A POEM OF KURDISH POET SHERKO BEKAS

                                             

EVENING TIME  AT PATNITOP, JAMMU.. THE OCEAN  AND THE FOREST TOO COMMUNICATE . 

The philosophy of  love and beauty in the poetry of Sherko Bekas , the exiled Kurdish poet has such a wide horizon that the language barriers start to crumble as soon as he tries to find an outlet for the stream of his thoughts and allows it to flow. Poem ‘Survival; from the  poet goes as under :-

(Survival )

I went to the ocean

and it told me:

"If it were up to the fishing-rod and the net,

not only the fish of my blue soul

but even I

would have perished a long time ago."

I went into the forest

and it told me:

"If it were up to the axe's fantasy,

not even a single twig

would blossom

here in my body."

oh, my friends,

ocean and forest,

as long as the fish swim in your blue soul

and the green branches continue to grow,

the fish of the eyes

and the forest of my people will also survive.

( Avtar Mota  )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

MY NEW BOOK "LANDSCAPE AND LAMENT'..BOOK REVIEW

                                          

https://www.youtube.com/live/p-5eQmw-8tY?feature=share
                      
                                                                  

                                          

                 ( Triloke Kaul with the book )

         ( Artist Gokul Dembi with the book ) 

LANDSCAPE AND LAMENT ( Art ,Exile and the Rebel Artist ) by Avtar Mota 

 

Published by

Vitasta Publishing Pvt Ltd

2/15, Ansari Road, Daryaganj

New Delhi - 110 002

info@vitastapublishing.com

ISBN 978-93-90961-77-1

 

( Available on Amazon and Flipkart and other platforms )

https://www.amazon.in/Landscape-Lament-Exile-Rebel-Artist/dp/9390961777/ref=asc_df_9390961777/?

 

“ Very well written, well printed and beautifully presented book that I read recently. Every chapter , every paragraph and every line of this book moves through your heart . Great work accomplished.”…….. (Padamashri Kashinath Pandita )

 

                                                             

       ( Published Review No1 by Ashok Ogra  )

                                                                              

 (Published Review No 2 by Parvez Dewan IAS )
 

                                         

 

      ( Above.  6 paintings of Bansi Parimu)

It am told authors shouldn't review their work . If that be the rule, let me create an exception.

 

 

Writing biographies and then commenting on works of art is not a simple task. I know how difficult it is to dig , look for and present truth about men ,matters and places. One can't risk writing anything that has not been thoroughly researched or verified from source . Truth even in its unpalatable form , creates foundation for lasting mutual trust and goodwill. Nothing is more damaging for both the listener and the speaker should both of them be in possession of the truth yet push falsehood . Those who do so serve none . They fix a wedge at the split that cracks the entire homogeneous log into two pieces with persistent hammering through falsehood . Speaking the truth is a step forward towards lasting peace and goodwill , the dire need of the time we live . The book, Landscape And Lament ' is a step in that direction . A truthful story of a sincere man ( if one understands his passion, love and compassion for the inhabitants of the strife torn valley ) who hurried towards his death post exile from his beloved motherland, Kashmir. A man who felt choked in the heat and dust of the alien environment. A man who saw fear changing faces and attitudes in the Kashmir he loved passionately. A man who saw death and destruction . A man who saw the dagger being thrust into the backbone of the age old mutual trust and composite living by armed merchants of death and destruction . The fear created by them silenced all . The terrorism changed the paradise on the earth into a hell unfit for living with dignity ,honour and safety .

While the book narrates the life story of Bansi Parimu , it also discusses his art. Parimu, the unsung creative mind rises to a high pedestal comparable to the best minds in his field. The book also narrates history of art in the valley right from ancient period to 21st century. Based on interviews of some prominent persons, family and friends of Parimu, the book brings forth truth about the man, his life ,his art and arrives at the crux of the causes that hastened his death . It also pays due tributes to a few who dared not to be swept by the hate and falsehood.

I quote excerpts from 7 chapters of the book.

 

 

(1)

 

From the chapter “At The Coffee House Days “

(a)

“Bansi Parimu was a regular visitor to India Coffee House in Srinagar. It was not for gossip but for another passion. He had a serious concern for the environment and civil rights. His table had the largest gathering, and he was the centre of attraction. He was into so many societies and bodies for that reason. I mean, bodies like Save Chinar, Save Hangul, Parihaaspora Task Force, Urban Arts Council, INTACH and others.” ………. (Shantiveer Kaul..)

