AHARBAL WATERFALL TRAGEDY : 20TH JULY, 1969

                                           

THE  VESHAW STILL REMEMBERS : AHARBAL 20 JULY,1969

"History,

will you mention us In your faded scroll ?

We do not seek rewards,

Nor do we want our pictures In the calendar of years.

But tell our story simply

To those we shall not see,

Tell those who will replace us :

We fought courageously."

......................(Bulgarian poet Nikola Vaptsarov)

The memorial stone outside the Department of Physics in Kashmir University  has  weathered. It has   some graffiti on it now, but the core message is still legible: a tribute to a young man who lost his life trying to save someone else. It reads this :

"IN MEMORY OF  BRIJ KRISHEN KOUL  WHO SACRIFICED HIS LIFE  AT AHARBAL FALL   ON JULY 20 1969  IN A VAIN EFFORT  TO SAVE THE LIFE  OF A FELLOW STUDENT  ZAMROODA HABIB "

On July 20, 1969 at Ahrabal Falls in South Kashmir, Brij Krishen Koul, a student, drowned while trying to rescue his fellow student Zamrooda Habib. Ahrabal Falls is on the Veshaw River in Kulgam district and is known for strong currents ,  even today it’s a popular but risky spot although some steel fencing and precautionary notice boards  are seen now.

A River That Did Not Inquire

  

On 20 July 1969, the Veshaw was in spate. Monsoon and snowmelt had turned the Aharbal fall in Kulgam, that 25-metre cataract tourists now call the “Niagara of Kashmir”, into a churning throat of white water. Into that merciless pool stepped two students of the University of Kashmir. One was caught by the current. The other went in after her. Neither came out alive. Their bodies were found a day later, downstream, where the river had finished its work.  

Brij Krishen Koul was in his final year of M.Sc Physics. He lived near Magar Mal Bagh, commuted on the University buses, and was expected back in the department for research. Zamrooda Habib belonged to the Urdu Department and lived  near Zaldagar in the old city. In any ledger of the time, they belonged to different columns. On that day, the Vishav erased the columns..

The Brightness We Have Misplaced

The  memory refuses to age. It belongs to a Kashmir that understood itself differently.  Koul was not merely a physicist. He was the heartbeat of Gandhi Bhawan. Friends still speak of him as an accomplished  stage actor , singer who loved poetry, music and tidy dresses.

Habib moved in that same orbit. University life in the late 1960s did not run on departmental lines. Where Koul was, a crowd gathered: Physics, Urdu, Arts, Music. Gandhi Bhawan was neutral ground. That is where  other students knew him. That was where all of them knew each other. The University sorted them by talent, by laughter, by who would turn up for rehearsal.

The Moment That Defined a Character

The details of the picnic are held closely by those who were there. What is not in doubt is the choice. Zamrooda Habib was taken by the current below the fall. Aharbal forms a recirculating boil beneath its plunge with merciless waves. Bystanders could only watch.  Koul did not watch.  He jumped to save a life .

A family member says  today with a clarity that fifty-seven years have not dulled: “He was a  Kashmiri Pandit student at the university whose courage and compassion defined his character . Known for his kindness, humility, and unwavering sense of duty, he believed deeply in humanity above all else. In a tragic moment that revealed the true strength of his heart, Brij Krishen jumped into the swirling waterfall and sacrificed his own life while trying to save  a life. Though neither of them survived, his daring  act stands as a powerful testament to selflessness and  human values .In those moments, the religion did not matter. There were no divisions, no differences. ”

There is  no memorial erected at Aharbal . Since then, railings have gone up. Signs in Urdu, Hindi and English now warn visitors. Local divers from Kulgam have pulled some more  from the same pool. The Tourist Department lists Aharbal as a “must-visit”, and adds, quietly, “caution advised.” The waterfall remains beautiful, and treacherous, and remembering.

About this tragedy ,Prof Kuldeep Jamwal writes this :-

"Brij Krishen Koul was a Final year student of Physics M.Sc while I was enrolled for Research in Electronics in 1969 in the same department. He lived close to my residence in Magar Mal Bagh and we commuted together in  University buses. Brij was a very friendly person who took lot of interest in dramatics in the University. I still possess some of his photographs taken in Gandhi Bhawan during drama rehearsals. He had very keen academic interest in research and had decided to join the department in research programmes after obtaining Masters degree. 

