. Like the tulsi tree, the much larger peepal  tree is also of religious significance.

 

The other old temple, which is smaller than it’s neighbour (Laxmi Narayan), is called the Ratneshwar Mahadev. I did not notice any tulsi plants associated with it. However, a peepal was growing next to it.

 

Although both mandirs had visitors,  both locals and tourists, they were less crowded than the much-visited Jain temple with the fort. When we walked past it yesterday, it was literally swarming with tourists.

 

Apart from the spectacular array of finely decorated buildings that can be seen, what makes the fort of Jaisalmer well worth seeing is that it is still home people who live their everyday domestic lives there. Interspersed amongst the many things designed to appeal to tourists, one catches frequent glimpses of local people living their daily lives.

RELIGIOUS DIVERSITY AT A SUFI SHRINE IN RAJASTHAN

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IN MY BOOK “Coracles and Crocodiles: 101 Tales of India”, I have described how practices associated with Hinduism can sometimes be seen in Indian mosques. This is particularly true in the Sufi dargah (shrine) in Ajmer, where Khawaja Gharib Nawaz (1143 – 1236), also known as ‘Muʿīn al-Dīn Chishtī’, buried. According to Wikipedia, he was:

“… one of the first major Islamic mystics to formally allow his followers to incorporate the “use of music” in their devotions, liturgies, and hymns to God, which he did in order to make the ‘foreign’ Arab faith more relatable to the indigenous peoples who had recently entered the religion.”

 

The shrine is in a large compound containing a mosque and other shrines in the heart of Ajmer.

 The dargah compound is much visited, not only by Muslims but also by adherents of other religions: Hindus, Sikhs, etc. Visiting the dargah is considered to be a very special auspicious event. Visitors of all religions buy baskets of red petals to place on the various shrines in the complex. In many places, there are Muslim clerics who bless you by tapping your head with what looks like a large peacock feather duster. In exchange for this benediction, the recipient is expected to leave a financial donation. If the donation is large enough, it and your name will be recorded in a ledger, and you will receive a receipt. If it is insufficient,  the cleric appears to pocket it.

 

Apart from the groups of musicians playing and singing qawwalis (قوّالی). surrounded by appreciative pilgrims seated around them, there were several other things that interested me. All of these can be found in Hindu places of worship. They include burning incense sticks (agarbatti); lighting diyas (oil lamps) and placing them in holders such as can be found in Hindu temples; and tying threads to parts of the shrines.  Another activity that I found unusual in a Muslim place of worship was blessing of pieces of cloth that were then tied around the pilgrim’s head.

 

The atmosphere in the dargah compound was lively and festive. People seemed happy to be there. And surprisingly for someone like me, who is not particularly religious, I  felt that the place seemed very holy. This might be because those around me were at the dargah not as an obligatory ritual but because they believed strongly in its holiness.

[ MY book is available from https://www.amazon.co.uk/CORACLES-CROCODILES-101-TALES-INDIA/dp/B0DJZ6DMYB ] 

Women with many heads on canvases at an art gallery in central London

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TODAY, WE VIEWED an exhibition of paintings by an artist born in India, who spent most of her life in the British Isles. The artist is Gurminder Sikand (1960-2021), who was born in Jamshedpur, but moved to the Rhondda Valley in South Wales with her parents in 1970. Her artistic training was first at the Cardiff College of Art and Design (in 1979-80) and then at the City of Birmingham Polytechnic (now Birmingham City University), where she was awarded a fine art degree. In 1983, she and her husband moved to Nottingham. Her work began to attract wide attention after one of her pieces was selected as the winner of the East Midlands Art Prize by the South African artist Gavin Jantjes.

In an obituary written by her husband, published in thegauardian.com on the 14th of February 2022, it was noted that her work:

“… was characterised by images of strong women. This was true of her many self-portraits, her paintings influenced by Indian folk art, her watercolours of women hugging trees (inspired by the Chipko anti-deforestation movement), and latterly her drawings of muscular female figures whose physiques reflected Gurminder’s workouts at her city-centre gym in Nottingham.”

