REVIEW OF MY BOOK " THE BRIGHT STARS OF THE FOGGY NIGHTS "

                                                                                 

THE BRIGHT STARS OF THE FOGGY NIGHTS

(Stories from Kashmir)

By Avtar Mota

Published in February 2025

Price Rs460/=

Available on Amazon in India and worldwide

https://notionpress.com/in/read/the-bright-stars-of-the-foggy-nights

https://www.amazon.in/dp/B0DXV9SRK5

 

Avtar Mota hardly needs any introduction. A Kashmiri to the core, he has chosen to write in English the stories of Kashmir that bring alive men, matters and musings from the social life of the 1800s and 1900s . With 9 books and more than 250 articles on art and culture of Kashmir published in national and international newspapers, Journals and magazines, Avtar, Mota is the recipient of the SaMaPa Award 2022 and the Harmony India Award 2024. Parvez Dewan (IAS), author and former Tourism Secretary (Government of India), calls Avtar Mota,’ The foremost chronicler of the social history of Kashmir’. Journalist Arthur Joe writes this about Mota’s work:-

“Through his stories, Mota presents something that evokes nostalgia and compassion.In every story, Mota is with you both as narrator and spectator. He enthuses, informs, and clarifies as he makes you read his stories. He makes you to travel with him and become a part of his interesting coverage.”

This is Mota’s ninth book that has twenty-one stories about some men who exhibited brightness during nights that were unfortunately foggy and dark. They remained unnoticed and unseen. Mota opens a wide panorama of social life of Kashmir which covers everything that one needs to know about the troubled land. This time Mota includes some  bright stars from Jammu like Santokh Singh ( commercial painter ), Vidhya Rattan Khajuria ( sculptor ) , Susham Sharma ( theatre artist ) , Dr Ved Kumari Ghai ( scholar ) and Vijay Suri ( actor and writer ). From Kashmir he gives you gripping anecdotes about men like Vasudev Reh ( poet ), Makhan Lal Mahav ( humour poet ), T K Jalali ( vocalist and composer ), Akhtar Mohiuddin ( writer ), Hari Kashmiri ( film actor and producer ), Som Nath Zutshi ( short story writer ), Prof Jay Lal Kaul ( scholar ), Prof T N Ganju ( scholar , linguist and astrologer ), Jagan Nath Saqi (radio artist ). Noor Mohammad Kitab (bookseller and publisher), Pran Nath Butt (unknown artist) and Farooq Nazki (poet broadcaster). The most interesting person covered in this book happens to be nationalist and freedom fighter Dr Saifuddin Kichloo, who chose to stay in India opposing the Two Nation theory. Mota reveals the humanism and compassion of Kichloo in surrendering his mansion in Amritsar to some Hindu refugee from Pakistan while personally moving to Delhi. We are told that Kichloo, the hero of Jalianwala Bagh, has been the real and unsung architect of the Indo-Soviet Treaty, who was  granted the Order of Lenin by the Russians.

For the quality of his social life stories, some of Mota’s essays have been translated into Bangla and French and published in journals. Many copy-paste writers have also resorted to thieving these stories for cheap popularity. Most of the stories in this book are based on one-to-one interviews with the persons covered or with their family members.  The reader becomes privy to some unknown and interesting facets from the personal life of the characters that Mota explores with skill and truthfulness. For instance, Mota informs that commercial painter Santokh Singh has donated about 18 Kanals of prime land in Jammu city for a cremation ground. About poet Vasudev Reh, Mota writes,” It was possibly 1975 or 1976, a Mushiara was held at Vishwa Bharati College, Rainawari. Dina Nath Nadim, Rehman Rahi, Ghulam Nabi Firaq, Vasudev Reh, Radhe Nath Masarat and many more poets attended this Mushiara. I saw Nadim (who presided over the event) telling the audience that two more Nadims are in the poetic field today. One is from Maraaz (South) and the other is from Kamraaz (North) of Kashmir. He meant Radhey Nath Masarat and Vasudev Reh.” Mota calls Vidya Ratan Khajuria as a pioneer of sculpture in the J&K. We are informed about the beautiful landscapes of Kashmir done by Khajuria, a place that he loved intensely. We are informed that Susham Sharma was the most talented theatre artist of the state who received thunderous applause and standing ovation as she performed solo in Ved Rahi’s well-known Dogri play “Aale” for the “PANJ PAANI THEATRE FESTIVAL“  at Lahore. The audience included many Dogri speaking elders who had migrated to Pakistan from Mast Garh, Sarajaan Di Dakki and other localities of Jammu city. Mota interviewed Susham Sharma before her death. The book informs about the ‘Art of Exile’ being created by Bhushen Kaul through his ‘The Studio of Exile’. From this studio emerged a series of paintings that were named, “ Rangoon Death“, ”Cry “, “Exodus “ and ”One Of These Days, Sky Will Break “. We also come to know the amazing contribution of Pandit T K Jalali as composer and vocalist who trained more than one hundred aspiring students. The book tells us about immense social service performed with compassion and sincerity by Dr  Girja Dhar and her husband Dr Naseer Ahmed  Shah.The book informs that in Kashmiri literature, one finds an acute shortage of novels. However, this area achieved a breakthrough after Chaman Lal Hakhoo came up with his 700-page Kashmir novel titled,’ Wasturvanuk Seh’ or ‘The Lion of Wasturvan’. We are also informed about the Hakhoo’s contribution in many areas. The book conveys some sincere feelings of Akhtar Mohiuddin who told this to Mota before 1990, “How can I repay the debt to Som Nath Zutshi’s wife, a goddess and for me, a real sister in need? Do you know she single-handedly did all the post-delivery care of my wife once? Do you understand the word 'Phott' in Kashmiri? It means post-delivery care. Where in this life can this debt be repaid?”

The stories about Hari Kashmiri in Bollywood, Noor Mohammad Kitab known as Munshi Kewal Kishore of Kashmir are inspiring and attention-grabbing. Many interesting aspects of the scholarly personality of Prof Jay Lal Kaul, Dr Ved Kumari Ghai and Prof T N Ganju find mention in the book. The book reveals the interesting anecdotes from the life of Jagan Nath Saqi, a well-known radio and theatre artist from Kashmir.Saqi was nicknamed 'Raasa-kath( dancing lamb) ' and 'Jaga Angrez' by Kashmiris for his humour and style. Farooq Nazki finds special mention in the book. We are informed that Nazki would secretly visit Bhagwan Gopi Nath Ji’s Ashram in Udhaywala in Jammu. Nazki’s feelings for the exiled Kashmiri Pandits as mentioned by him in his poetic collection ‘Naar Hyotun Kazalvanas ‘ also find detailed mention in the book.I conclude with what Nazki writes:-

“Mushuk valith aav vaav sontuk,

Dichin bashaarat.

