Raje Umaji Naik

The Revolutionary Extraordinaire

History has strange ways of showing itself. This chance encounter took place a couple of days ago.

The city: Pune

The premise: Mamledar Kacheri and Khadakmal.

The Revolutionery: Raje Umaji Naik.

Born on 7th September 1791 in Bhivadi, a hamlet in Purandar district.

His father Dadaji Khomane was the guardian of Purandar fort. The Ramoshi sect were incharge of many forts during the reign of Chatrapati Shivaji Maharaj. Umaji too grew up helping his father at the fort. He learnt the use of weapons such as Gofun, Bhala, Teerkamtha, swords etc. at a very young age.

After his father passed away in 1802, he became a vatandar at the tender age of 11 years. At the time the British were gaining control over the Deccan. During this period the unfortunate Bajirao IInd, was persuaded by the British to divest the fort of Purandar from the Ramoshi, but it was an unsuccessful attempt. In retaliation however, Bajirao IInd, confiscated the land, vatans and claims of the Ramoshi.

Umaji was enraged by this act and he vowed to avenge this insult by the British. Thus began the tryst with his destiny.

He focused on looting the rich ruthless Moneylenders vatandars and jamindars, due to their atrocities towards the poor and distributed the wealth to the down trodden. In a short span of time he collected quite a following.

On on such raid, where he looted the money lender Chanji Matiya, he got arrested and was imprisoned for a year.

Umaji continued his raids after release and was caught again to serve a seven year sentence. This is where he learnt to read and write.

Umaji was a devotee of the deity 'Khandoba' as is apparent through the title of his letters 'Khandoba Prasanna'. 

He eventually became the leader of the Ramoshi after his brother Amruta passed away in 1824-25. The Ramoshi band next looted the British Military treasury at Bhamburda. As the complaints against him increased, the British issued decree's and awards for his capture ranging from a 100 to 1200 rupees. The decree stated that anyone aiding Umaji would be killed. No one came forward. The British put up 152 police posts and seem to have taken help from Ramoshi Ranoji Naik from Yavat and Ramoshi Appaji Naik of Rohida but to no avail.

In the mean time his status increased and he self proclaimed himself as 'Raje'. In 1827 placed his demands in front of the Collector of Pune, H.D. Robertson. The Ramoshi would revolt if the demands were not agreed upon. 

The collector put out a 5 point decree on 15th December 1827. Umaji countered this with his own decree, which stated that tax from 13 villages will be taken by him. This was a warning bell for the British. They took his wife, two sons and a daughter into custody. Umaji had no option but to surrender. Surprisingly the British pardoned him and gave him a job to maintain peace and order in Pune and Satara.

Umaji however, was not quiet. He amassed a lot of wealth by other means. The British accused him of taking ransom and looting but did not remove him from service. This was also the time when he built up a formidable army.

While taking a ransom from a money lender, Bhaichand Bhimji, he was arrested but escaped to Karhe, continuing his charades with the British.

Alexander Mcintosh was given the command to arrest Umaji. On 23rd Januaary 1831, George Gibbern the collector of Pune issued another decree to which Umaji issued his own. This came to be known as 'The Proclamation of Independence'

1) To kill a European if seen.

2) All citizens whose Vatans and Wages have been stopped by the British should join Umaji. They would be duly returened of their properties.

3) The soldiers and cavalry must not take orders from the Company Sarkar else Umaji's Sarkar would punish them.

4) No villages would pay taxes to the British. If they do the villages will be destroyed. 

This message was to go out to all of Bharat. He also issued a letter to the Gadkari Naik sect., to revolt against the British. 

As Umaji's power increased he and his band raided the premises of the rich in Kolhapur, Sholapur, Sangli, Satara, Pune and Marathwada.

The final decree and award was issued on 8th August 1831. A reward of 10000 rupees and 400 Bigha (2500 sq. mtrs.) of land would be given for handing over Umaji. As luck would have it, two of his own men, Kalu and Nana delivered Umaji to the British on 15th December 1831.

On 3rd of May 1834 (on the placard at the monument it is given as 3rd February 1832), he was given the death sentence and hanged. It is said that his body was left hanging on the tree for three days as a lesson to those who would dare go against the British.

This was the first hanging of a revolutionary as early as the beginning of the 19th century.

Acknowledgements:

Credits: Marathi vishwakosh.

Photos: Mohini Karkarey

The Pictures below

 1 &2. The Pipal Tree where Umaji was hanged.                                                    .

3. The court room where the sentence was pronounced.

4. Umaji Memorial

5. The jail gate where he was imprisoned.

6. The old structures of the jail.

 

 Lupadakhe: Unknown Master Sculptors of Ancient India.

