Bangles

Women adorning themselves with Bangles

Bangle’s are one of the many ornaments worn by the women in India.   They adorn the arms of the women and come in various designs and forms.  One of the oldest art objects in India, the bronze figurine of a dancing girl excavated at Mohanjodaro epitomizes the antiquity and the universality of wrist ornaments in India. The figurine stands with one arm at her hip, the other arm completely weighed down with a collection of bangles. Even the Yakshinis are depicted wearing bangles. Banabhatt’s Kadambari has a reference to Goddess Saraswati – Goddess of Learning, shown as wearing kangan’s ( Bangles) .  A single bangle worn by a man is called a Kada or Kara (steel or iron bangle). Kada is a circular shaped bangle having religious significance for Sikhs, and is made from iron, white metal or gold.

Bangles are made of precious metals like gold, silver, platinum (these days), studded with gems, pearls, corals beads etc. Ancient times, bangles were made of shell materials, gold, silver, bronze, copper, Pancha loha (mixture of five metals), iron, terracotta, wood, ivory camel and other bones and other materials. Even in modern times this continues. Now bangles made of glass, rubber and plastic and other inexpensive metals have also been in fashion. bangles made of lac and silk thread, are also popular. Bangles are being adorned by multi coloured stones, kundans, beads, cowrie shells and danglers etc. Meenakari bangles are the metal (gold silver or ordinary) ones on which there is inlay of enamel paint.

The Bangle Seller - Painting by Exotic India Art

It is believed that the manufacturing of glass bangles were started by the Moghuls. Ferozabad near Delhi was where these glass bangles were born which first used to manufacture chandeliers and lamps.  Indian glass-makers had adequate expertise in the fabrication of beads, bangles and a few other types. On the basis of various objects excavated at different sites, it may be inferred that the glass-makers employed such methods as moulding, folding, twisting and double-stripping. Possibly, what is known as wire-winding method was also for preparing beads of different types. The beads found at Brahmapuri indicate that they were probably made by this method by coiling the fused glass rod around a wire or spoke, and twirling it to obtain the desired shapes. The technique of preparing what are called the ‘multiple-wound beads’ of opaque glass of different colours was also known. Bangles, both monochrome and polychrome, were produced with great care. Certain patterns were also imposed on them by skillful methods

The Hookah

The hookah has a long and storied history. Also known as a hubble-bubble, narghile, shisha, or water pipe, hookahs have been used in Asia and the Middle East for centuries.  The hookah was invented in India by a physician during the reign of Emperor Akbar as a purportedly less harmful method of tobacco use. The physician Hakim Abul Fath suggested that tobacco “smoke should be first passed through a small receptacle of water so that it would be rendered harmless.”

In India, the hookah is becoming better known, and cafés and restaurants that offer it as a consumable are popular. The use of hookahs from ancient times in India was not only a custom, but a matter of prestige. Rich and landed classes would smoke hookahs. Tobacco is smoked in hookahs in many villages as per traditional customs. Smoking molasses in a hookah is now becoming popular amongst the youth in India. It is a growing trend amongst youngsters and adolescents. There are several chain clubs, bars and coffee shops in India offering a variety of hookahs. The new trends emerging are that of non-tobacco hookahs with herbal flavors.

Nariyal hooka

The hookah started out as a humble coconut shell. In Turkey, it evolved into the true hookah, becoming a mainstay of coffee house life in the 17th century. Hookah smoking is still very common in cafes and restaurants throughout the Middle East. Koyilandy, a small fishing town on the west coast of India, once made and exported these extensively. These are known as Malabar Hookhas or Koyilandy Hoohaks. Today these intricate hookahs are difficult to find outside of Koyilandy and not much easier to find in Koyilandy itself.

Lady with Hookah

Parts of a Hookah

Hookah Smokers

Palanquin

The Palanquin belongs to the class of wheel less vehicles, a type of human-powered transport, for the transport of persons.  It is also called “Litter”  Examples of litter vehicles include jiao (China), sedan chairs (England), palanquin (also known as palki) (India), and gama (Korea).

In India its called “Palkhi” which came from the word ‘Palanki”. The Portuguese called it ‘Palan queem and the Britisher’s called it ‘Palan queen’.  It is not truly known that when the palanquin as vehicle was used first. Palanquins are mentioned in literature as early as the Ramayana (c. 250BC).BC).