Yimav qadam kaed garav nebar,

Tim na aayee pheerith,

Na Tchhandi sontan ...”……………..( Farooq Nazki )

 

 (Bathed in perfume,

the spring has once again come this way,

 bringing some good news.

 Alas! Those who stepped out of their homes, did neither return?

Nor did this spring seek their whereabouts.)

 

The book is a treasure and I recommend this treasure trove to all.

 

( Indu Bhushan Zutshi )

 

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 SHIVA IS EVERYWHERE

MY SHIVA IS EVERYWHERE ..

                                                                 

                                                             ( Shiva Ardhanarishwara )

(1)

" Moksha or liberation is nothing  but the awareness of one's true nature " ...(Acharya Abhinavgupta ..Tantra I, p.182.)

(2)

" While one is engaged in one thought, and another arises, the junction point between the two is UNMESA or revelation of the true nature of the self, which is the background of both the thoughts. This may be experienced by everyone for oneself ." ..(Spandkarika of Acharya Kshemaraja  )

(3)

" Only awakening is the knowledge ." ..( A Shiv Sutra of  Rishi Vasugupta ) 

(4)

"Hosh dim lagayo Pamposh Paadan" or Grant me awareness.This life at your lotus feet, my lord."..( Bhakti  Poet Mahatma Krishen Joo Razdan ) 

So awareness is the issue otherwise," My Shiva" is everywhere. Shiva is overwhelming. Engaged in continuous re-creation, I see his actions every day, every moment and everywhere. His re-creative destruction is aimed at the upkeep and continuity of this universe. He is there in the seasons. In autumn, shedding leaves so that every tree will wear fresh green apparel during the ensuing spring. In rain and sunshine, I see his compassion for the re-creation of life on this earth.  The clouds that appear, disappear and reappear in the sky remind me of his role as the creator, sustainer and destroyer. 

When the birds chirp, winds pass through the leaves, sea waves touch the shore, brooks murmur as they flow, he is there playing his music. As Panchmukhi, he created Shree, Deepak, Hindol, Megh and Bhairavi, the five profound Ragas for celestial  Gandharvas. His Damru keeps the rhythm in the universe. In thunder and floods, I see his Rudra Swaroopa. Even if  I close my eyes, he is there. He is in the rhythm of my heartbeats and in the movement of my limbs. The sun, the moon and the twinkling stars are engaged in performing Shiva's  Aarti this moment and every moment.

He is there with carefree children as they line up to enter their school buses every morning. He is there with children who are lulled to sleep hungry by poor mothers. In the hospitals where children are born, in the schools where knowledge is imparted and at the crematorium where we face the ultimate reality, I see Shiva. I see him when the seeds are sown. 

 

I see him when tender shoots appear. I see him when the crops are harvested. He is in the heart-wrenching exasperation of my brothers from any group or society who are striving for dignity, equality, justice and sympathy. He is in the benevolence and smiles of many kind-hearted people who are genuinely busy in serving the suffering humanity. In the undemanding love of our mothers, in the faithfulness of a life partner, in the warmth and sympathy of our genuine well-wishers and in every act of thankfulness,  I see Shiva. 

I also feel his companion Shakti's overwhelming presence. She is in the life-giving warmth of the sun. As energy in wind, fire and water. She is the power that pulls our boats across this Bhavsagara known as  Samsaara. As the supreme dancer, I see him performing Tandava ( male energy ) or Lasya( feminine delicacy )  on this worldly stage.

As  Ardhanarishwara,  Shiva reminds me that there exists a unity of opposites in this universe. I  believe  Shiva and Shakti are a combination of consciousness and energy or Purusha and Prakariti.    Each one needs the other. As Ardhanarishwara, Shiva gives a strong message that to accommodate other people, one needs to shed half of himself. May Shiva be with all of us this moment and every moment.

MAHA SHIVRATRI OR HERAT  ( HAR -RATRI)  GREETINGS.....

( 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\.

THE PDS STORES OF KASHMIR

                                          

.

KYA SA GAATAS MA TROVUKH TOMUL ? 

I grew up seeing   Kashmiris asking eachother :

" Kya sa ghaatas trovakha tomul"  or " Have the rice supplies arrived  at the PDS store ? "

" Dapaan khand din allava ? "  or " It is said that some additional sugar is being given this month through PDS "

"Kya sa Hatab ma aayi? Veer kar iyeei? Or " Has the Hatab timber arrived ? When are we going to get willow timber ?" 

Men, women ,young boys and elders from  families  would visit the local depots of food grains and timber to seek replies to these troubling questions .If the State was ruled by Sheikh Mohammad Abdullah or  Bakshi Ghulam Mohammad or G M Sadiq or Syed Mir Qasim, poverty ruled most of the  households in the city like a  dictator. A few could afford to buy rice obtained  from the local paddy crop  known as  Koshur Tomul.The common man bought and stored Koshur Tomul for marriage feasts only.  People who needed Koshur Tomul , bought it from foodgrain dealers known as Galdhaars. Koshur Tomul  would also be brought to city by small traders on horses .

Immediately  after the first world war started , food prices skyrocketed in Kashmir. Under instructions from Maharaja Partap Singh , Revenue Minister Raja Narinder Nath Kaul entrusted Tehsildar Salam Shah the job of bringing down prices by any means .   And Salaam Shah Naqashbandhi  opened Shaali Stores to introduce Public Distribution System  in the Kashmir Valley for controlling  food and timber prices.  People became familiar with new words like Chendi, Piece, Hamaal, Kanda Kuli, Head Hamaal, Ghaat Munshi, Haanz, Shaali store, Khataavun ,  Inspector,  Kayur ( Kail ),  Veer (Willow ), Conifer, Hatab ( False Witch Hazel tree) , Zangul, Dodur, etc. 