Authors: Deepak Kannal and Kanika Gupta

Mandala Publication 

Book Review

 

'Unto each sculpture lies the heart, toil and imagination of the sculptor, lest we forget.'

Lupadakhe, the book, celebrates the works of the largely unsung Master Craftsmen of Ancient India.

It begins with a couplet from Lupadakhe, a sculptor, to his paramour Sutanuka, in an inscription, immortalised at the Jogimara Caves. What is revealing in this is the documentation of his origin, viz a viz Varanasi. This is fascinating as names and places of origin of sculptors are hardly ever mentioned through the history of Art.

"Ancient Indian Sculpture has an identity but not a face," It goes without saying that works so daunting and remarkable could have been created without the hands of master craftsmen.

Ironically the creations are written, the era in which they were created, the rulers who patronised the art are documented but there is no mention of the actual sculptors who created the images.

Deepak Kannal and Kanika Gupta have explained with examples from monuments, the probable reason for such omissions. The guild system where by sculptors travelled to different lands and were commissioned to work, the rulers who commissioned the guilds and sculptors, the socially degraded condition of the craftsmen, all these and more contributed to their names being withheld.

The authors have painstakingly unveiled the layers around the sculptures giving us a glimpse of the masters who carved these magnificent sculptures.

Each  chapter of the book talks about the different aspects of the sculptor. Although each one was not a master craftsman, the lineages continued from the original master, who often times remained unknown to the apprentice. As  sculptors travelled to distant lands, they not only carved images of their own lineage but also combined works of other lineages, creating an entirely new Sculpted form.

Be it the Indus Valley art forms, the Bhaja caves, Bharut, Mathura, Paunar, Ellora, the master craftsmen have left their indelible mark. The authors have observed every detail. Finding similarities in the styles at various locations They have not only analysed the theories of various art historians but have come up with their own theory and concept about how a sculpture should be studied.

The authors have expounded the theory of the visual medium as against the theoretically writing of a particular sculpture. The postures, the placement of hands, the torso, the stance, each aspect needs to be understood. As most of the sculptures are religiously ordained, it must have been very important for the sculptor to be knowledgeable with the myths associated with the deities.

The writing is lucid and captivating. The description of sculptures is detailed, every intricate feature is explained in its true form. It feels as though the Master craftsman speaks his mind through the medium of the authors. 

I was mesmerized while reading the chapter titled Vicitracitta: Carving of Emotions. Here the authors have given in detail the emotions in the body language in the Dashavtara cave at Ellora. The Dancing Siva and the Andhakasurmurti, are extremely complex.

 

" Both these sculptures, are charged with pent up energy. The precarious placement of the massive central figures in deep niches adds to the impetus of movement". In the example of the Dancing Siva, "the artist has taken a subtle liberty with the human anatomy, adding a slight curve to the torso, which affects the otherwise  rigid ribcage."

According to the authors, the sculptures in the Dashavtara cave introduce the Baroque in Indian art, showing fully the flamboyance and grandeur. The master sculptor has chosen not only one rasa but combined the bhayanak and sringara rasa in the Andhakasur sculpture.

The book is replete with examples of art created by the master artists. Even though their names are lost in time, their identity is visible through their work.

" The sculptor inherited the audacity to grapple with enormous rocks and melt down the most adamant of the metals through generations and learned to subjugate the resisting medium."

"This small work is a celebration of their achievements, a tribute to their unsung genius." 

Small, is surely an understatement, as both Deepak Kannal and Kanika Gupta have left no stone unturned bringing us a book which may revolutionise art history.

I feel enough has been revealed already and the onus now is on the reader to give these Unknown Craftsmen their due credit.

The book is available with Amazon and Flipkart as well as Kaveri and Mandala.

 

Bali

BALI

Exquisite sculptures

The Island of Gods as it is known, is an apt description, considering that it has around a thousand temples. Bali had always been on my wishlist. When opportunity knocked on the door, I took it and it fulfilled all my expectations and more.