It was used to be the conveyance for noble Indian ladies as well as for Indian landlords during medieval India.

Source

Source

Some palanquins were carried by six bearers and some by four. Bearers chanted different tunes or words while carrying the palanquins.

Image depicting A Nabab in his palanquin, from ‘Voyage aux Index orientales’ by Pierre Sonnerat, Paris, 1782

Source

“Traveling with a palanquin,”

Source

There were some variations in the Palanquin and they were called with different names

Source for all the images listed below

Chowpaul

J’Hallendar

Mohafa

Mejanah

Long Palanquin

Boutcha

Another sort of Palanquin

Hanuman

Hanuman with Rama and Sita

Very different looking Hanuman

Shiva

Shiva is captured dancing in ecstasy upon his vehicle Nandi. His ten arms are spread out like the rays of the sun amplifying the energy Shiva is releasing upon those in his presence. In eight of his ten arms he holds various weapons and snakes, the most notable is the large sword raised above his head menacingly, warning anything that would challenge his supreme power.  Nandi stands unflinching, his head looking up to his master, Shiva, under his heavy foot. The large hump in his back is wrinkled with the weight of Shiva’s foot. The folds of extra skin hanging loosely under his neck give the bull added realism. The awesome base boasts 13 figures. Included among them are Shiva’s sons Skanda and Ganesh as well as numerous other devotees among them Nandikeshvar, the human form of Shiva’s vehicle, Nandi. On the arch next to one of Shiva’s right hands is Lakshmi riding her vehicle, the owl.

Shree Ganeshaya Namah – Obeisance to Lord Ganesha

This is a wonderful image of Lord Ganesha. The statue is in the British Museum and is made of Schist. This has been made in the 12 Century in Eastern India.

Saraswati , Goddess of Knowledge, Jain Statue

Saraswati the Goddess of Knowledge was worshipped by all the subcontinental people of all faiths upto the 11th century.

The above statue is a statue of the Goddess Saraswati from a Jain Temple. This is now in the British Museum.

Shiv Parvati.12th Century Eastern India- British Museum

This beautiful fine statue was carved in India in the 11th Century, Eastern India.

It is rare to find fine carved statues of Shiva as Shiva is traditionally represented but just the Linga .  Here however the sculptor has personified the Lord of destruction in a traditional statue along with Parvati his consort. Parvati is the daugter of Himavan and her name literally means daughter of the Mountains whereas Himavan means snow topped….

Madurai Meenakshi Temple

A word on the temple

Meenakshi Sundareswarar Temple or Meenakshi Amman Temple’ is a historic Hindu temple located in the holy city of Madurai, Tamil Nadu, India. It is dedicated to Lord Shiva (in the form of Sundareswarar) and his consort, Goddess Parvati (in the form of Meenakshi).The temple forms the heart and lifeline of the 2500 year old city of Madurai. This temple has a stunning architecture and a significant testimony for Vishwakarma Brahmins for their master architecture in sculpting this temple.This was a frontrunner in the election for the modern [seven wonders of the world] for its architectural importance.The complex houses 12 magnificent gopurams or towers that are elaborately sculptured and painted.  The complex is in around 45 acres (180,000 m2) and the temple is a massive structure measuring 254 by 237 meters. The temple is surrounded by 12 towers, the tallest of which, the famous Southern tower, rises to over 170 ft (52 m) high .   The temple was almost completely destroyed in the year 1310 following the invasion of the Islamic coqueror Malikkapur. As kings who were followers of Islam were noted for their intolerance towards other religions, the invaders destroyed most of the ancient sculputures of the temple.  The temple was restored to its pristine glory in the late 14th century when the Hindu Kings came back to power in Madurai. This can also be termed as a new beginning of a new era in the history of the temple, when it was almost rebuilt.

There are 12 temple towers(Gopurams). The outer towers are the landmarks of Madurai. They are:
* East Tower (Nine Storeys). Height 161’3″. This Gopura has 1011 sudhai figures.
* South Tower (Nine Storeys). Height 170’6″. This Tower has 1511 sudhai figures.
* West Tower (Nine Storeys). Height 163’3″. This Tower has 1124 sudhai figures.
* North Tower (Nine Storeys). Height 160’6″. This Tower has  lesser figures of sudhai than other outer towers.