(b)

“I am naive about art, but I knew the artist Bansi Parimu closely. He was a warm, affectionate and knowledgeable person. He had vast social interactions. He was loved by one and all. I sat with him daily in the vibrant hall of the India Coffee House in Srinagar. I learned much from him. We talked about various social, political and literary issues. He had his own unique style. We lived like a family. I remember those golden and sweet interactions. I met him daily. He was anti-fascist, progressive and secular to the core. I also remember Shamim Ahmad Shamim, Ali Mohammad Lone, Pran Nath Jalali, Wahid Raina, Amin Kamil, G R Santosh and many others who are no more. God bless their souls.” …….(Dr.Abdul Wahid Senior physician SKIMS, Soura, Srinagar)

 

(2)

 

From the sub chapter “ A compassionate Human being And a dependable friend "..

 

(a)

“ I got to know Bansi Parimu during my university days and the association lasted till he left Srinagar in the early ’90s. Being neighbours, we often met at his house. Such a gentleman and such an end! The more I think of him, the more I realise his varied interests. He was a multidimensional personality in the true sense of the word and above all, an extremely good human being. I saw him one day before he migrated. I searched for him in that abandoned house until it was purchased by someone else. It is really painful to recollect the trauma we all have gone through. “…….(Abdul Majeed Baba , businessman, and a friend of Bansi Parimu )

(b)

“For me, he was like a Guru. Long back, I met him in the Middle East, perhaps in Dubai. He was intense in everything that he did. Intense for any cause and intense with colours. Always brilliant with colours and in conversation. Had he lived, he would have done wonders (zinda rehtay to kamaal kartay). Unfortunately, he came to Delhi in very bad shape when he had been uprooted from his homeland. Had it been in the sixties or seventies, he would have been among the top names in the world of art. He was politically aware and very much concerned about Kashmir that was close to his heart. “……(Kashmiri Khosa ,noted artist)

 

(3)

 

From the chapter “The Last Days "..

 

(a)

 

On Parimu’s death, Sabina Sehgal wrote in the Times of India of 4 August 1991:

“Parimu will be long remembered for his unstinting support not merely to the cause of art and the artist, but also for his deep association with all the contemporary movements in the State. He was among the very few painters who voluntarily chose to stay in Kashmir despite being isolated from the mainstream, as it were. He never regretted his decision even though he was, in a sense, elbowed out and did not get the national recognition that he truly deserved.”

(b)

In early 1941, when the Nazi forces entered Bulgaria and took control of the country as a prelude to the attack on the USSR, Vaptsarov fled to Sofia with his wife and child. Unfortunately, he was arrested by the Nazi forces and punished for his beliefs and convictions. He died on 23 July in 1942, at a young age of 33 years. His poem, History, reinforces the idea of close similarity that Parimu had with this rebel poet. I quote some lines from the poem:

History, will you mention us

in your faded scroll?

For the hardship and affliction

we do not seek rewards,

nor do we want our pictures

in the calendar of years.

Just tell our story simply

to those we shall not see,

tell those who will replace us –

We fought courageously.

( C )

In Delhi, Bansi Parimu had many causes, many worries, many involvements that left him with little time to attend to his ailments. Arthritis had already afflicted his hands and fingers. He was diabetic. The hot, humid and hostile climate of the plains too had its adverse impact on him. Although he remained busy in Delhi, yet his life was full of pain and restlessness. His life in Delhi can be best described by the poem, Boat, written by the exiled Kurdish poet, Sherko Bekas. The poem reads:

 

'To me,

my heart is like a boat

with some holes in the bottom.

Again, and again

water presses its way in,

and I bail it out.

Before I have bailed out

a bucketful of old sorrow,

it is already replaced by new sorrow.

But neither does this restless boat sink

nor does it anchor

in the whirlwind of this night.'

 

(4)

 

From the chapter “ Terrorism and Exile “

(a)

“Noted Persian scholar and historian, Kashi Nath Pandita recounts, ‘In September 1989, when Tika Lal Taplu was killed, there was fear and fright on all faces. Through a widely circulated English newspaper, I addressed a letter to Azadi movement leaders to clear their stand towards Kashmir Pandits and other minorities. The reply received by me closed all options. We were told to join the Azadi movement or leave Kashmir. No other option was put forth. The situation at that time was a clear signal to the Hindus and other minorities living in the Valley. Allama Iqbal has summed up this situation in his poetry as:- 

 

“Chhupa kar aasteen mein bijliyaan rakhi hain garduun ne

Aanaadil bagh ke gaafil na baithen aashiyaanon mein

Wattan ki fikr kar nadaan museebat aanewaali hai

Teri barbaadiyon ke mashware hain aasmaanon mein”

 

(The arched sphere has concealed lightning in its sleeve,

Let not the nightingales of the garden sit carefree in their nests,

Oh, the ignorant! Think of your homeland, the tragedy waits in wings,

Consultations for your destruction are being held in the skies.) 