Alas all his bright future plans were decimated in the tragic event of July 20, 1969 while trying to save the life of Zamrooda Habib,  a girl from the University's Urdu department from the fast swirling waters at Aharbal. Both bodies were recovered downstream of Veshaw river after a day. His premature departure was a big blow to his family and that of Zamrooda Habib. It was the most heart wrenching and tragic event for the University and  the department. Humanity and religious beliefs did not come in the way in this heroic effort."

 Why We Must Tell This Now

Kashmir in 2026 is tired. Public memory is crowded with politics of hate and division ,destruction, innocent killings, and exodus of Kashmiri Pandits. Into that noise comes a story from 1969 that will not sit down.   It is not a Pandit story. It is not a Muslim story. It is not even, in the narrow sense, a University story. It is a Kashmir story, told by a river.  It is also a civic story. We teach our civil servants about Seva, about sacrifice, about impartiality. Koul demonstrated it all without wearing a uniform or any bureaucratic training . He was a student. Yet he walked, unhesitating, into what Kabir called , "kabira khada bazaar mein , sabki maange khair", and paid the highest price. 

Fifty-seven years on, the Veshaw still runs. The fall still roars every July. And some people in  Kashmir  still remember two of its own who proved, at the very edge of water, that the only identity that mattered was human.  That was our bright past. It is not nostalgia. It is evidence. 

Why Aharbal Feels Different

Kashmir has many waterfalls. But Aharbal is not tucked away like a secret. It is accessible, loud, and public. That is why families come, why students come, why young and old come. There is a Kashmiri idea that water is not just scenery. It is character. It shapes temperament. The Veshaw at Aharbal is restless. It does not meander. It breaks, it falls, it remakes itself.  That is perhaps why the lines of Dina Nath Nadim feel so right here. Nadim, one of the great voices of modern Kashmiri poetry, wrote about youth, change, and responsibility. Standing at Aharbal, you understand what he meant.

"Tse Naar Chhuk Aalaav Chhuk,  

Tse Yaavnuk Jalaav Chhuk.  

Tse Neir Koh Te Van Tsatith,  

Toofaan Tul Toofaan Bun.  

Tse Mir e Karwaan Bun,  

Kashiri Paasbaan Bun."

(You are fire and fury,  

You are the flame of young hearts.  

You break through mountains and forests,  

And carve your own path.  

 Bring change, and lead that change,  

 For you are the guide of Kashmir’s caravan.  

Be the protector of Kashmir too.)

( Avtar Mota )

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MY POEM : " THE HOUSE THAT WAITED"

                                     

(The House That Waited )

For many days the cows stood chained,

Garlands rotting on their necks.¹  

Waiting for Gonn-dedh with grass in her arms,²  

Waiting for water,  

For a voice that knew their names:  

Lil. 

Goner.

Chooni.  

And the calf, Lassa.  

The rope slackened.  

No one came to cut it.  

The marigolds fell to dust.

For many days the birds screamed

for food  that never came to the Kaawa-paett.³  

They beat the kitchen window  

where Kamlashori,  

the daughter-in-law,  

for thirty years  

had put out food at dawn.

The hearth was ash now.  

The cups were cold.  

The birds broke themselves  

against silence.

For many days the dog came 

and howled till his throat bled.  

He wagged his tail at wood.  

At air.  

At ghosts.  

Hunger drove him away.  

He returned.  

Habit is crueller than grief.

For many days the cat hunted 

the kitchen floor  

for bones,  

for scraps,  

for a hand.  

She slipped through the broken window.  

Rang the pots like empty bells.  

Found dust.  

Licked it.  

Left.  

Came back.  

Again.  

Affection is sought everywhere,  

even by those who do not know human language.

For many days the sparrows fell

into the stoned courtyard  

for seed that was never scattered.  

They pecked till their beaks bled.  

The body does not know how to stop hoping.

The animals did not know.  

The birds did not know.  

That the house had stopped breathing.  

That the names they loved  

had been torn from the air.

The wind walked through every room alone.  