A closer look – Wow!

The entrance

1000 pillar Mandapa

The Thousand Pillar Mandapam

It is the ‘wonder of the palace’. Actually the number of  pillars count to 985 beautifully decorated columns. Each pillar is sculptured and is a monument of the Dravidan sculpture. There is a Temple Art Museum in this 1000 pillars hall where you can see icons, photographs, drawings, etc., exhibiting the 1200 years old history. There are so many other smaller and bigger mandapams in the temple.  Just outside this mandapam ,towards the west, are the Musical Pillars. Each pillar when stuck, produces a different musical note. The kalyana mandapa, to the south of the pillared hall, is where the marriage of Shiva and Parvati is celebrated every year during the Chitirai Festival in mid- April.

Potramaraikulam , The golden lotus Tank

The area of this tank is 1 acre. It’s length is 240′ and breadth 165′. The salient feature of this tank is that it is older than the temple! It is said that the “Moola Lingam” was found in this tank by Dhananjaya. Statues of Dhananjeya and Kulasekara Pandiya are carved on the pillar in the northern side of the tank. Since, the Petals of the Lotus Flowers in the tank appeared  gold, this tank was named as “Potramarai Kulam” (which means Golden Lotus Tank).   The Most notable feature of this tank is that fishes and frogs are not seen in this tank. 1330 kurals are inscribed on the white marbles in the southern side of this tank. In those days, Tamil scholars used to throw their poetic works into this tank. It was believed that if they float in water, they were good ones and were accepted by “SangaPalakai”. Standing at this spot, one can have the beautiful look of all the towers of Meenakshi Amman Temple.

Golden Lotus, A Closer look

Inside the temple

Vasantha Mandapam

This mandapam was built by Thirumalai Nayakkar. Vasanthosavam – the  Spring festival-is celebrated in this mandapam in Vaikasi (April/May). Its pillars contain elaborate sculptures of Shiva, Meenakshi, scenes from their wedding as well as the figures of ten of the Nayak Kings and their consorts. This is also called Pudhu Mandapam.

Vasantha Mandapam

The idol of Meenakshi

Meenatchi or Meenakshi sister of Lord Vishnu and wife of Lord Shiva, who is worshipped mainly by South Indians. She is also one of the few Hindu female deities to have a major temple devoted to her .  The picture above shows her idol at the temple.

Legend

Once Indra killed a demon, even though the demon did not harm anyone. This act brought a curse upon Indra that forced him to continue wandering until he was redeemed from his sin. After much wandering Indra was freed from his suffering through the power of a Shivalingam in a forest, and so he built a small temple at that site.

It so happened that at that time in South India there was a Pandyan king called Malayadhwaja Pandiyan ruling a small city by the name Manavur, which was quite near to this Shivalinga. He was the son of Kulashekara Pandyan. He came to know about the Shivalinga and decided to build a huge temple for Shiva in the forest Kadambavanam (vanam means forest). He also developed the region into a fine princely state called Madurai.

The king was childless and sought an heir for the kingdom. Shiva granted him his prayers through an Ayonija child (one born not from the womb). This child was three years old and actually the incarnation of goddess Parvati the wife of Shiva. She was born with three breasts and fish-shaped eyes. It was said that the extra breast would disappear when she met her future husband. She was named Meenatchi, (meaning fish eyed) from the words mīna (meaning fish) and akṣi (meaning eyes).

She grew up to be a Shiva-Shakti personification. After the death of the king, she ruled the kingdom with skillful administration.  In one of her expeditions she went to the Himalaya mountains and there, on seeing Shiva, her extra breast disappeared. Many of the gods and goddesses came to witness their marriage.

At the wedding celebrations the gods refused to have the served food unless Shiva performed a majestic dance for everybody gathered at the place. At this there was the dance of Chidambaram, the cosmic dance in front of his wife Minakshi. It epitomised and merged all life force and beauty into one whole. In the end Minakshi was merged with the shivalingam and became the representation of life and beauty.