The paintings we saw today (22nd of May 2024) at the Maximillian William gallery in London’s Fitzrovia were some of Gurminder’s earlier works, created between 1986 and 1992. Most of the 19 works include depictions of women. All of them are slightly mysterious, but also eye-catching. Many of them include women with several heads. I wondered whether in creating these she was thinking about Hindu deities that are often shown as having many arms. As far as I am aware few, if any, Hindu deities are shown in images as having more than one head, but seeing Gurminder’s women with many heads made me think about the multi-limbed deities in Hindu imagery.

Trees also figure prominently in many of the paintings we saw. Regarding this and her painting style, the gallery’s press release has this to say:

“Images of women drawn from Indian mythology recur throughout Sikand’s work. Her interest in the figure of the goddess – particularly the Hindu goddess Kali, who both destroys and creates the world anew, and is often pictured with a garland of human heads – is evident in her depictions of women metamorphosing into nature. In Sikand’s paintings, women are seeds buried in soil, hang on tree branches to provide shelter, or are even the earth and sky themselves. These amorphous relationships between the figure and nature were further inspired by the Chipko environmental movement, which began in north India during the 1970s, when villagers – mostly women – embraced trees at risk of deforestation, a protest that also highlighted their primary role as caregivers. Sikand’s female figures are often portrayed as strong: appearing resolute with multiple heads or acting as protectors over her landscapes.”

Although Gurminder left India when she was only 10 years old, and was then immersed in British life, culture, and education, her Indian heritage never deserted her, and is expressed in her wonderful paintings. I enjoyed viewing this well-displayed exhibition, and I recommend seeing it before it ends on the 29th of June 2024.

Memories of Gujarat (India) at a park in north London’s Golders Green

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GOLDERS HILL PARK lies halfway between Golders Green and Hampstead – both in north London. It occupies what used to be the extensive grounds of a former country house that was built in the 18th century and destroyed during WW2 (in 1940). Its fine landscaping was influenced by the great garden designer Humphry Repton (1752-1818). I have been visiting the park since my early childhood in the 1950s, when, if I remember correctly, my parents used to play tennis on the still existing tennis courts. The park has many attractions including a pond with an attractive stone bridge; a walled garden; many fine old trees; plenty of shrubs and flowers; a bandstand, which was certainly in use during my childhood; a good café-cum-restaurant; a wooded area; a stumpery; a deer enclosure; and a small zoo. The deer enclosure and the zoo were in existence when I was a young child. Today’s visitors can watch the deer and view animals such as wallabies; ring tailed lemurs; at least one kookaburra; donkeys; and a variety of exotic birds. The pond mentioned above is often visited by ducks.

Today (the 3rd of March 2024), we visited the park on a crisp, cold, sunny morning. The dew-covered lawns were full of blooming crocuses, and some of the bushes had burst into flower. Most of the trees, being deciduous, were devoid of leaves. By chance, I looked up at one of these leafless trees and saw a children’s kite caught up in its branches. Seeing this, my thoughts shifted 5000 miles from Golders Hill to Gujarat (in western India).

Wherever you go in Gujarat, you are likely to see kites caught up in the branches of trees. Unlike the kite I saw today, those in Gujarat are not the toys of small children, but part of a festival celebrated once a year, The Hindu festival, which celebrates the increase of day length a month after the winter solstice is known as ‘Uttarayan’ in Gujarat. The occasion is celebrated by kite flying. During this period of kite flying, riders of bicycles, motorcycles, and other two-wheelers face a real but, to the outsider, unusual hazard that could result in serious injury, if not death. I have described this festival and its hazards in some detail in my anthology of 101 vignettes of life and travel in India –“The Hitler Lock and Other Tales of India”.

Seeing the kite in Golders Hill Park reminded me of what I have seen in Gujarat during my several visits to that Indian state. However, although this year Uttarayan began on the 15th of January – not so long ago – I find it hard to believe that the kite I saw in the park was stranded in the tree during celebration of that festival.