Lifted curtains no one would draw.  

Touched photographs with no one to look back.  

The rains came and washed the courtyard clean.  

Washed away footprints.  

Washed the timber for the hearth.  

Washed the walls.  

And never asked what was inside.

No smoke rose.  

No lamp burned.  

No prayer rose from the wall niche.

Spring came with perfume.  

Summer baked the garlands into the earth.  

Snow buried the gate.  

Melted.  

Buried it again.  

Autumn stripped the willow bare.

The seasons did not ask  

where Gonn-dedh had gone.  

Did not ask  

why the lock was on the outside.

Then came some cruel hands .  

They cut the ropes.  

Drove the cows away.  

The dog followed the lorry  

till the road ended.  

The birds found other roofs.

And everything remained.  

The cup with a lip-print.  

The cold kettle.  

The smell of Kahwa in the walls.  

The house held its breath.  

Held the shape of those forced to leave.⁴

Then came some merciless people .  

They stripped the house .  

Tore the photographs.  

Smashed the cups.  

Carried off the manuscripts, the idols,  

the gas cylinder,  

the bicycle,  

the cradle of Gonn-dedh’s grandson.  

Pried off doors and windows.  

Sold them at Baba Demb.  

Sold the bones of a home  

in a market that trades in grief.⁵

Then came the broker.  

With ledgers and lies.  

He found the names in camps:  

Jammu. 

Udhampur. 

Delhi.  

Offered fifteen thousand  

for a house worth fifteen lakhs.  

He bought memory.  

We surrendered.  

To pay school fee. 

To buy a new gas cylinder.  

To buy books.  

To buy medicines.

That was when the house died.  

Not in 1990, when we left.  

But on the day what waited  

was sold and forgotten.

Then the new owner came.  

Pulled the walls down.  

Put tiles where prayers were said.  

Built a wall that killed the willow.  

The willow too was cut and sold.  

No witness left  

to say who lived here.

Now nothing stands.  

Not the door.  

Not the name on it.  

Not the voice that called the cows.  

Not the woman who fed the dog,  

the birds, the sparrows.  

Alas.  

No one knows the marigolds ever rotted here.

The house does not wait anymore.  

And the keys?  

Still in a drawer.  

Or rusting in the palm of an old man  

who wakes and reaches for a door  

that is no longer there.

( Avtar Mota )

Footnotes

1. Garlanding the cows

In 1990, rural and semi-urban Kashmir witnessed something painful. In many Kashmiri Pandit homes, when the family was forced to leave their home , they performed a final Bidai ( farewell) for their cattle Cows and calves were garlanded with marigold flowers. Vermillion  Tilaks were done on their head . They were fed, and were left with enough water around them. In this emotional farewell, the animals were kissed, hugged and the house owners touched their feet seeking forgiveness for their inability to take them along. The garlands in their necks became the last act of care before exile.

2. Gonn-Dedh

Gonn- Dedh used to be the name of   elderly Kashmiri Pandit woman.   This elderly  woman often  fed the cattle, drew water, and kept the rhythm of the house. 

3. Kaawa-paett

Kaawa-paett means the place in the kitchen where fresh prepared food was kept for birds early in the morning .When the house was abandoned, the Kaawa-paett went cold and the birds that came for crumbs found nothing. Further, apart from the Puja room , in many Kashmiri Pandit homes there used to be a small shelf or recess in the wall called a Taaq_or wall niche. That’s where they kept the diya, incense, prayer books, small idol.Every morning and evening a lamp would be lit there. A prayer would be said there.

4  Plunder of deserted houses

In the years that followed 1990, thousands of abandoned Pandit homes were broken into and plundered by miscreants. Furniture, utensils, books, photographs, Puja items, doors frames, windows  and even roof beams were taken away. What the exodus did not destroy, neglect and greed did. For many families, the house was emptied twice :  first by fear, then by plunder.

5 Baba Demb Market

Baba Demb in Srinagar became known as a place where salvaged material like utensils , gas cylinders , Sharda and Sanskrit manuscripts, , miniature paintings from Puja rooms, idols, and anything marketable that was looted from abandoned Pandit  houses was traded. Doors, windows, wooden panels, and fixtures were removed from Pandit homes, reshaped, and sold. A market built on the dismantling of other people’s lives , a trade in grief.