 

(b)

Capt. S K Tikoo recalled this :-

 

“This environment and the slogans had thrust a dagger into the backbone of the centuries-old composite culture and shared living in the Kashmir valley. And then the gun-wielding and Pakistan-trained militants spared no one who was deemed to be Indian in any manner or who they felt was acting against the objectives of the Azadi movement. They killed Mushir ul Haq (VC, The University of Kashmir), B K Ganju (engineer employed with BSNL), Sarvanand Koul Premi (poet), Lassa Koul (the then director Doordarshan, Srinagar), Molvi Mohammad Farooq (religious leader), H L Khera (Geaneral Manager, HMT, Srinagar), Prem Nath Bhat (advocate), Maulana Masoodi (religious scholar and aged politician), Mustafa Mir (politician) and many government officials and pro-India leaders. These compulsive killers killed people coming out from the mosques after offering prayers. They killed innocent and helpless women and children. They killed innocent people eating food with their family members. Calling them Indian agents, hapless Pandits were used as ducks to test their newly-acquired guns.”

( c )

The Kashmiri poem ‘Assi von na kinhi’ or ‘Not a word did we utter’ composed by poet Radhey Nath Masarat (1939-2021) remains one of the most powerful poems representing fear, silence and plight of people who were driven out from their homes and hearths in 1990. In this poem, Masarat is forthright and direct in conveying the helplessness, pain and suffering of the people who were subjected to all sorts torment and agony by armed militants and their cohorts . 

 

“Baarav dhyet dazavein naaran von

‘Hey Saaf Kariekh’

Akhbaarav von ‘Naahaq maariekh’

Assi von na kinhi…..

Gaeli zeiv assi gayi

aess kyaah vanahav

pyatha-kani aess Dhuryodhan Shakuni

Zaareiv gyundh zaar ta aess haariekh

Assi von na kinhi… “

(The fire that burnt us,

kept complaining and crying:

‘Alas! they have been finished and wiped away’

The newspapers carried our story:

‘Innocents have been killed’

Yet, not a word did we utter.

We turned dumb,

What could we say otherwise

when Shakuni and Duryodhan became

masters of our destiny?

The dice players played their game

and lost us as their stake.

Yet, not a word did we utter. )

(d)

(There are yet inspiring stories, though few, of some unknown men, who never lost their objectivity or who were never swayed by the prevailing frenzy, hate and negativity of the 1990s in the Kashmir valley. One person amongst such few men is Mohammad Amin, the proprietor of the National Masala/Kanwal Spices, Anantnag, Kashmir. Mohammad Amin paid salary to Prem Nath Kaul, his employee from village Nanil, regularly till death (for more than 11 years) after May 1990. In May 1990, Prem Nath was pulled out from a Matador (public transport vehicle) by armed boys near Krungsoo village when he was returning from his work. He was threatened with dire consequences if he was again seen in Anantnag. Branding him an informant, he was asked to leave Kashmir. Prem Nath never worked at Mohammad Amin’s factory after the May 1990 incident: initially out of fear and later due to poor health. Prem Nath Kaul and his wife stayed in Kashmir after 1990, solely on Mohammad Amin’s support. Prem Nath refused to leave Kashmir when his son left the Valley in 1990 due to threats and fear. A religious man, Prem Nath wrote and sang Leelas in Kashmiri. He played on harmonium and banjo. To this aged couple, Mohammad Amin did what a son is supposed to do for his aged and dependent parents. I am sure there must be many more unknown men like Mohammad Amin.)

 

(5)

 

From the chapter “ Lilting Music And Jaijaiwanti"..

(a)

“After the marriage, Jaijaiwanti got busy with her job as a music teacher in a local college and Bansi focused on his work. The couple struck a good understanding. Bansi, a liberal non-interfering man, needed space for his artistic pursuits. Jaijaiwanti understood these requisites and demands and provided him with ample space for his creative outpourings. ‘So the wild horse has been finally tamed’, is what D P Dhar is reported to have told Jaijaiwanti when he saw the couple after their marriage.”

(b)

There were night long music Mehfils in Pandit Ved Lal’s house at Zaindar Mohalla. Many renowned musicians performed in these mehfils. In the book, Master Musicians of India, under the chapter, ‘Sabri Khan’, Ustad Sabri Khan (the sarangi player) says that one day he performed at Pandit Ved Lal’s Srinagar house till 5 am, playing Darbari for two hours. About these music mehfils, Moti Lal Kemu writes:-

“I used to reside at Tankipora locality in Srinagar city close to the house of Pandit Ved Lal Dhar. Pandit Dhar was a connoisseur of Hindustani classical music. Many times I saw Begum Akhtar coming to Pandit Ved Lal’s house during evening time. There were singing sessions till the late hours of the night. Jaijaiwanti and Rageshwari, the two daughters of Pandit Ved Lal, would also join Begum Akhtar in these singing sessions. During Begum Akhtar’s stage performance, Rageshwari would be seen accompanying her by playing on a tanpura. Rageshwari considered herself a disciple of Begum Akhtar. “

(6)

 

From the chapter ”The Journey of Art In Kashmir "..