[The book (& Kindle) is available from Amazon:

Separated by millennia but seen together in one glance

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ONE OF THE MANY things that fascinates me whenever I visit India is what often appears in one brief glance. It is far from unusual for there to be in one field of vision both something that has been in existence many centuries, or even milliennia, alongside something that is brand new.

Yesterday, I was enjoying lunch in Bangalore’s Kamath Hotel near Commercial Street when I looked up and saw the following reflected in a mirror. A man was sitting working on the restaurant’s computer – probably 21st century technology. Above his head, there were idols depicting Hindu deities, which were in place because the management hoped that their divine influence would benefit the business.

Whereas the computer is but a few years old, the abiding belief in the importance of the Hindu deities in the smooth running of life has been around for much longer than anyone can remember.

From the Ganges to the shore and then back into the river

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THE CERAMIC ARTIST, our friend Falguni Bhatt, works in Calcutta. While visiting her studio, she suggested that we visit Kumartuli in north Calcutta. Close to the Hooghly River – part of the Ganges – this district of the city is a warren of narrow lanes lined with the workshops of craftsmen who make Hindu idols out of the grey clay collected from the shores of the Ganges. We went there and were amazed by the huge amount of creative activity that confronted us.

Mounds of damp dark grey clay are carried on the heads of porters to the workshops. Others carry bundles of straw to the artisans. The straw is used to make armatures – these are shaped roughly like the finished idols. A completed armature, which can sometimes include supporting metal rods, looks sufficiently like the idol being created.

Clay is applied to the straw armatures. Gradually, the straw is hidden by the clay. The surface of the clay is either smoothed to resemble fine skin and/or inscribed to create bodily details – for example finger nails and the creases on the palms of hands or facial details or clothing and footwear. Creatures and objects associated with the depicted deity – for example, veenas and snakes – are created in the same way, starting with straw armatures.

The completed idols, which are frequently very detailed and of complex shapes, are left to dry and harden. The clay idols are not fired in a kiln.

Detailing on a clay idol

Later, the idols are painted according to tradition, and then decorated with elaborate costumes and jewellery. The jewellery is made from hand cut cardboard often with sequins and mirrors applied. A small section of Kumartuli is dedicated to workshops creating these intricate, attractive ornaments.

Each of the clay idols is an exquisite work of art. Each of them displays evidence of the highly skilled workmanship that created them. They rival the superb ancient Hindu stone carvings that can be found carefully displayed and conserved in museums. Yet, each of these clay masterpieces is destined to have but a very short life.

The idols are created in Kumartuli for use in important Hindu festivals such as Durga Puja, Kali Puja, and Saraswati Puja. We saw idols being prepared for the last mentioned. Most of the idols being created include the stringed musical instrument played by Saraswati – the veena. Her puja is to be held next in February 2024.

During these ceremonies, the carefully crafted idols – fully painted and decorated with elaborate hand made ornaments – are dropped into the Ganges. When I expressed my surprise at hearing about this, Falguni said something like:
“Life is transient.”

Feeding the spirit of the deceased by the River Ganges in Calcutta

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WHILE WALKING ALONG the well-tended riverside path that runs alongside the Ganges (Ganga) in Calcutta, we reached the Gwalior Monument – a tall tower overlooking the river. Around this edifice, which was built by the British in 1847, we saw something we had never seen before.

A craftsman was shaping the stiff dark grey mud from the holy Ganges into rectangular slabs with numerous small regular depressions. The finished product looked a bit like an oversized old fashioned Casio calculator. There were quite a few of these to be seen on the flat ground surrounding the monument.

Small groups of men, often with shaven heads, congregated around these mud slabs. The men were chanting prayers and placing grains of rice, sweets,and other food substances into the depressions in the slabs. We asked a bystander what was going on, and he explained it to us in perfect English.