Rice fields

Rice Terraces

Bali is an island which forms a kind of a link between Asia and Australia. The island is blessed with an abundance of nature. Volcanic mountains and mountain ranges of which Mount Agung, Mount Batur and Mount Abang are considered sacred mountains by the Balinese. Lush dense forests (the monkey forest for example), endless rice  terraces and fields, Lakes (Lake Batur formed due to the complete explosion of Mount Batukaru. The crater is today filled with clear water and is a favourite spot amongst tourists and locals.The sacred Ulun Danu temple is located on its shores.). Innumerable species of flowering trees of which the champa is resplendent in a myriad of colours, the list is endless 

Champa tree in full bloom 

Mount Agung

Mount Batur

Lake Kintamani

I had gone with my friends for a 5 day tour and came back with wanting to go back for a longer stay. Five days just gives you an overview of Bali. To understand and experience Bali, one needs to be there for a longer period of time. If at all I get an opportunity, I would go and visit places off the tourist radar. Places which would give me a deeper understanding and knowledge of the peoples, their society, cultural and religious backgrounds.

The Past

Documents of an independent Balinese dynasty date back to the 10th century. The 13th century saw them acknowledge the sovereignty of the Javanese Singhasari dynasty. Following this a submission to the Madjapahit Kingdom. The Javanese influence remained strong up until the 16th century when an exodus of Hindus fled Java and took asylum in Bali. At the end of the 17th century, the Madjapahit empire divided the island into 9 independent principalities, until it fell into the hands of the Dutch who by the mid 19th century took full control of the governance. Finally Bali became part of Indonesia, still conserving its socio, cultural and religious characteristics.

The Present 

As soon as you arrive and are being driven to the place of stay, you see sculptures lined on either side of the road. The women portraying different dance forms, the men wearing armour.

What fascinated me the most were the temples. As we travelled, there was one after every three or four houses. some without a courtyard and some within. Glimpses of them made me really curious as they were nothing in comparison to the ones seen in India. Keeping my curiosity in check, I planned the next few days with my friends and decided that I would learn more about the Balinese Hindu temples in the next few days.

The best way to go around Bali is to hire a car with preferably a driver and guide or one who is also a guide. Our driver was really good but unfortunately he was not allowed to be our guide as he was not holding a licence to be a guide. So we had to manage seeing the temples on our own and read the scant information written on the boards. 

Arjun And Krishna on the Chariot

Culture and Religion

The Balinese peoples are what is known as predominantly following the Hindu religion. That is to say around 93% of the population is Hindu, with Muslims, Protestants, Catholics, and Buddhists in the minority.

The temples that we saw had a central theme. They are known as Pura. Each village (Desa Adat) has three main shrines, Desa, Pura Puseh and Pura Dalem. These shrines are for the three main deities, Brahma, Vishnu, Shiva, The Trinity. The Supreme Creator of the trinity is Ida Hyang Widi. Other than these there is Pura Ulun Suwi or Pura Subak placed at the centre of the rice fields and Pura Melanting found near traditional markets and managed by traders. There are temples open to everyone, known as Kahyangan Jagat. Pura Besakih is one such temple and also the oldest and largest one. Aside of these, each hindu family has its own private temple, Pamerajan or Sanggah. This is built to honour the spirits of relatives and also the Supreme Divinity, Ida Hyang Widi. The temple always faces the sacred mountain, Mount Agung.
In front of every house, there were two identical structures on either side of the houses. At the top was a seat on which offerings of flowers and fruit were kept in a small basket and similarly at the bottom. The lower part of the structure was mostly covered in a black and white checkered cloth. I was explained that these structures were places of the protective Gods and the offerings on the top were for the Gods and the bottom ones for the demons. This ensured that peace was maintained and no harm would befall. The checkered cloth meant day and night, so the house and establishment was protected all the time. The same custom is followed everywhere, in houses, shops, temples and early morning we saw people laying these offerings with prayers and incense was burnt at the sites.
The Hindu religion is as similar to India and yet very different in Bali. The Trinity, the Supreme Divinity is the same, so are the chants in Sanskrit. Yet, I found an absence of idols which are found in Indian temples. One enters the main temple complex through the main gate. Inside there are about 3 to 4 courtyards with an open structure of wooden pillars and a decorated roof. The platform inside has a raised seat like structure. The wall behind the seat has a decorative panel carved or a painting depicting the mythology of a deity. The sthana as it is known is usually empty. The Balinese still offered their prayers and offerings. I later came to know that the deities only visit on specific days of the year. Each temple celebrates its own birthday, that is the day the temple was first consecrated. Known as the Pidolan. The ceremony lasts from one to three days if the temple belongs to a single family and between seven and eleven days for the largest temple of the area which is the temple for public worship.
The first day is the Memendak, where the spirits and the Supreme Divinity, with all his manifestations appears. They remain in the temple during all the ceremonies. The ceremonies are elegant and colourful. People come from all over, dressed in their finest, on their heads they carry gifts and offerings of flowers and fruits, artistically composed. The temple complex is decorated very elaborately and is a riot of colour and trimmings.
The ritual ends after several days with Ngeluhur, which is the return of the spirits and Ida Hyang Widi to their eternal residence in the sacred mountain.
Although the rituals are different, I found many similarities in the basic festivities of the HIndus of Bali and the Hindus of India.