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A COUPLET OF FIRAQ GORAKHPURI, BHAGAVAD GITA AND YOG-VASISHTA

                                          

Firaaq’s Couplet Read through the Gita and Yog Vasishta

"Firaaq ek hue jaate hain 

Zamaan-o-makaan,

Talaash-e-dost mein

Main bhi kahaan nikal aaya.) 

(In the search for the Friend,  

time and space dissolve into one.  

And I myself stand amazed:  

how did I come to be here?)

This verse is not sentiment. It is a precise description of the state that both the Bhagavad Gita and Yog Vasishta call liberation in motion.

The Gita dismantles our slavery to kaal ( time )  and  desh ( location or space ) . Sri Krishna does not ask Arjuna to renounce the field. He asks him to renounce the reckoning. "Kamaye vadhikaraste ma phaleshu kadachana"  (2.47). When action is offered without attachment to outcome, the mind ceases to divide life into “before” and “after”, “near” and “far”. The present becomes absolute. Firaaq names this directly. In 'talaash-e-dost' , the metrics of the world fall silent. The Friend is not an object waiting at the end of a road. The Friend is revealed in the very intensity of the seeking. This is Karma yoga raised to  Bhakti. Therefore ' zamaan-o-makaan ek hue jaate hain'. Not as metaphor, but as lived fact. Where there is total consecration, time stops counting and space stops separating.

Yog Vasishta drives the point to its root. Vasishta tells Sri  Rama that all bondage is a habit of the mind: “I am here. That happened then.” The entire cosmos of distance and duration is ' manas-srishti', a projection. The moment the mind is gathered in one-pointed seeking, that projection trembles. Firaaq’s last line is the exact signature of this. 'Main bhi kahaan nikal aaya'. It is not confusion. It is 'Manonasha', the death of the ego that had set out with a map. The seeker discovers that the “I” who began the journey cannot be located anymore, because the journey has consumed it. In Yog Vasishta, the Guru, the 'Dost', functions as that fire. It draws the mind inward until all coordinates collapse.

Both texts arrive at  Advaita. The Gita in Chapter 6.29: the Yogi sees the Self in all beings and all beings in the Self. Yog Vasishta calls it Jivanmukti: to live knowing there is no second. Firaaq reaches the same summit in four lines. When the longing is absolute, the duality of seeker and sought, the scaffolding of time and the walls of space, are seen for what they are: ripples on one Consciousness.  

Thus the couplet is not about finding another. It is the testimony of one who has been found. In seeking the Friend, the separate self has vanished. And what remains is only the wonder of having been moved from a small “I” into That which was always One.

( Avtar Mota )

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PANDIT DINA NATH YAKSHA : THE LAST CUSTODIAN OF KASHMIR'S SHASTRIC TRADITION

                                       

                        ( Pandit Dina Nath Yaksha )

Pandit Dina Nath Yaksha ( 1921–2004): The Last Custodian of Kashmir’s Shastric Tradition

Pandit Dina Nath Yaksha was not a public intellectual in the modern sense. He was a custodian. For over 50 years he worked quietly in libraries, manuscript rooms, and Pathshalas, holding together a 1000-year-old Kashmiri tradition of integrated Sanskrit learning. With his passing, a line of scholarship that linked grammar, logic, ritual, astrology, poetics and Shaiva philosophy in one person came to an end. That is why he is remembered in Kashmiri academic circles as “Kashmir’s forgotten Sanskrit Doyen.”

It is estimated that he prepared clean copies and descriptive catalogues of more than  200 rare  manuscripts during his official tenure.

Growing Up In the Pathshala System

Pandit Dina Nath Yaksha occupies a singular place in the intellectual history of Kashmir. He was not a polemicist, nor a public-facing academic in the contemporary sense. Rather, he was a custodian ;  one of the final links in an unbroken chain of traditional Sanskrit learning that had flourished in the Kashmir Valley for over a millennium. 