Later , we saw cheap vegetable oil ( rapeseed oil),  cement , Kangri charcoal and kerosene also rationed through long queues. The rapeseed oil removed the aroma of mustard oil from a poorman's kitchen. 

( 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\.

PRF T N GANJOO : SCHOLAR, INDOLOGIST AND ASTROLOGER

 TRILOKI NATH GANJOO (1928-2023): THE UNSUNG SCHOLAR, INDOLOGIST AND ASTROLOGER

(Prof T N Ganjoo…Photo Courtesy  ...Family of Prof Ganjoo )

 

“You are what your deepest desire is. As your desire is, so is your intention. As your intention is, so is your will. As your will is, so is your deed. As your deed is, so is your destiny.” ….. (Brihadaranyaka Upanishad)

 

I hold a firm belief that the contribution of Prof T N Ganjoo towards linking Kashmir to the Sanskrit Civilization of India shall find a prominent place once scholars and people with subject-specific interests discern his colossal work. Let the present-day scholars and copy-paste writers ignore him but for sure generations to come shall discover and look at him the way we look at Kshemendra and Bilhana presently. He was an erudite Sanskrit scholar, Indologist, Shaiva Darshan scholar, historian (Ancient Kashmir), linguist, manuscriptologist, translator, grammarian (Sanskrit) astrologer and an authority on Sharada script.

EARLY LIFE

Born in Srinagar city, on 7th February 1928, Prof Ganjoo devoted his entire life to research and study. Due to the untimely death of his father, he was brought up under the supervision of his uncle Pandit Radha Krishen Ganjoo who was an authority on Hindu rituals, scriptures, and Karama-Kaanda .To support family income, young Triloki Nath had to take up a teacher’s job and continue his studies as a private student. He completed his Honours in Sanskrit, Honours in Hindi, Diploma in Teaching, and Bachelor of Education. Postgraduation in Hindi and obtained a doctorate (Ph. D) for his extensive research in ‘Diachronic Linguistic Study of Kashmiri Language’.This qualification made him join the University of Kashmir as a Lecturer PG Department of Hindi. He rose to the post of Professor of Hindi at the University where two generations of students benefitted from his erudite scholarship and knowledge. He was also appointed Professor of Sharada Script (The Paleography of Ancient Kashmir), NMM, Indira Gandhi National Center for Arts, New Delhi.

 COMPANY OF SAINTS AND SAGES

 From his childhood, Triloki Nath Ganjoo was drawn towards the saints and sages of Kashmir. While being posted at Nunar, he was a regular visitor to Mann Kak, a saint of high learning who lived in Grihastha. Mann Kak chose him to recite the Bhagwad Gita before performing Pran-Tyaga. Another saint whom he regularly visited was Bhagwan Gopi Nath Ji. He remained a regular visitor to Swami Ramji’s Ashram at Fateh Kadal from his childhood. This brought him closer to Swami Govind Kaul Jalali a disciple of Swami Ramji. He also interacted with Swami Govind Kaul on many aspects of Kashmir’s Trika Shaivism. The learned saint opened a window of Kashmir Trika Shaivism for young Triloki Nath Ganjoo who became a disciple of the learned saint. After Swami Govind Kaul’s Nirvana, Triloki Nath Ganjoo took charge of Ram Shaiva (Trika) Ashram at Fateh Kadal and guided many devotees of Swami Ramji about various aspects of Kashmir’s Shaiva Darshana that he had learnt from Swami Govind Kaul and also that he had studied himself. He remained steadfast in this task and didn’t move out from the Kashmir valley inspite of various threats and risks till his death. Even his Muslim neighbours repeatedly suggested that he move out of Kashmir to some safer place given the targeted killings of Hindus in the valley by the terrorists.

 It is relatable to mention that Swami Ramji (1854-1915) established Shri Ram Shaiva (Trika) Ashram in May 1884 at Fateh Kadal, Srinagar. It became a foremost Shaivite teaching centre of Kashmir in the modern-day. Swami Ramji's spirited efforts towards propagation of the Shaivite philosophy, Shaivite scriptures, Agamas and Tantric texts to his disciples and devotees remain a glorious part of Kashmiri Pandit heritage. It is due to Swami Ramji’s revival efforts that Kashmir Shaivism today enjoys global recognition and acknowledgement. Swami Lakshman Joo happens to be one of some illustrious disciples of Swami Ramji. It is reported that Swami Ramji became ecstatic on the birth of Swami Lakshman Joo who was fondly named Lala Saeb by his parents. To his disciples, Swami Ramji said, ‘‘I am Rama and the child Lakshmana”. The subsequent events proved Swami Ramji’s words prophetic as Swami Lakshman Joo was to Swami Ramji what Swami Vivekananda was to Sri Ramakrishna Paramhansa. Swami Ramji had a detached outlook on life and did not marry after the death of his wife. Swami Ramji’s wife died when he was just 17 years old. During his visit to Kashmir, Swami Vivekananda visited Swami Ramji and sat with him for about three hours.

 

                    .                                                           

  

(Swami Ramji’s Photo at his Ashram …Photo clicked by the Author)

 HE PROVED GRIERSON’S FINDINGS INCORRECT

 The origin of language is a complex and intriguing topic that has puzzled linguists, anthropologists, and cognitive scientists for centuries. The question "What is the origin of language?" gets to the heart of how humans came to possess a unique and fundamental ability to create and use language. For many years, language origin has been one of the disputable topics of scholarly discussions. Like any other language, there had been many misgivings about the origin of the Kashmiri language as well.