Prayer Ritual

Panel behind the Sthana

Different Number of Tiers

The Pagodas are normally behind this structure. The outer courtyard is known as Jaban, the central, Jabah Tengah with an entrance door, Candi Bentar and then the inner courtyard the Jeoran. Each temple has its own peculiarities and specialities. One similarity in all of them is that, tourists are not allowed in the inner most sacred area but can watch the ritual from the outer courtyard. The other is the proper attire as in the legs have to be covered. Sarongs/shawls are provided at the entrance and are to be returned after visiting.
The other similarity is the tiers of the Pagodas. They refer to the different manifestations of the Ida Hyang Widi. The tiers differ in accordance to whom the Pagoda is dedicated. Hence a Pagoda with 11 tiers is for Ekadasa Rudra, 9, denotes Naaawa Sanga, 7 is Sapta Devata, 5 Pancha Devata. All represent the Trimurti.
Although the rituals are different, I found so many similarities in the basic festivities of the Hindu of Bali and thoe in India. The stories too of the Mahabharata and Ramayana are enacted through various dance forms. The Keechak, The Kris, The Topeng, all depict various stories from the Epics. Then there is the Barong dance. This is a fight between the good and evil. The Barong is a mythical creature who resembles somewhat like a lion and Rangda, the evil queen of death and who devours children. She wears a dark sinister mask with a tongue of fire. The dance is supported by an orchestra known as Gamelan. It comprises of metal and typical xylophones, flutes (rebab), and drums. 

Barong and Rangda

The Balinese religion has changed from being animistic, to Hindu and other religions, but their inherent love and respect for nature and all things living and non living is still very much present.

Touristy Bali

The Balinese also have a lot more to offer. They are one of the most friendly and helpful people, I have come across. Always smiling, they make you forget the worries of the world.

Their cuisine is a mix of Indonesian, Malay and also absolutely Balinese. In the 5 days that we were there we went through the 10 most famous dishes of Bali and also others. 

Pisang Goreng (Fried Bananas) 

Mie Goreng (Fried noodles with vegetables and a choice of shrimp, pork or chicken)

Nasi Goreng (Fried rice instead of noodles)

Satay Ayam (chicken satay), Lilit Kan (Fish satay)

Bebe Guling (Suckling Pig)

Nasi Campur (Mixed rice)

Bebek Betuti (Duck)

Mini Rijsthafel (A rice table with a cone of white or yellow rice with an accompaniment of Bebek, chicken sambal, prawns, pork and chicken satay, sayur wap (mix Bali vegetables), potato croquettes, tempe and tofu, spring rolls. This meal can be shared as it is a lot for one person. There is also Gado Gado (veg salad with peanut sauce). The black rice pudding was absolutely delicious. Its made with black rice and coconut milk both of which are found in abundance in Bali. 

Other than this we had fish and prawns, sipping on cool coconut water, as we sat on the beach with the moon shining and over looking the calm sea. The lights of Bali twinkled away in the night. The portions they serve are large and if one is not a big eater then it can be shared between two or three people.
         

Food Specialities

Sampling Luvak and other flavours of coffee and teas

                                             

Dinner at the beach

The sunsets here are breathtaking to say the least. We reached Tanah Lot, a temple complex on the sea shore. It is famous for spectacular sunsets and early enough to find a comfortable place to experience the setting sun. It does get quite crowded! Needless to say the vision of the setting sun was completely spell binding. it was a clear evening and we were lucky to experience the ball of fire disappearing beyond the horizon. So entranced were we at this spectacle that we felt as though we heard the sizzle of the sun as it hit the waters.

Sunset at Tanah Lot

Bali has a lot to offer the tourists. Aside of the Temples, the forests and the lovely beaches, there are glorious rice fields and rice terraces and quaint villages. It offers markets, full of beautiful handicrafts and paintings. The wood craft is exquisite. Sculptures made in wood of deities, animals and human figures beautifully crafted with minutest detailing. Glass objects in colour and transparent. The paintings are just lovely. We found traditional paintings, in black and white  as well as in a riot of colours and also abstracts. There are art galleries where paintings are sold where artists are also sitting and working. Every market, be it in Ubud, Seminyak, Kuta or Nusa Dua has shops lined up selling paintings and art work. So much so that it gets confusing while making a choice. We found clothes there on the same lines as are found in most sea side resorts around the world, but the sarongs on display and the hats were very attractive and eye catching. Handicrafts also included masks made from wood and papier mache', of various kinds, from benign to evil, from ferocious to sublime. 