Pandit Dina Nath Yaksha was born on 12th June 1921 in Srinagar, into a family of Kashmiri Pandits known for learning and ritual. The surname “Yaksha” itself is associated with traditional Pandit and jyotishi families in the Valley. His education followed the old Gurukula-pathshala model, where a student did not specialise early but trained in multiple shastras under different Gurus. He learnt :

1 Karmakanda and Vyakarana under Pandit Ramjoo Kokiloo and Pandit Raghunath Kokiloo. Here he mastered ritual practice and Paninian grammar.

2.Jyotisha under Pandit Keshav Bhatt Jyotshi, the legendary astrologer of Kashmir. From him he learned Panchanga-making, horoscopy and Muhurta.

3. Advanced Grammar  from Pandit Parshuram Shastri and Pandit Kakaram Shastri of Jammu.

4. He did a Formal Shastri Course at Punjab University, Lahore, where he studied  Nyaya  and Kavya Shastra under Pandit Ananda Kak and Pandit Nathram Shastri.

This gave him competence in what the tradition called Sarvavidya : Vyakarana, Nyaya, Kavya, Karmakanda and Jyotisha. It was this breadth, not just depth in one field, that marked the Kashmiri Pandit of the pre-modern era.

Institutional Career: 1945–1976 and Beyond

In  1945  he joined the J&K Research and Publication Department as a  Copyist. At the time this department was the main archive for Sharada and Devanagari Sanskrit manuscripts in Kashmir. Over 31 years he rose to Head-Pandit , retiring in 1976. His work was not clerical. Copyists and Head-Pandits were the readers and interpreters of the manuscripts. His responsibilities included:

1. Reading and correcting damaged Sharada manuscripts and preparing clean Devanagari copies.

2. Cataloguing and indexing sections of the library, especially Karmakanda, Jyotisha and Shaiva Agamas.

3. Teaching and consultation for visiting scholars who could not read Sharada script.

 Post-Retirement Research Work

Retirement did not end his work. He served as Research Associate at:

1. University of Kashmir, Centre for Central Asian Studies  cataloguing Sanskrit and Persian manuscripts related to Kashmir’s links with Central Asia, including Buddhist fragments and trade records.

2. Department of Archaeology, J&K  deciphering copper plates and stone inscriptions in Sharada script from sites like Martand and Avantipura.

3. Rashtriya Sanskrit Sansthan awarded the prestigious Sastrachudamani Fellowship, given only to scholars with mastery over multiple shastras. Under this he worked on collating Nyaya and Kavya texts and preparing critical notes comparing Kashmiri and Banaras recensions.

Texts and Manuscript Work: A Bibliography of His Custodianship

Pandit Yaksha did not author many new books. His contribution was preservation. The texts he worked on directly reflect the five shastras he mastered:

(a) Vyakarana especially , Siddhanta Kaumudi, Laghu Siddhanta Kaumudi, Prakriya Kaumudi, and Ashtadhyayi with Kashmiri tikas.  He also did  Collation and correction of Sharada copies of these texts  for teaching.

(b) Karmakanda and Dharmashastra especially, 

Kashmiri Grihya Sutras, Shraddha Paddhati, Nitya Karma Paddhati, Vrata and Dana Kalpas.  He  copied and indexed ritual manuals specific to Kashmiri Pandit practice. He himself performed these rites.

(c) Jyotisha especially, Kashmiri Panchanga Granthas , Jataka Chandrika, Muhurta Chintamani, and 18th-19th century Sharada astronomical tables.  

 He verified calculations and prepared fair copies for departmental panchangas.

(d) Kashmir Shaivism and Stotra Literature especially,Shiva Sutras with Kshemaraja’s Vimarsini, Spanda Karika, excerpts from Tantraloka, and Stotra Sangraha of Shiva, Devi and Bhairava in Sharada.  He did exemplary work deciphering damaged folios and preparing transcripts.

(e) Nyaya and Kavya especially , Tarka Sangraha, Tarka Bhasha, Kavyaprakasha, and Sahityadarpana.  He did comparative study of these texts  under the Sastrachudamani Fellowship.

(f) Epigraphy and History especially, Copper plate grants, Rajatarangini manuscript variants, and Central Asian Sanskrit fragments at CCAS.

In total, he is credited with preparing clean copies and indexes of over 200 manuscripts during his tenure at the Research Department.