Gomateshwara, Shravanabelagola

Gomateshwara

Shravanbelagola, located 51 km south-east of Hassan in Karnataka is one of the most important Jain pilgrim centers of India. In the local language, Kannada “Bel” means white and “kola”, the pond, an allusion to the beautiful pond in the middle of the town. The Statue of the Jain saint Gommateshwara (AD 981)carved out of a mountain, said to be one of the tallest and most graceful statues in the world, is situated in this small town atop the Indragiri hills. The colossal monolithic statue is 58 ft high, with 26 ft wide shoulders, 10-ft of its feet. Starkingly simple, the beautifully chiseled features of this statue embody serenity. 1028 years old, the statue which is reached by climbing 700 steps carved in the steep granite slope, is symbolic of the renunciation of worldly possessions. It was sculpted by Aristanemi and Chamundaraya, a general and minister of the Ganga King Rachamatta installed the idol.The Pratishthapana-consecration ceremony- of the great heritage image installed by Chamundaray was took place on Sunday, 13th March, 981 CE from 3.12 am to 5.06 pm from sunrise to sunset.  The sculptor’s conception was that of an ascetic wrapped in inner contemplation so profound as to be unconscious of the serpents about his feet or the plants winding their tendril around his mighty arms. It looks as bright and clean as just emerged from the chisel of the artisan and has not been injured by over 1000 years of wind or weather.

Bal Patil, author of  “Jaya Gommatesa”is kind enough to share the details of the statue.

MEASUREMENTS OF STATUE

Total height : 57 feet.
Total height from the crown
of the head to the bottom of the ear : 7 feet.
Total height from the foot to the
bottom of the ear : 50 feet.
Length of the foot : 9 ft.
Breadth across the foot 4 ft. 6 inches.
Length of the great toe 2 ft. 9 inches.
Breadth across the shoulders 20 ft.
Breadth across the pelvis 13 ft.
Length of the forefinger 13 ft. 6 inches
Length of the third finger 4 ft. 7 inches.

The sculpture of Gommateshwara definitely surpasses “Worlds most heroic sculptures of two Giant American Presidents faced over Mount Rushmore in South Dakota of United States carved between 1927-1941 A.D.”  As Dr. Fergusson, the distinguished archaeologist says ( History of Indian and Eastern Architecture , Part-I) ; “Nothing grander or more imposing exists out of Egypt and even there no known statue surpasses it in height, though it must be confessed they do excel it in perfection of the art they exhibit.”

Lord Gomateshwara was the Jain prince Bahubali. During a war with his greedy elder brother, Bharata who sought to usurp his kingdom, Bahubali accepted defeat at the moment of his victory when he realized the futility of it all. He renounced the world and his rights to his own kingdom, much to the severe repentance of Bharata and left to lead a life of penance and meditation, attaining Nirvana.

Around the pedestal and on the stone of an anthill on either side are inscriptions in Marathi, archaic Kannada, Grantha and Vatteluttu 9quasi-Malayalam), characters, and in Marathi, Kannada and Tamil languages a proclamation “Chamundraya caused the image to be made” – Chamundaraye karviyale. This inscription is said to be the first ever example of written Marathi.

Thousands of devotees congregate here to perform the ‘Mahamastakabhisheka’ (sacred anointment), a spectacular ceremony which is the focus for Jain pilgrims across India, held once in 12 years. Hundreds of pots containing curds, milk, honey, vermilion, coconut water, turmeric paste and even gold and precious jewels are poured over the statue’s head by priests. The Mahamastakabhisheka was held in 2006 AD.

Bal Patil states ” According to a legend, when Chamundaraya attempted to perform the ‘panchamrita-abhisheka’ ceremony, or bathing of the image with five liquids, viz. milk, butter, honey, sugar, and water with a faint air of vanity. Vast quantities of these five substances were collected in many hundreds of pots, but to the intense annoyance of Chamundaraya , when the liquids were poured from a great scaffolding upon the head of the image they would not desend below the navel of the image. He tried again and again but in vain, and thus the intention of bathing the image from head to foot was frustrated. Then a celestial nymph Kushmandini appeared disguised as an old poor woman, holding the five liquids in a small silver pot a beliya gola – and declared that she would accomplish what the valiant commander had failed to achieve.  Chamundaraya first laughed at the suggestion but later permitted her to make the attempt. Whereupon she poured the contents of her small silver pot, and lo, The image being entwined by creepers is surrounded by all types of animals. Deer, serpent, rat, scorpion as well as a dog can be easily recognized. To the right side there is a male devotee and on both sides there are two women. It is generally presumed that the man is Bahubali’s brother Bharata and the two women his sisters , Brahmi and Sunderi. This bears a spectacular resemblance to the mythical Jaina episode where Bharata request Bahubali engrossed in severe penance to give up his pride..