It is true that the heart is never satisfied and wishes for more but trips do end and so did ours. Memories of the island will remain forever though through pictures we took and our experience in the Island of the Gods...

Closing my post with pictures of the diversity that is Bali..

Ulun Danu Temple

Gate to a Temple

The Trinity at Goa Gajah Cave

Buddhist Meditation Cave

Shiva

Temple Guard

Garuda Vishnu

Handicrafts

Handicrafts

Artist at work

Photo Credits : Mohini Karkarey, Diwakar Bal.

                                      

Somnathpur

Kesava Temple

Somnathpur

137 kms. from Bengaluru, Karnataka, lies Somnathpur, a quaint town. The town was once part of the   Hoysala Dynasty. The Hoysalas were prominent even during the Chalukya period but after their collapse the southern territories were claimed by the Hoysala dynasty. The latter half of the 13th century saw the empire partitioned. Nrsimha III (1254 to 1292), controlled the Northern regions whilst his brother Ramnatha ruled the Tamil holdings in the south.

One of the many monuments built in the time of Nrsimha III, is the Temple of Kesava in Somnathpur. Although small in size it is the only complete temple left, of all the Hoysala monuments. Exquisite carvings accord it one of the finest amongst the Hoysala structures.

The Kesava temple is under the protection of ASI and is very well maintained. It is enclosed from all sides. As we enter through the Mahadvara (Main Entrance), there is a pillared corridor all around which housed images of Vaishnavite deities. Today it stands empty. The rectangular courtyard takes us to the main temple complex. Instead of the Gopura in Vimana form, the entrance is a Mandapa which has a pillared porch, unlike most southern style temples. It is this feature which is suggestive that it is a Hoysala structure.

The unique feature of Hoysala temples are the multiple shrines, 2, 3, 4 or 5 in number. The Kesava temple at Somnathpur is a triple shrine temple. The temple plan consists of three separate Vimana, each with a garbha griha (sanctum), and shrine. The main mandapa is shared by all three shrines whilst there is a small mandapa in front of each garbha griha. The plan of each Vimana is of a stellate medium sized tower. The use of soft soapstone (chlorite schist), a good material for intricate carving characterizes the temple complex. Executed mostly by local craftsmen, the temples exhibit architectural features that distinguish them from other temple architectures of South India. The temple is raised on a Jagati (a platform), which also serves as a Circumambulation path, right around the temple and is also built in the star shape of the temple. The walls too, follow the same zig zag pattern. This is a Hoysala trademark.

The facade of the temple has ornate sculptures from the plinth to the top. There is minute detailing on the horizontal freizes. Sculptures of the dancing Ganesha, as well as Vaishnavite images of the Varaha and matsya incarnations of Vishnu, adorn the walls. Each sculpture is carved with detailing of Jewellery and clothing. The sculptures are squattish and more rounded. The hairstyles typically of the area, in round buns and female figures are shown voluptuous.

The Vimana towers are even more ornately carved. Below the overhang of the Vimana, two different schemes are seen. The top layer has miniature towers below which are intricately sculpted deities. The second division is of 6 horizontal mouldings. The first horizontal moulding at the base has elephants, above which stand horsemen and then a band of foliage. The second horizontal section has depictions of the Hindu epics and Puranic scenes. Two friezes of yalis or makara, and swans appear above the Puranic schemes.

 Another unique feature is the signature of the artist on the pedestal of the sculptures. Hence, we know that an artist Mallitamma, was the main sculptor of this temple. Some of the sculptures have his full name and some only 'Ma". What is not seen much in Hoysala Architecture are erotic images but there are panels in the exterior with these images, however they are in the niches and may suggest shaktism. It is also seen that many a time these images have a deeper meaning and house a mandala in their fold.

As the exterior, the interior of the temple, is intricately carved. The ceilings are carved with stages of the lotus flower, from bud to full bloom stage. The walls have star shaped openings for the light to come through. The numerous pillars in the main and smaller, inner mandapa have different kinds of finish, from the smooth to the carved in complete symmetry. That these were carved by hand held lathes is a marvellous example of the genius of the sculptor.

The three images in the shrines are those of Krsna as Venugopala in the south shrine, Janardana, as Vishnu in the North and Kesava the main form, after whom the temple is named. As Venugopala, Krsna is holding the flute/ Each idol stands on a pedestal with the image of Garuda beneath.

The temple exudes a sense of peace and serenity which is not apparent in most temples today.