 George Grierson is the first European Scholar who has attributed the Kashmiri language to the Dardic group. In 1911, he wrote this in a manual titled, "An Interesting and Little Known Tongue “.According to him, Kashmiri was developed in Dardistan, the hilly region between the North West of Punjab and the Pamir. He wrote, “Leaving aside Arabic, Persian and Sanskrit words from the language, remaining words are Dardic or Paschachi. Kafiri (spoken in the west of Chitral), Shina (spoken in Gilgit), Kashmiri, Kishtwari and Kohistani belong to this group.” However, many scholars believe that while deliberating upon the origin of the Kashmiri language, Grierson has ignored two features of Sanskrit which are responsible for making the necessary foundation of this language. These aspects are Tatsam and Tadbhava words. Prakrit and Apbhramsha have also been ignored by him. Eminent linguist and Sanskrit scholar, Dr S S Toshakhani writes:-

 “There exists very strong evidence to show that Kashmiri has descended from the Vedic speech or, as Buhler has pointed out, from "one of the dialects of which the classical Sanskrit was formed." The presence in Kashmiri vocabulary of a large number of lexical and phonetic items that can be directly traced to the Vedic period corroborates this fact. For instance, the Kashmiri word ‘yodvay’, meaning ‘if’ is the same as Vedic ‘yaduvay’, the corresponding word for it in Sanskrit (and Hindi) being ‘yadi’. Similarly, we have the word ‘ada’ in Kashmiri, meaning ‘so, then, thereupon, yes’, which can be hardly distinguished from the Vedic ‘addha’ of which the Prakrit form too is ‘addha’, Again, the Vedic ‘sanna’ appears as ‘son’ in Kashmiri having an identical meaning ‘deep’. Or take the Kashmiri word ‘basta’ which comes straight from Vedic ‘bastajin’ meaning ‘goatskin’, ‘bellows’. It is from the Vedic root ‘taksh’ that the Kashmiri word ‘tachh’ (to scratch, ‘to peel’, ‘to plane’, ‘to scrape’) is derived, Sanskrit ‘ksh’ changing to ‘chh’ in Kashmiri as in Laksha>lachh, vaksha>vachh, draksha>dachh, akshi>achhi etc. And from this very root comes the Kashmiri word ‘chhan’, ‘a carpenter’. Generally, Kashmiri words have evolved from Vedic or old Indo-Aryan through intermediary Pali or Prakrit forms. It is based on such linguistic evidence that eminent linguists like Morgenstierne, Emenean, Bloch and Turner have arrived at their conclusions about the Vedic origin of Kashmiri.”

                                                          

( Prof T N Ganjoo speaking in International Kashmiri Pandit Conference …Photo provided by the family  .)

  Equipped with all the work done by scholars on the subject, Prof T N Ganjoo set out for the most challenging assignment of his life to dig out the origin of the Kashmiri language. He visited Gurez and many places where Shina is spoken to collect material for his research. He also visited Kishtwar and other places where Kashmiri is spoken in its various dialects. He took up this research topic for his Ph.D. While most doctorates are finished in 2-5 years, this topic took him 10 years to finish. He studied phonetics, phonology and Panini’s Sanskrit grammar. He conducted etymological studies of word origins, tracing their meanings, structures, and journeys through time. He also studied Vedas, and scholars like Max Muller, poet Bilhana, poet Kshemendra and any and every Sharada manuscript available in Kashmir upon which he could lay his hands. Finally, he established that the entire Kashmiri language is a sister to Sanskrit, with not only words but the entire grammatical structure following Sanskrit. Thus, proving Sir George Grierson’s theory wrong about the origin of the Kashmiri language.

A GREAT TEACHER SHARADA SCRIPT

 Those who visited Prof Triloki Nath Ganjoo to learn and understand scriptures or Sharada script include artist Ghulam Rasool Santosh, poet Agnishekhar, poet Kshama Kaul, poet Mohan Nirash, Dr M K Teng, Brahmchari Moti Lal, and many more. About him,  noted artist G R Santosh has said this:-

“I have been visiting him often to seek clarification on scriptures and I have no hesitation to admit that he imparted the knowledge of Sharada script to me. He was humble, unassuming, affectionate, welcoming and a saint living in Grihistha. “

 Along with Sharada, he also acquired working knowledge of Tibetan and Gurmukhi scripts which have been derived from Sharada. He conducted more than 60 workshops across the country on Sharada script creating a group of trained persons who could read and write Sharada. He created a primer for the study of the Sharada script. About teaching Sharda script to youngsters, Prof Ganjoo said this:-

“Right from Banihaal up to Sharda Temple ( now falling in Pok ), this entire area was known as Sharda Desh wherein Sharda script flourished. Sharada script evidences are seen in Peshawar, Kabul and many parts of ancient Gandhara. There is a Bible in Sharada script written in 1821. From the early 14th century, with the arrival of Islam in the Kashmir valley, this script faced neglect and was made to die. It is almost extinct now except as seen in some available manuscripts of the Kashmiri Pandits that escaped the cruel hands of religious bigots and persecutors of Hindus in Kashmir. Let me give you some positive news as well. At the community level, we have made great efforts for its revival. We have trained some young men who could impart training in reading and writing Sharada to more people. This is all voluntary work and to my knowledge, more than 25 persons are well trained to impart training to other aspirants from the community. I am thankful to IGNCA, New Delhi also for their support. Sharada is our culture, our language and our history. We must learn it to preserve it and also use it to know our past in correct perspective.”

BOOKS, PUBLISHED PAPERS AND AWARDS

 Prof Ganjoo published several books and wrote innumerable research papers. Some prominent books written by Prof Ganjoo could be listed as under:-

 1.Rahasyodesh - Research biography of Hermitess Mata Roopa Bhawani, Alakeshvari.

2.Linguistic Survey of Kashmiri Language.

3.Shirya Bhat - Research biography of Shriya Bhat.

4.The Cultural Heritage of Ancient Kashmir (Unpublished).

5.Lal Vakh - Original Lal Vakh based on 17th Century manuscript with   Kashmiri Commentary (Unpublished).

6.“The metre-prosody in Ancient Kashmiri Poetry “

7.“Kashur Hindi Reader

8.“Monograph” on comparative study of Kashmiri Language

 

                                                                  

     (Kashmiri Hindi Reader bu Prof T N Ganjoo  ...Photo by the Author)

 

Some scholarly research papers compiled by Prof T N Ganjoo published in various research journals in India are as under:-

 

(1)    Linguistic Sociology of Ancient Kashmir.

 (2) The Linguistic Sociology of Kashmir and its Origin.

 (3) The Kin-Names and Archaic spoken form of its Origin Language.

 (4) Social Ethos of Kashmiri Society and Applied Linguistic Connotation.

 (5) Naga, The early mountain settlers of Kashmir and traces of their social culture among the Kashmir Bhattas the vanishing ethnic community of Kashmir.

 (6) The religious Anthropological treatment of Kashmir.

 (7) Kashmiri numeral and its Linguistic Origin.

 (8) The Linguistic Derivative of Kashmiri Ordinals.

 (9) The Physical body and Linguistic Nomenclature of its parts and the source of its Applied Language.