 

(a)

“Apart from artists, Kashmiri scholars and savants have played a leading role in spreading knowledge and Buddhism far and wide across the Himalayan frontiers of India in Central Asia, Tibet, and China. Some Buddhist monasteries in Central Asia had Parmukhs or Pramukhs who were from Kashmir. The Pramukhs were highly respected scholars and polyglots who were proficient in art, religion and philosophy. There were many Buddhist Pramukhs or Parmukhs from Kashmir in Nav-Vihara (a well known ancient Buddhist monastery) of Balkh in Central Asia. During the Arab invasions, some Parmukhs or Pramukhs of Nav-Vihara fled to Khotan and Kashmir, travelling through the Silk Route while many converted to Islam. The Parmukhs of Nav-Vihara were polyglots, who, upon their capture were brought to Iraq by invading Arabs. The services of these Parmukhs were utilised by Abbasid Caliphs for translation of many ancient Sanskrit texts into Arabic. The Parmukhs were paid from the royal treasury of the Abbasid Caliphate for this translation work. The Arabs called them Barmakhs or Barmikahs. They were also known as Barmakids or Barmecides. They were highly influential throughout Arabia, Persia, and Central Asia. Khalid Barmiki became the governor of upper Mesopotamia. Yahaya Barmiki became the governor of Armenia. Al Fadl Barmiki and Jaffar Barmiki occupied key positions during the rule of Harun al-Rashid.”

 

(7)

 

From the chapter “The Artist And His Art”..

 (a)

“In India, Abstract genre was also extensively used by S H Raza, Ram Kumar, Tyeb Mehta, M F Husain, Prabhakar Kolte, V S Gaitonde, S K Bakre, Shobha Broota, Biren De, Satish Gujral, P Khemraj, Devyani Krishna, Akbar Padamsee, Bimal Dasgupta, Sachida Nagdev, Nasreen Mohamedi, J Swaminathan and many others during the twentieth century.After experimenting with various forms, Parimu was finally drawn towards abstraction. His abstracts are a combination of organic designs, patterns, swirling shapes, colours, and steadfast consistencies. This consistency is reflected in every painting and also in his entire portfolio of work under this genre. In abstract art, Parimu demonstrates a flair for green, blue, red, and yellow colours that are warm and conspicuous. And Parimu has never tried to infuse dullness in his colours. In Parimu’s abstracts, you may not find recognisable objects and given the habit of assigning meaning to what we see, we may end up saying, ‘there is nothing to grasp or hold on to’ once we see his work. But that is a generalisation and not the truth. The truth is, every abstract that Parimu has done has its basis, form, colour, line, pattern, composition, and process. His work in this genre is an exploration of these formal qualities meant to create a visual experience even for the lay viewer. And then reality is subjective, and it is up to a viewer to define it.”

(b)

“According to Capt S K Tikoo, a close friend from his school days, ‘Bansi Parimu did not do much work in this area. I believe he disliked it, but whatever few portraits he painted are outstanding. Look at Parimu’s portraits of Zayed Bin Sultan Al Nahayan, the president of the UAE and Shaikh Mohammad Bin Rashid, the ruler of Dubai. I believe he did these portraits in 1977 or 1978, when he was in the Middle East. You will understand his versatility through these portraits. He had also drawn an impressive portrait of Dr Ho Chi Minh when the Vietnamese leader visited India. In fact, he wanted to present the portrait personally to Dr Ho Chi Minh’.”

( c)

“Grieving women, a pitcher of water, a fire pot (Kangri), a Pheran (dress), a clothesline for hanging clothes (Villinj in Kashmiri), Taranga (women’s headgear) and a dry hay mat (Voguv in Kashmiri) are visible in the painting, The Grief Within. This painting is very close to Kashmir’s recent past. After 1990, he again painted pheran-clad Kashmiri women bound by tradition, simplicity, and sincerity.These women form the pivot of a dwindling tribe from the snow-capped hills. Accustomed to breezes and brooks, thrown into hot, humid and dusty plains, these women are victims of the disintegrating and crumbling joint family structure. They live with a deep sense of loss on all fronts and carry a profound feeling of homelessness compounded by the loss of identity. For them, life has nothing more to offer except memories. These women keep suffering on all fronts yet never hesitate in comforting others. “

( d)