The groups of men were performing ‘shraddha’ on the eleventh day following the death of a family member. Our informant was also attending a shraddha being held because of the recent death of a friend or relative. The son of the deceased was performing the shraddha puja. I have read that it is very important for Hindu couples to have a son because only a son can do shraddha for his parents

On the eleventh day following death, the spirit (atma) of the dead person is still in contact with his or her loved ones. The food being placed on the mud slabs will not, of course, be physically touched by the spirit, but it is believed that it will sustain him or her on the next stage of its eternal journey. A similar shraddha is performed on the first death anniversary and, sometimes, at other times.

Our informant told us that he was not entirely clear about the deep significance of shraddha, but he was happy to believe in its necessity. It was, he felt, an important part of the passage of life.

The eleventh day and one year ceremonies are observed by many Hindus, but until today, neither my wife nor I had ever come across these mud thalis for feeding the spirit of the deceased.

A year after my father-in-law died, there was a special ceremony in which I played an active role, but it was completely different from what we saw next to the Gwalior Monument.

An old white painted temple in the heart of Bangalore and a reformer of Hinduism

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WHILE WALKING ALONG Bangalore’s Avenue Road, which runs from City (KR) Market to Palace Road, I spotted a mandir (Hindu Temple) down a side street. It was painted white, and its facade was surmounted by three tall niches, each containing a sculpture.

So many layers of paint had been applied over the years that the details on the sculptures had disappeared from view. At the rear of the mandir, I saw a tower like structure – part of the mandir’s roof. This was a popular landing place for pigeons. Within the building there were crudely carved stone pillars supporting the ceiling. These looked very old. Two rows of pillars lined a central ‘aisle’ leading to a shrine at the far end of the temple.

Above the entrance, there was a sign written in the script of the Kannada language, which I am unable to read. I showed a photograph of this sign to a bearer (waiter) in the dining room of the Bangalore Club. He deciphered it for me. The mandir is ‘Sri Belli Basavanna Devasthana”. This means ‘The Sri Basavanna Silver Temple’. Located in Basavannagudi Street in the Chickpet district, this is one of the oldest mandirs in Bangalore.

Born in Karnataka, Basavanna lived from 1131-1196 AD. A Shaivite (follower of Shiva) and social reformer, he was a founder of Lingayatism. His reforms included rejection of both social and gender discrimination. According to Wikipedia:
“Basava championed devotional worship that rejected temple worship and rituals led by Brahmins and replaced it with personalized direct worship of Shiva through practices such as individually worn icons and symbols like a small linga (sic). This approach brought Shiva’s presence to everyone and at all times, without gender, class or caste discrimination.”
Thus, we can see that Basava(nna) was a forward thinking person. He made religious worship personal rather than mediated by caste-conscious Brahmins.

Had my eye not been attracted by the flocks of pigeons flying around the small white mandir, it might have been many years before I became aware of Basavanna and his important ‘democratisation‘ of Hinduism.

Towers of light at a water tank in Mumbai

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HAPPY CHRISTMAS

A DEEPSTHAMBH IS a Hindu architectural feature found near temples or temple compounds. It is a tower with many small niches into which small oil lamps (diyas) are placed and lit to celebrate special Hindu occasions. A good place to see a number of these is at Bombay’s Banganga Tank in the Walkeshwar area.

Two deepsthambhs next to Banganga Tank

The tank is a rectangular pool surrounded by steps that lead into the water contained within it. At one corner of the tank water flows from a spring vigorously into the pool. The tank is full of large fish, which the locals feed. Being in a strictly vegetarian neighbourhood, these fish are safe from being caught and eaten. The tank is surrounded by houses and many smallish temples. The Tank is a few yards from the rock strewn seashore.

The tank was first built in 1127 AD by Lakshman Prabhu, a minister in the Sihara Court of Thane. This makes the Tank one of the oldest surviving features of what is now Mumbai. It was rebuilt in 1715. According to legend, the spring that now feeds the Tank appeared suddenly when Rama stopped at this spot during his search for Sita.

Banganga Tank is a pleasant spot at which to linger. So near to the hustle and bustle of Mumbai, here is a place that us both beautiful and relatively peaceful. It gives me a good feeling.