 (10) “Bilhan”, the author of Vikramankdeva Charit and 10th century Kashmir.

 (11) “Herat”, the festival of 15 days and its socio-religious traces, which are deeply linked with the five thousand years old Harappa Religious Culture.

 (12) The Kashmiri Shaivism and basic concept of Domesticity.

 

While he was awarded many times by different institutions, Some notable ones are listed  below -

1.       Sanskrit Shiromani - Allahabad University.

2.       Karmakand Shiromani - Banaras Hindu University.

3.       Jyotish Ratna - Banaras Hindu University.

4.       Gold medal for PhD on Linguistic Survey of Kashmiri Language - Kashmir University.

5.       Shardaa Saman - Panun Kashmir.

6.       Shardaa Script Wizard - Tirupati University.

7.       Shardaa Alankar - Himachal University.

Some close friends of  T N Ganjoo  were Jagan Nath Braroo,Dr Ramkrishen Bhatt (professor of history , University of Kashmir ),Dr M K Taing ( professor of political science , University of Kashmir ), S K Puttu ( Chief Manager SBI) and Dr Muzamil Parsa ( family physician ).

 

Unmesh Ghosh, grandson of T N Ganjoo said this:-

“ He was an avid tea drinker, who could have tea 24x7, even after dinner. He relished fish with a sprinkling of lemon on top. Yoghurt was another favourite, having it in both meals, in fact used to have it with fish as well (unlike most Kashmiris). Early days when he was working, he used to wake up at 4:30 am, do his morning chores and then listen to BBC news at 5 am while also working on the draft writings of his projects until 7am. Then would get ready for University and leave returning back again by 5 pm, have tea and restart his studies until late in the night. Even at the age of 87 he used to study around 17-18 Hours which is breathtaking with his cup of tea always beside him.”

Varda Ganjoo,  granddaughter of T N Ganjoo said this:-

” I remember how he'd spend hours meticulously working on Swami Ram ji's biography, his pen moving steadily across pages filled with careful research and thoughtful insights. Even when he wasn't well, during his last days,his mind remained as sharp and busy as ever. We'd all gather around him – asking endless questions about Kashmiri culture and Swami Ji's teachings. He never seemed to tire of our curiosity. What amazed me most was his incredible knowledge of astrology and his way of face reading. People would come from far away to hear his precise astrological observations. The best part? He could switch from being this wise grandfather to becoming carefree with me, matching my energy and. He loved quoting this - "उत्तिष्ठत जाग्रत प्राप्य वरात्तिबोधत" from Vivekananda that basicallymeant "Arise! Awake! And stop not until the goal is reached." That was so him – always encouraging, always pushing us to do better. What I learned from Bade Papa was the importance of passion in everything you do. He believed work is worship and that staying idle is never an option. Constant learning, unconditional love, and respect for all, regardless of their background, were his core values. His wisdom taught me to embrace life fully and treat everyone with kindness.”

 I end this write-up on T N Ganjoo with a quote from Shaivacharya Abhinavgupta of Kashmir.

 “Nothing perceived is independent of perception and perception differs not from the perceiver, therefore the universe is nothing but the perceiver.”

 

(Avtar Mota)

PS

This essay and many similar essays are included in my new book ,"The  Bright Stars of the Foggy Nights "

 See details here....

https://autarmota.blogspot.com/2025/02/bright-stars-of-foggy-nights-my-new-book.html?m=1

 

FOOTNOTES

 

Sources consulted for this write-up.

(1)    Meeting with Prof Ganjoo in Srinagar and a telephone conversation.

(2)    Shehjar online magazine

(3)    Interview of Dr Agnishekhar

(4)   The family of Prof Ganjoo ( Gargi Ji ,Varda Ganjoo and  Unmesh Ghosh )

(5)     Recorded conversation of artist G R Santosh

 (6)    A write-up in Kashmir Sentinel by Dr S S Toshakhani

 (7)    Visit to Sri Ram Shiva (Trika) Ashram , Kashmir in 2009

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: " THE BRIGHT STARS OF THE FOGGY NIGHTS"

                                         

THE BRIGHT  STARS OF THE  FOGGY NIGHTS....( Stories From Kashmir ) By AVTAR MOTA

Avtar Mota's New book is available on Amazon worldwide. Presently available for US dollars 15( fifteen )  or equivalent in the US , Canada, Australia, UK, France, Netherlands, Denmark, Sweden, Japan, Italy and many more countries at the following links:-

INDIA

(a)

https://notionpress.com/in/read/the-bright-stars-of-the-foggy-nights

(b)

https://www.amazon.in/dp/B0DXV9SRK5

 USA

https://www.amazon.com/dp/B0DWMJMWMJ

 UK

https://www.amazon.co.uk/dp/B0DWMJMWMJ

CANADA

https://www.amazon.ca/dp/B0DWMJMWMJ

AUSTRALIA

https://www.amazon.com.au/dp/B0DWMJMWMJ

FRANCE 

https://www.amazon.fr/dp/B0DWMJMWMJ

NETHERLANDS

https://www.amazon.nl/dp/B0DWMJMWMJ

Book Overview  by  Amazon 

The book has fascinating stories about many stalwarts from the fields of art, literature, theatre and social life who remained mostly unsung. The essays come as tributes and reveal the human side of these personalities apart from their immense contribution. People covered in this book include Sardar Santokh Singh ( pioneer of commercial art in Kashmir ), Vasudev Reh ( a visually handicapped poet ), Makhan Lal Mahav ( poet of humour and satire ), V R Khajuria ( stalwart sculptor ), Susham Sharma ( a dedicated theatre artist ), Farooq Nazki ( poet and broadcaster ), Vijay Suri ( writer , director and actor ), Bhushen Kaul ( Baroda trained artist ), Pandit T K Jalali ( composer and vocalist ), Som Nath Zutshi ( short story writer ), Chaman Lal Hakhoo ( writer and broadcaster ), Dr Girja Dhar , Akhtar Mohiuddin (writer ), Pran Nath Butt ( artist ), Saif ud din Kitchloo ( freedom fighter ), Hari Kashmiri ( cinema ), Prof Jay Lal Kaul ( scholar , translator and educationist ) , Dr Ved Kumari Ghai ( Sanskrit scholar ), T N Ganjoo ( scholar , astrologer and Indologist ), Noor Mohammad Kitab ( book publisher ) and Jagan Nath Saqi ( radio and theatre artist ).