“Bansi Parimu had very cordial relations with Husain. Every time Husain came to Kashmir, Parimu was his companion. Even his son, artist Shamshad, had cordial and family ties with the Parimus. Like Tyeb Mehta, Husain would always advise Parimu to shift to some metropolitan city to be visible. ‘In Srinagar, Parimu was M F Husain’s companion. We had cordial relations with the entire Husain family. Husain dominated the national art scene for many years, yet he was an extremely simple man. He ate very little and loved green leafy Kohlrabi (Monji in Kashmiri) cooked in Kashmiri style. He always carried this vegetable to Mumbai from Kashmir. We saw him last in 1989 when he visited our house at Barzulla. Husain loved to play with children. He spoke to the children in their language. He would always say that childhood is the only malice-free period in a man’s life. He painted a dancing Ganesha and horses for our children. They remain our family’s prized possessions. Even Shamshad’s father-in-law had family ties with us. We spent a very good time together. The Baroda-trained sculptor Vidya Ratan Khajuria was a close friend of Parimu. He had a sumptuous Kashmiri dinner at our house in 1989. That day he had a long discussion with Parimu on the art scenario in our State. I feel sad to relate all these past stories. It is really painful for exiles like me’, says Jaya Parimu.”

 

 

I wish every lover of art and kashmir reads the book . I conclude with a couplet of Majaz . Bansi Parimu remained an ardent admirer of poetry of Majaz ..

 

"Sab ka madaawa kar daala, apna hi madaawa kar na sakay.

Sab ke to girebaan see daale ,apna hi girebaan bhool gayay."

 

(Majaz Lakhnavi)

(To everyone's problem,

I found a solution,

However, for my troubles,

I had none.

I stitched everyone's tattered apparel

but forgot my own torn dress .) 

 

( Avtar Mota )

 CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

Based on a work at http:\\autarmota.blogspot.com\.

MOTI LAL SAQI'S GREAT POEM ON EXILE

                                       

MOTI  LAL SAQI ( ( 1936-1999)

'Dagh" or Pain is a great poem of Kashmiri poet  Moti Lal Saqi. I love the subject , style and sentiments of  this poem . The poem is a spontaneous  overflow of powerful emotions of an exile.  I post some select lines which have also been rendered to English by me   .                   

              

  “  Bub , Budya-Bub,Jadha-Budya-Bub,  

Saari yeti thanna peymit

 Yethi metchi shrepmiet

Khaah Khal timavai thaevmit sheerith

Kolla kajji timvaai  neela-vath cheerith

Nonn Kodd timavai ‘ Sharada Peeth '

Yath metchi munz Bengaashi amaanat

Yeti chhu Ali Joo yeim lalla-novus

Az chha bhaiy meyi kalla thodh tulnas

Az chhus baeyi  az-vaai abhyaagath

Kaenn assi thov na parihaasporas

Martand pal nakha kam kam tulei

Harwanas kam athha palzeimit

Vyath baethi kaem kor taarakh zool

Chhakrith  Kaayi me paan teil dagh chham

Nari chham rajasthaan me taapas 

Zang chham aassus manz rata hooneun

Vaeni chham sath dakhi chhum Dasgeer"

( Moti Lal S’aqi )

( Pain )

My father . 

My grandfather ,

My great-grandfather,

All of them , 

were born in this land 

and sleep in the dust of this land only.

These fields ,

This  stock ,

Tell the tale of their protective care . 

These  rivulets and streams ,

Were born after they tore apart the rocks and the boulders .

This "Sharda Peeth " of ours, 

They made known the world over .

In the soil over here   , 

sleeps Bengashi , 

my mother .

Ali Joo ,

Who poured his affection upon me ,

 also sleeps in the soil of this land .

 Then tell me one thing ,

Tell me why I fear to tread on this soil?

Tell me why am I afraid to raise my head?

Tell me why do I feel  helpless ?

Tell me why  have  I been rendered unlucky ?

Didn’t we ;

Lay the foundation of Parihaaspora ,

Carry huge boulders on our shoulders

for the  Martanda ( Sun Temple ) ,

Build  Harwan's ancient Buddhist  monastery with our hands ,

And  illuminate River  Vitasta's  banks on her birthday .

Alas !

 Now , our  body lies scattered ,

Our arms face the heat of Rajasthan.

Our legs  are  held by bloodthirsty  dogs in their jaws ,

 Yet ,

 till this day , 

This abiding faith remains with us that 

" Revered Dastgeer will stand by us  ." 

(Avtar Mota)

Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.

Based on a work at http:\\autarmota.blogspot.com\.

PINE TREES ON MOUNTAIN TOPS.

                                             

For this photo ,i wrote these four lines...

"Jhurmuton mein andhera phaila hai  

Har taraf baraf ka bichhona hai...

Hum pahaadon pe cheed ke jungle

baadalon se lipat ke rona hai ......."