Dr S N Pandita , noted scholar , researcher and author associated with NSKRI ( Nityanand Shastri Kashmir Research Institute ) has this to say about Pandit Dina Nath Yaksha :

" His name was Dina Nath Yeochh. Yaksha or Yaksa are Hindised or Sanskritised morphographed versions of his surname made by Indian scholars to his name. His first and perhaps the only brief biographical profile has been penned by Mrinal Kaul sometime about 2008 or 2009 which has appeared in book with essays dedicated to his memory. He helped and facilitated the work of many international and Indian scholars in their pursuit to study several subjects and manuscripts preserved in public institutions of Kashmir like the Research Department and University of Kashmir.Due to his access to the Research Department manuscripts, among the Indian scholars he facilitated access to these archives was Sri Aurobindo during his visit to Kashmir in 1947 and placed before him the entire corpus of unpublished Kashmir Saiva text manuscripts and the complete body of KSTS publications of the Research Department concerning Kashmir Saiva literature."

 Scholarly Significance

Pandit Dina Nath Yaksha represented three things that are now rare:

1. Manuscript Culture: He was among the last few who could read original Sharada script fluently and without transliteration.

2. Living Tradition: He did not separate scholarship from practice. He could teach grammar, perform rituals, and prepare a panchanga. 

3. Bridge: He translated the oral-commentarial pathshala method into the language of modern research institutions so that university scholars could access the material.

He also did a great   job in interpreting the mythological importance of Kashmiri miniature paintings held by the State Government either in archives or in the Academy of Art and Culture.He studied these paintings and explained their religious stories, symbols, and mythological meanings to preserve and make them understandable for scholars and the public.

Pandit Dina Nath Yaksha’s life was devoted to the quiet, exacting labour of preservation. He did not seek renown. His achievement was to ensure that the manuscripts of Kashmir :  in grammar, ritual, astrology, logic, poetics and Śaiva philosophy  were read, conserved, and rendered accessible to later generations of scholars at the University of Kashmir, the Archaeological Department, and the Rashtriya Sanskrit Sansthan.In that sense he was a bridge between two Kashmirs: the Kashmir of the Sharada manuscript and the Kashmir of the modern university.  

In him we see the meeting of two Kashmirs: the Kashmir of the Sharada manuscript, and the Kashmir of the modern archive. His work reminds us that the continuity of a civilisation often depends less upon grand statements than upon the patient fidelity of individuals to their inherited learning.He reminds us that scholarship is not only about new ideas, but also about the patient work of keeping old knowledge alive 

Following the political upheavals of 1947 and the subsequent migration, the institutional ecosystem that produced such scholars collapsed. Thereafter, specialisation replaced synthesis. Pandit Yaksha therefore stands as the terminus of a long lineage.A memorial tribute noted: “With him ended a tradition of unyielding dedication to Sanskrit’s Shastric systems ;  a legacy that will take nothing less than a herculean effort to revive.”

Pandit Dina Nath Yaksha remains the unsung substratum upon which virtually every genuine work of research on Kashmir’s history, literature and culture  as preserved in Sanskrit and Śāradā manuscripts  , has been constructed. His contribution was not ornamental, but foundational: through decades of exacting labour in the J&K Research and Publication Department, he safeguarded the Valley’s civilisational relics, transcribed them with philological scruple, and thereby ensured the unbroken continuity of a tradition and ethos that might otherwise have perished. He was more than an archivist; he was an interpreter, a living concordance, to whom eminent scholars and students were routinely referred for the correct reading, the authentic recension, and the precise ritual or grammatical context. It is no exaggeration to assert that no serious engagement with Kashmir’s Sanskrit and Śāradā corpus can be undertaken without, sooner or later, encountering the quiet, indispensable imprint of Pandit Dina Nath Yaksha ,  a scholar whose erudition sustained an entire field of study, even as his own name remained, with characteristic humility, in the margins. Dr Ved Kumari Ghai has told me this :-

" It would not have been possible for me to translate Nilamata Purana had not Pandit Dina Nath Yaksha  come to my help . Whatever document  I sought, he was kind enough to provide it. During his life,  he was   the only  living encyclopedia on Sanskrit and Sharda manuscripts of Kashmir . " 

( 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\.