The book gives the reader some interesting and engaging anecdotes about some highly creative personalities from Kashmir. The author has also included some artists from Jammu province in this compilation. The author succeeds in creating interest in every story with his unique style and gripping narrative, which makes his reader not only travel with him but also become a part of the happenings conveyed truthfully and passionately. The one-to-one interviews and many nostalgic memories of the author set the tone and flow for many stories. This tone and flow brings everything alive in a manner that is easily identifiable by his reader. This book is going to prove of immense utility to people who intend to research the "Social Life" of the Kashmir valley. Parvez Dewan (IAS ), author and former Tourism Secretary (Government of India ), 'calls Avtar Mota,’ ”The foremost chronicler of the social history of Kashmir’.

EXCERPT FROM THE ESSAY  "SUSHAM  SHARMA: A LIFE  DEDICATED  TO  THEATRE" .....

And Susham Sharma told me this:-

“ Yes, Avtar Ji I have many fond memories of the play based on Ved Rahi’s story “ AALEY “ OR “ CALLINGS “ that I performed in Lahore in 2005 before a mammoth audience. It was a solo performance. It was based on the tragedy of partition. The play was directed by Deepak Ji, a very talented director of our theatre group. Rangyug or my theatre group was there on an invitation from Madiha Gauhar’s Ajoka theatre. Noted theatre personality M K Raina, classical dancer Sonal Man Singh and Kewal Dhaliwal from Amritsar had also been invited. If I remember correctly, it was what they said, “PANJ PAANI THEATRE FESTIVAL“at Lahore. In fact, Madiha had come to Jammu with her troupe and performed a well-scripted play “BULLA“at Abhinav theatre. During that time, she had a detailed interaction with us at Rangyug. She also watched us perform some plays. That was the meeting point . For me, the Lahore trip remains unforgettable to this day. At the play venue in Lahore, I came to know that the audience included many Dogri speaking elders who had migrated to Pakistan from Mast Garh, Sarajaan Di Dakki and other localities of Jammu city.The nostalgia made many eyes moist. I could feel the sighs of the audience and the satisfying thunderous applause in between while I performed. And when the play was over, the doyen of theatre in this subcontinent, Late Uzra Butt walked up to the stage and hugged me. I vividly remember her words, “You did a great job Beta. It was electrifying.” Those words still reverberate in my ears. Liaqat Jafri Ji and Ravinder Kaul Ji also were in our troupe. Ravinder Kaul introduced us to the Pakistani audience in a very emotional style quoting Ali Sardar Jafri’s immortal lines:-

“Tum aao gulshan e Lahore se chaman bardosh, 

Hum aayein subah e Banaras ki roshini lekar, 

Himalya ki hawaaon ki taazigi lekar,

Aur oss ke baad yeh poochhein ki kaun dushamn 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\.

FAROOQ NAZKI'S POETRY ON FISH , FISHING NETS AND FISHERMEN

                                           

BELOW AND OVER  WATER'S  SURFACE  

Through the lines mentioned below, poet Farooq Nazki conveys something different. It is quite true,' whatever appears on the surface may not convey the reality below the surface '. It applies to any situation.   I quote the poet:-

"Me vuchh zaal gaadan karaan  raahnumai,

 Me vuchh zaal haanzan  karaan jaalsaazi ,

Me vuchh aab  tael aab peith kyaah chhu sapdaan"

( Farooq Nazki )

My English rendering would be like this:-

(I saw the fishing nets leading the fish  to freedom,

I saw the same fishing nets  misleading the  fishermen,

I saw what happens  below and over  water's surface )

( 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\.

JAGAN NATH SAQI : THE UNSUNG RADIO AND STAGE ARTIST FROM KASHMIR

                                       

UNFORGETTABLE  JAGAN NATH SAQI 

He was born and raised in Khankaah e Sokhta, a locality in downtown Srinagar. He lived close to the ancestral house of Bakshi Ghulam Mohammad and accordingly, he was personally known to every member of the Bakshi family. Due to his varied interests and traits like acting, smoking, sitting in gossip shops, travelling by a full Tonga, putting on an English hat, spending money lavishly and keeping close association with some henchmen of Nawa Kadal, Pandits called him by nicknames like 'Jagir Gunda', 'Raasa-kath( dancing lamb) ' and 'Jaga Angrez'.

 This area in downtown Srinagar was the birthplace place Mata Roopa Bhawani, the great saint-poetess of Kashmir in the 17th century. Pandit. Birbal Dhar(who guided Sikhs to Kashmir), Pandit Bal Kak Dhar ( former Wazir-e-Wazarat), DP Dhar (well-known politician and former ambassador to the Soviet Union), Maj. General BN Dhar, Rai Bahadur Shyam Sunder Lal Dhar, Ratan Lal Dhar (former Director of Food and Supplies), Krishan Joo Dhar, (former Director Flood Control), Dina Nath Dhar( proprietor of Normal Press at Lal Chowk ), Ramchand Tickoo ( well- known cricket player ), Nand Lal 'Begarz'( writer),  Nilakanth Raina (writer and trained historian), Niranjan Nath Razdan ( proprietor of Mercantile Press, Kothi Bagh), Moulvi Abbas Ansari (politician and well-known  Shia cleric),  Arvind Gigoo( noted writer and college professor), A N Dhar ( former HOD English Department in Kashmir University ) and many more well-known persons  were from this area.

In his youth, Jagan Nath Saqi would dress up like an Englishman with a stick in his hand and tell strangers that he was a Pashmina trader and his family had business interests in Yarkand and Lahore. Acting has been his forte since his younger days. He loved singing and music. He joined Radio Kashmir Srinagar due to the direct intervention of Bakshi Ghulam Mohammad who also intervened in the allotment of a residential quarter to him inside the Emporium complex close to the radio station. He remained careless in paying the monthly rent of this government accommodation for many years and it was again Bakshi Ghulam Mohammad who waived these dues. Saqi had a comic side of his personality. One day, he attended the office wearing his old  Pheran. Upon being reprimanded by Mr Chawala (the then Station Director), Saqi is reported to have told him that since Pheran was the national dress of Kashmiris, he felt proud of it. I have been told by reliable sources that Saqi didn't hesitate to come to the office in Pheran thereafter. Once he went to Bakshi Ghulam Mohammad's residence on Eid day carrying a huge pumpkin that had grown in his quarters. Bakshi burst into laughter and asked him to tell him the truth as to what had brought him to his place carrying the free-grown pumpkin.   At this, Saqi smilingly put in his application for waiver of accumulated rent demanded by the PWD Department. His accommodation at the corner of the Emporium complex belonged to the PWD Department. 