( Avtar Mota)

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

A DISCUSSION ON CULTURAL TRAFFICKING

https://youtu.be

Discussion held in Studio of Jammu Doordarshan Kendra.

Participants..Avtar Mota. And Ravinder Kaul.

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

BOOK REVIEW..." BHADERWAH - THE UNEXPLORED HEAVEN "

                                                                             

 

BOOK REVIEW 

 

BHADERWAH  ( The Unexplored Heaven)

by Dharam Kant Dogra ( Mobile 9419249940)

Published by Aastha Prakashan, Jalandhar ( Mob.09814527152)

Price Rs100/=

(Sold by the author directly )

 

 

Bhaderwah falls in the Jammu division of 

J&K UT. A beautiful valley with hills of Kishtwar in its north, Chamba ( HP ) in its east, Basholi area of Jammu near River Ravi in its south and Chenani area of Udhampur district in its west, one can safely call this place, ‘A Queen of Hills’. Perched at a height of about 5300 feet from sea level and surrounded by snow-clad hills with Deodar forests on all sides, this area has its unique history and culture. The Ratangarh Fort is one of the most historical and cultural constructions seen in Bhaderwah town. Located on a small hillock, this fort gives a scenic backdrop of pine trees and a complete panoramic view of Bhaderwah Valley. Built in the year 1733 by Raja Methni Pal, this fort changed hands several times. 1n 1821 it was captured by Chamba rulers.

 

In Bhaderwah, one finds Kashmiri Pandits, Kashmiri Muslims, Thakkars, Wazirs, Kotwals, Dogra Rajputs, Punjabis, Mahajans and Bhaderwahi-speaking locals living in peace and harmony. The place remained a melting pot of many cultures and civilizations. It was an independent principality amongst the 22 Hill States of Jammu before it was annexed by the Chamba Kingdom in 1821. It was subsequently transferred to Dogras in 1846 under the Treaty of Amritsar. 

 

The book under review has 176 pages for its text with additional 8 pages for 16 coloured photographs that depict the culture and scenic beauty of the place. The author has dedicated this work to the memory of his parents. Set in three chapters, Bhaderwah: The Ultimate Tourist Destination, Bhaderwah: The Cultural Hub and Bhaderwah: A Heaven Ravaged, the book gives the reader truthful information about the history, climate, landmarks, tourist spots, religious places, festivals, serpent worship culture, annual Yatras, music, dance, literature, folk songs and anything and everything that one wants to know about this town, its inhabitants and their rich culture. 

 

The author has exclusively assigned 5 pages to describe the ancient Vasuki Nag temple of the town that has been a place of pilgrimage not only for the people of Doda, Kishtwar and Bhaderwah but also for the Hindus of the J&K UT. A similar detailed description exists about the ancient Gupt- Ganga temple dedicated to Shiva- Mahadeva. The Chandi Mata temple overlooking the town has also been described in detail by the author. Designed on the pattern of the Mata Chandi temple of Machail ( Paddar), the author informs that this grand temple was built due to the foresight and tireless efforts of Thakur Kulbir Singh Jamwal. The temple has a commanding location. One can have a panoramic view of Bhaderwah town from the temple. 

 

The festivals and Yatras of Bhaderwah bear the influence of the festivals and culture of Chamba and adjoining hills of Himachal Pradesh. From the book, a reader gets detailed and adequate information about the well-known Kailas Kund Yatra. Hindus believe the Kailas Kund is the abode of Nagraj Vasuki. The Vasuki Puran also upholds this belief. The author has devoted about 9 pages to this important annual Yatra to Lake Kailas situated at an altitude of 14000 feet and about 21 km from Bhaderwah town. While the author has taken great pains to describe other three popular Yatras known as Ashtapati or Shadu Yatra, Manimahesh Yatra and Machail (Paddar) Yatra, his gripping narrative about Mela Patt keeps the reader glued to the book. Mela Patt is the most famous and well-attended fair of Bhaderwah held every year in August/ September on Tritya of Shukla Paksha of Bhadrapada month as per the Bikrami calendar. The fair is held in honour of Vasuki Nag, the presiding deity of Bhaderwah. It is believed that Emperor Akbar had sent valuable gifts for Vasuki Nag temple through Raja Nag Pal of Bhaderwah. The Rajas of Bhaderwah especially from the Pal dynasty were ardent devotees of Sri Vasuki Nag. 