A contemporary of Sudama Ji Kaul another talented radio artist, Saqi was a close friend of Pandit Ved Lal Dhar Vakil, a progressive and rebel personality of Kashmir who pioneered theatre and drama in the Kashmir valley. Ved Lal Dhar had learnt acting and theatre when he worked in Kolkata’s Alfred Theatre Company before 1947. The orthodox Kashmiri Pandit society looked with contempt towards all the young men who indulged in theatre, drama and music as late as the first quarter of the last century. A nickname ‘ Raas-Kath ‘ used to be given to young men who indulged in this activity They were taunted and discouraged by all means.  Most of the artists couldn't get married as no father was ready to marry his daughter to a "Raas-Kath" (dancing lamb).

Saqi was a National Conference activist and would be seen in many gatherings of the party in the early 1930s. He was also imprisoned several times during Maharaja’s rule for his radical views and association with the National Conference. He started his career as an actor in the early 1920s in various amateur groups like the Raghunath Mandir Natak Mandal and Kala Kendra. He also worked with much enthusiasm in the troupe founded in Kashmir by Master Rahmat Ullah of Kolkata. He played important roles in Agha Hashr Kashmiri`s Urdu plays staged in KashmirSaqi had a unique style of humorous conversation that won him instant friends. He would play pranks and convey many stories often light-heartedly.

Saqi proved himself a versatile radio artist. His voice conveyed a powerful pathos that touched a chord with his listeners. He was the greedy  Kaakh ( Machama's father ) of Pushkar Bhan's popular Machama series of Radio dramas. He was Rustom Chacha in another series of radio programmes. He was 'Jagger Pension' of Zoonadab, Wali Mot in the popular play Taent-k'or and Afreet of the dramatised version of the opera Gulrez  He would present' "Gaami Baayen  Haendi Kha'tra' from Radio Kashmir. He also had an unforgettable presence on stage. He had great quality, and never did he neglect his priority; theatre and radio drama even if he was unwell or down with critical illness. About him, Padama-shri Pran Kishore Kaul said this:-

 "Saqi had a flamboyant streak in everything he did. One could see it in his walk, his talk and his behaviour with his friends and colleagues. He was older than me. I knew him before joining the Radio. He enjoyed a somewhat notorious reputation in his youth. One day all of a sudden, he barged into Radio Kashmir Srinagar and demanded his chair to sit. We were surprised to know that Bakshi Ghulam Mohammad in his capacity as the Prime Minister of J&K  had telephoned PS Bhatia, the then Station  Director to appoint him. Saqi had commendable talent. I included him in the cast of the film," Shair e Kashmir Mehjoor ". He did full justice to the role of a poor peasant. He could have been a wonderful film actor but he had missed that bus. I had great admiration for Saqi's acting passion. As the protagonist, he did some beyond-expectation acting in Akhtar Mohiuddin's Kashmiri play " Aadam Chhu Ajab Zaat ". On my enquiry, Saqi told me that he had lived the role. The play was selected for the National Programme of plays by AIR and we were advised to do a Hindi version also. Saqi begged me to let him act in the Hindi version. I had my doubts about his accent. I took the chance as his acting skills were perfect for the role. In the meantime, he fell critically ill. He couldn't walk. I was suggested to replace him. We had to complete the recording in a time frame. Saqi was deteriorating. And then one day he suddenly dropped in and asked for the script. After reading it, he asked me to start his recording. We went inside the studio. We were there for a long time recording Saqi, the protagonist of the story. He was flawless. He did it all in one go. My joy knew no bounds. In the end, I embraced him. I could feel that he was running high temperature.  He was happy. We were equally delighted. After some days, we heard the news that Saqi was no more. That was Jagan Nath Saqi ."

 And Bansi Raina writes this on my Facebook post:-

 “Among some others -there were two most senior veteran theatre artists in Radio Kashmir Srinagar in the sixties and early seventies of the last century.Jagan Nath Saqi and Ved Lal Vakil.Both were institutions in their own right and storytellers. One would find Saqi eating Tandoori Roti and Kharoda( sheep foot )  soup inside Prem Dabba at Court Road, Srinagar. The next day he would be smoking Hashish with hippies at his shack near Linz Cafeteria close to the Emporium complex. In one of his last stage appearances, a huge board was hidden in wings with his dialogues as he could not otherwise remember them. But his antics aside, he was a great voice and actor; fearless and naughty."

Saqi was a bachelor.  It was Dr Ali Jan who treated him last and informed his colleagues at Radio Kashmir that Saqi had some fatal lung disease. He was shifted from Emporium accommodation to his sister's house. His nephew O N Pajnoo looked after him with total care and dedication. Saqi breathed his last in 1973.  

 

( 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\.

UNFORGETTABLE BRIJ KISHORI NAKHASI ZUTSHI (1947-2025)

                                            

UNFORGETTABLE  BRIJ KISHORI NAKHASI ZUTSHI  (1947-2025 )

I had seen her many times in Rainawari. She lived a little away from  our house across the Jogilanker Bridge in Rainawari  . Her uncle ,Dr DN Nakhasi was our family doctor . I had  heard her voice  many times in plays broadcast from Radio Kashmir ,Srinagar. I had seen her act on stage. She was flawless and made her presence felt . She had the dash and ability to carry herself with dignity ,  conviction and courage. Once we were told that in her capacity as the leader of the AG Employees Association, she led a gathering of employees demonstrating at  Amirkadal in Srinagar city. I met her in 2022 . She had come to India International Centre ,New Delhi to  attend Padamashri Pran Kishore Kaul's book release function presided over jointly  by  N N Vora and Ghulam Nabi Azad. In that function, Prof Shafi Shauq and I read the critical review of the book. After the function was over , she told me this in presence of  Shantiveer Kaul:-

" I have come only to listen to you  and see you in person.  I am a great admirer of your  write-ups . It gives me happiness to know that you are  from Rainawari and thus my "maleun boiy"  ( brother from my parental home ) . Pran Ji is versatile. I know him and have worked under his direction in many plays. I know his calibre . But believe me , I was telling Shantiveer also that  'I came here to see Avtar Ji' .