 

The book gives its reader detailed information about many trekking routes in the Bhaderwah area, a place also known as ‘Trekker's Paradise'. Apart from this, the book gives valuable information about various ancient temples of the area dedicated to various gods and goddesses like Bhadrakali, Sharika, Durga, Mahakali, Hidamba, Chandika, Shiva and Ganesha. A reader also gets enough details about prominent mosques and Ziarats of Bhaderwah especially Jama Masjid, Ziarat Syed Sikander Ali Shah, Ziarat Hazrat Syed Badshah Sahib, Ziarat Hazrat Saain Sadeeq Shah, Ziarat Moochh Maror, and Ziarat Hazrat Khaki Shah. The author informs that the old Gurudwara in the town was destroyed during the 1947 disturbances. However, a new Gurudwara has come up in village Kotli. This village has an Arya Samaj temple as well. Bhaderwah town had a small chapel affiliated with the Church of North India. The Buddhist sculptures found in the town stand stolen now.

 

In chapter 2, the author has also listed many religious festivals and fairs of Bhaderwah. Prominent amongst these can be listed as Makkar Sankranti or Maaghi, Dhundu Kundu, Gauri Tritiya, Sharari ( Nag culture), Nela Re Nouratan, Dharamdees, Tihaar, Chaitra Chyodeh, Baisakhi, Akshay Tritiya, Nag Panchami, Jagroo ( torchlight festival), Dhajje Ru Kodd and Jattar.

The author also introduces Bhaderwahi cuisine to the readers. Due to the presence of a sizeable Kashmiri population in the area, Bhaderwahi cuisine has now become diversified. It includes Roganjosh, Yakhni, and Dum-Alu, apart from the traditional Madra, Kadu, Ambal, Khatta meat, Barha, Chitloyee, Tahari( yellow rice), Mehri, Babroo etc. The author gives details about the development of Bhaderwahi literature and language and the influence of Kashmiri, Pahadi, Dogri, and various dialects of adjoining Himachal Pradesh on the Bhaderwahi language. We are informed about Vasuki Puran believed to have been written in Bhaderwah in Sanskrit. We are also informed about folk songs, dances, musicians, writers poets, and educationists of Bhaderwah.

 

In chapter 3, the author highlights the neglect and discrimination that was meted out to Bhaderwah by successive rulers post-1947. According to the author, the area was administratively truncated and amputated, discriminated in the matters of development of infrastructure and tourist spots by successive governments with the only exception being the rule of Bakshi Ghulam Mohammad. He attributes the economic backwardness of the area primarily to neglect and discrimination. However, he concludes on a positive note and remains optimistic about Bhaderwah regaining its lost glory. The book ends with the slogan 'Jai Bhaderwah' or 'Victory to Bhaderwah'. 

 

The author retired from a senior managerial position that he held in a public sector bank. He is a researcher, writer, and photographer as well. This book is certainly a great effort to trace the history, culture and scenic beauty of the place popularly known as ‘Chhota Kashmir’. A substantial part of the cost per book is being met by the author from his resources. Priced at rupees one hundred, the author is selling this highly informative book almost free to the readers. And I am sure this labour of love will never be lost. I recommend this book to all. I conclude this brief review with lines from Maya Angelou’s poem, ‘Still I Rise’:-

 

" You may write me down in history

With your bitter, twisted lies,

You may trod me in the very dirt

But still, like dust, I'll rise.

I rise up from a past that’s rooted in pain

I rise leaving behind nights of terror and fear

I rise into a daybreak that’s wondrously clear

I rise, I rise , I rise"

 

( Avtar Mota )

 

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

AMIR KHUSRO AND HIS POETIC RIDDLES

                                             

AMIR KHUSRO IN A MINIATURE PAINTING..

( Painting source..Internet)  

KEH MUKARIYAAN COMPOSED BY AMIR KHUSRO 

Amir Khusro also wrote Keh Mukariyan . Many readers may be surprised by these words . Yes, 'Keh mukariyaan ' is a style of conveying riddles or Pahelis in poetry . The strength of this Keh Mukariyan is finally to deny all at the end of the poem and reveal the answer to the riddle . The speaker or the poet provides hints till the end of the poem and finally provides such an answer that surprises the listener or the reader . This is Keh Mukariyaan style .We have a some what similar style in English poetry as well. Poets like Lewis Carrol, Emily Dickinson , Charles Simic and A A Milne have also written poetic riddles . I quote some Keh Mukariyaan of Khusro . 

(1)

Ati surang hai rang rangeele

Hai gunvant bahut chatkeele

Ram bhajan bin kabhi na sota 

Aey sakhi saajan ,na sakhi tota...