And in his book ,"Radio Kashmir And My Days in Broadcasting " , Padamashri Pran Kishore Kaul has written this about  Brij Kishori :-

" A tigress of an actor, Brij Kishori was an officer in the AG's Office . She was a versatile actor who could carry off the most difficult role with adorable ease . She was as effective on radio  as on the stage and later on in television productions too. Self made, Brij Kishori had the confidence and the spirit to fight for a cause which very few women of her age and her time could have ." 

Sadgati And Moksha to her noble soul . Brij Kishori  will be missed by her  admirers . 

( 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\.

GOA BEYOND BEACH TOURISM : THE MANGESHI SHIVA TEMPLE

                                         

    ( Deepstambha of Mangeshi Shiva Temple )

       ( The blogger  at  Mangeshi Shiva Temple )

      ( Art installation " Boat With Hindu Gods" of Subodh Kerkar in Museum of Goa )

                                          

          ( "Boat with Hindu Gods "   Art installation of  Subodh Kerkar has these details ) 

                    ( Surla Mahadeva Temple ) 

THE MANGESHI  SHIVA TEMPLE , GOA, LATA MANGESHKAR   AND PANDIT JITENDRA ABHISHEKI

We were told that more than  300 ancient temples were demolished and raised to the ground by the Portuguese in Goa right from the 16th   century. A few like the ancient Surla Mahadeva Temple survived this destruction. However, some new temples also came up in the 19th and 20th centuries mostly by Maratha warrior Kings. Presently some highly venerated temples thronged by Hindus of Goa are;  Shantdurga Temple,  Nageshi Maharudra Temple and the Mangeshi Shiva Temple. The Mangeshi Shiva Temple falls in Mangeshi village, Ponda about 21 km from the capital city of Panjim. I liked the magnificent Deepstambha of Mangeshi  Shiva Temple ."Deepstambha" (Lamp Towers) also called as Deepa Jyoti is a common site in temples in and around Maharashtra. Lighted during the pooja and special occasions, this element of temple architecture was used in temples built by  "Yadavas of Devagiri" and later adopted by Maratha rulers adding to the temples across the Maratha Empire. 

We saw the painful history of Goa in its art, literature and inside its museums. We find broken idols of Hindu deities retrieved from demolished temple  sites  inside the ASI  Museum, Goa.Further ,  as you enter Museum of Goa ( MOG)  , there is a huge art installation done by  Sudhir Kerkar ,the well known  Goan artist showing Hindus fleeing in a boat along with their deities removed from temples destroyed by Portugese Inquisition squads.  

 

                                          

      ( A broken Idol inside ASI Museum, Goa)

We were also informed that the Portuguese destroyed the original Shantdurga temple in 1566. Later, Maratha warriors under the leadership of  Chhatrapati Shahu Ji Maharaj, the grandson of Chhatrapati Shivaji Maharaj built a new temple that looked like a church from the outside to avoid further persecution. More so, the Office of the Goan  Inquisition had put a total ban on the construction of new temples. Shantdurga was the holiest amongst some holy Hindu temples in Goa for which even converted Christians felt sad. One must read Goa Inquisition to know the truth.  I came to know that the well-known artist Mario Miranda's ancestors were  Sardesai Saraswats before their forcible conversion by the Portuguese. They were attached to Shantdurga as their Kuldevi or family deity. I came to know that Mario's family continued to give annual groceries for the Temple fair even though being Christians. And Mario had wished that after his death, he should be cremated.

The Surla Mahadeva is the only old or ancient stone temple that survived destruction and demolition at the hands of Portuguese Christian missionaries. The temple is small, peaceful, and active.  It is a 12th-century-old, Kadamba-style structure that sits calmly in the Bhagwan Mahavir Wildlife Sanctuary.  It is close to the Karnataka border.

The Nageshi Maharudra Temple was built in 1413 when the region was under the rule of King Veer Pratap Devaraya of the mighty Vijayanagara Empire. The temple underwent an extensive renovation process in the days of Chhatrapati Shahu Ji Maharaj the Maratha ruler of Satara. The Shree Nageshi Maharudra Temple, home to the Swayambhu shrine of Lord Shankar, is known to citizens all across India.

Inside the Mangeshi Shiva Temple, a  local person  told us this:

" The original ancient temple has faced plunder after the 14th century when the Muslim invasions started in  Goa. From the early 16th century, when the Portuguese arrived and constituted the infamous 'Office of Inquisition' to aggressively convert Hindus to  Christianity,  they raised to ground all the ancient temples to build Churches at these sites. The original site of the Shiva Mangeshi Temple was near the banks of the Zuari River in the village of Kushasthali. The Portuguese destroyed that Temple and changed the name of the village to Cortalim.   However,  the deity of this Temple was always hidden and kept safe by the people of the village. The  Maratha rulers renovated the Temple in 1763. It was again renovated by Marathas in 1890.  The Marathas also built a 7-storey Deepstambha in the temple compound. You can see this lamp tower or Deepstambha done in typical Maratha-style temple architecture. Chhatrapati Shivaji Maharaj gave tough resistance to the Portuguese in Goa. 

We hold a Rath Yatra on Magh Purnima when the Mangeshi festival is celebrated here. The main deity is Lord Mangesha or Shiva. There are shrines on the back side dedicated to Mulakeshwsar, Virbhadra, Saanteri, Lakshminarayana, Suryanarayana, Garuda and Kaal Bhirava. Every Monday before the evening Aarti, the idol of Lord Mangesh is taken out in a procession in a Palki with devotional music being played by singers. There is a dress code instituted by the temple management.  

The  Mangeshkar family is from this village. Lata Ji's grandfather was Ganeshbhat Bhikaji Abhisheki. They write Mangeshkar to remain connected to their roots.  The Brahmins of this village have ancestry that is linked to this temple. They have been devotional singers of Shiva Mangesha, the deity. Pandit Jitendra Abhisheki the renowned classical singer is from our village. An event called Pandit Jitendra Abhisheki Mahotsav, which is named after him is celebrated in Goa every year, around September or October. He was a vocalist, music composer, and music teacher who made a massive impact on the history of classical music and the Marathi music industry.  "

( 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\.