( parrot) 

2

Aankh chalaave bonh chalaave 

Naach koodh ke kheil dikhaave 

Mun mein aave le jaaon andher 

Aey sakhi saajan na sakhi bandher 

( monkey )

3

Lipat lipat ke vaake soyee 

Chhaati paanv lagaa kar royee 

Daant se daant bajey to taada 

Aey sakhi saajan na sakhi jaada 

( winter )

4

Aap jale aur mohe jalaave 

Pee pee kar more munh mein aave 

Eik mein ab maroongi mukkaa 

Aey sakhi saajan na sakhi hukka 

( hookah)

5

Dhur Dhur karoon to dodaa aaye 

Kshan aangan kshan baahar jaaye 

Deehal chhorr kahin na suttaa

Aey sakhi saajan na sakhi kuttaa

( dog )

6

 Jab maangoon tab jal bhar laave 

Mere munn ki vipat bujhaave 

Munn ka bhaari tan ka chhotaa

Aey sakhi saajan na sakhi lotaa

( water jug )

7 

Raat samay woh ghar meray aave

Bhor bhaye woh uthi ghar jaave 

Yeh acharaj hai sab se nyaara

Aey sakhi saajan, na sakhi taara.

( star in the sky ) 

( Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

DUSHYANT KUMAR ,HINDI POET WHI WROTE GAZALS

                                              

DUSHYANT KUMAR ( 1931-1975)

" इस शहर मे वो कोई बारात हो या वारदात,

अब किसी भी बात पर खुलती नहीं हैं खिड़कियाँ .."

( Dushyant Kumar ) 

( Iss shahar mein vo koyi baraat ho ya vaardaat,

Ab kisi bhi baat par khulti nahin hain khidkiyaan..)

(In this city now ,

Be it a marriage procession 

Or some accident ,

No window is opened for any issue.) 

Dushyant Kumar Tyagi was a Hindi poet who is known for using Gazal format in many of his poems .Dushyant Kumar was born in Navada Village of Bijnor District in Uttar Pradesh. He did M.A. in Hindi from Allahbad University. He worked in All India Radio (Aakaashwaani) and a Hindi magazine of that time called 'Naye Patte'. Despite criticism from scholars, he established the pillar of ghazals in Hindi and wrote in the language of the common man.

Here is a sample of his Hindi Gazal..

रह-रह आँखों में चुभती है पथ की निर्जन दोपहरी

आगे और बढे तो शायद दृश्य सुहाने आएँगे|

मेले में भटके होते तो कोई घर पहुँचा जाता

हम घर में भटके हैं कैसे ठौर-ठिकाने आएँगे|

( Rah rah aankhon mein chubti hai path ki nirjan do- pahri,

Aage aur bade to shaayad drishya suhaane aayenge...

Maile mein bhatke hote to koyi ghar pahuncha deta,

Hum ghar mein bhatke hain kaise thaur thikaane aayenge.....)

" एक खंडहर के हृदय सी,एक जंगली फूल सी,

आदमी की पीर गूंगी ही सही, गाती तो है..

एक चादर साँझ ने सारे नगर पर डाल दी,,

ये अंधेरे की सड़क उस भोर तक जाती तो है. "

(Eik khand-har ke hriday si eik jungli phool si,

Aadmi ki peed goongi hi sahi gaati to hai...

Eik chaadar saanjh ne saare nagar par daal dhi,

Ye andhere ki sadak oss bhor tak jaati to hai..)

"मैं जिसे ओढ़ता-बिछाता हूँ

वो ग़ज़ल आपको सुनाता हूँ

हर तरफ़ ऐतराज़ होता है

मैं अगर रौशनी में आता हूँ"

( Me jise audda bichhaata huun 

Woh gazal aap ko sunaata huun

Har taraf aiteraaz hota hai

Me agar roshini mein aata huun) 

Dushyant Kumar remained very close to Ramdhari Singh Dinkar, a stalwart Hindi poet. Dushyant Kumar was a close relative of Kamleshwar . The Indian Department of Posts issued a commemorative stamp with Dushyant Kumar's image on it, in September 2009.

In Hindi film "Halla Bol" , Dushyant Kumar's poetic lines " मेरे सीने में नहीं तो तेरे सीने मे सही, हो कहीं भी आग, लेकिन आग जलनी चाहिए " "mere seene mein nahin to tere siine mein sahi, ho kaheen bhi aag lekin aag jalni chaahiye" were used to convey the central idea . Star Plus used the lines "Sirf hungaama khada karna mera maqsad nahin, saari koshish hai, ki yeh soorat badalni chahiye" in promos for its show Satyameva Jayate.

A letter written by Dushyant Kumar in praise of Bollywood megastar Amitabh Bachchan has been kept on display at a museum.

Dushyant,who died in Bhopal in his early 40s in 1975,had penned a letter to Bachchan showering praises on the actor after watching his performance in the hit movie "Deewar".

I conclude with two lines of Dushyant Kumar .

" हो गई है पीर पर्वत-सी पिघलनी चाहिए,

इस हिमालय से कोई गंगा निकलनी चाहिए।"

(Ho gayi hai peed parvat si pighalni chaahiye

Iss himalay se koyi Ganga nikalni chaahiye) 

( Avtar Mota )

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.