Chamundaraya, the great warrior and creator of the image accepted his defeat at the feet of this humble devotee and repented for having succumbed to the feelings of pride and arrogance at having caused such a magnificent statue to be sculpted. the sacred liquid at once flowed down and completely bathed the image ! This old woman was none else than the Gullikajiji and her devotion did a miracle which a mighty minister like Chamundaraya could not do. He now approached the task with humble devotion and the panchamritabhisheka covered the image from head to toe. From that time the town came to be known as Beliya gola, the silver pot or a tank of pure water, and the head-anointing ceremony was performed periodically. Chamundaraya created an image of the old woman Gullikajiji just opposite to the colossus outside the door. No better homage could ever have been paid by a magnanimous vanquished to his victor in more dignified manner than this.

The Lord’s feet

The abhisheka, as a rule, is a daily event for any image in worship, but the colossal size of the  idol of Gommateshwara  makes it impossible. Thus only the feet of the image are bathed daily in what is known as pada puja, and the head-anointing ceremony, or the mastaka-bhisheka performed occasionally. Later the ceremony of mastakabhisheka came to be termed as mahamastakabhishakas.

MAHAMASTAKABHISHEKAS SO FAR

The written records are available to establish the Mahamastakabhisheka having taken place in the following years

1 1398 A.D. :-Mentioned in Inscription No. 105 at Shravana Belagola. There is alo a mention there in to the effect that one Panditaraya did perform seven Mahamastakabhisheka like this prior to it.

2. 1612 A.D. :-Mentioned by poet Panchabana of its being performed by Shanti Varni

3. 1659 A.D. : Performed by Maharaja Dodda Devaraja Wadiar Bahadur of Mysore.

4. 1675 A.D. : Performed by Maharaja Chikha Devaraja Wadiar Bahadur of Mysore.

5. 1677 A.D. :-Mentioned by poet Anant of its being performed by Vishalaksha, the minister of Chikka Deva Raja Wadiar Bahadur of Mysore.

6. 1800 A.D. : Performed by Maharaja Bhummadi Krishnaraja
Wadiar(IV) Bahadur of Mysore.

7. 1825 A.D. : Mentioned by Pandit Shantiraj of its being performed by Maharaja Krishnaraj Wadiar III of Mysore

8 1827 A.D. :-Mentioned in inscription No. 98 at Sravana Belagola.

9 1871 A.D. :- Mentioned in Indian Antiquery.

10. 1887 A.D. Mentioned in Epigraphia Carnatica Vol.II, Sravana
Belagola. Performed by Kolhapur Mutt Bhattaarak Laxmisen at the expenses of Rs.30,000.00

11. 1900 A.D. :- Mentioned in Indian Antiquery.

12. 1910 A.D. : Performed by Krishna Rajendra Wadiyar. From the social point of view of the Jainas the event proved significant as Resolution was passed for opening Jain Boarding school under the scheme of Seth Manekchand Hirachand of the
All-India Digambar Jain Mahasabha.

13. 1925 A.D. :-Approximately 30,000 persons attended this ceremony. Krishna Rajendra Wadiyar, Maharaja of Mysore, walked up the hill barefooted, witnessed the entire anointment ceremony, personally performed the Puja , did sashtang namaskar to the Gommatesh image , and showed personal regard to the Jain Matha by doing namaskara to His Holiness Charukirti Bhattaraka, the head pontiff of Sravana Belagola.

14. 1940 A.D. :-The ceremony was celebrated in the presence of about two hundred thousand pilgrims from different parts of India. The grand ceremony started at 9.30 a.m. on the 26th February, 1940, when the first abhisheka was performed by Shri Krishna Rajendra Wadiyar, accompanied by the Maharaja of Mysore Shri Jaya Chamarajendra Wadiyar. During this festival the 1008 Kalashas decorated pots, used for the Mahamastak abhisheka ceremony were divided into four categories as follows:
1. 1. Gold Kalasha : 51
2. 2. Silver Kalasha : 300
3. 3. German Silver Kalasha : 300
4. 4. Brass Kalasha : 357Total 1008 These were disposed of in public auction. The first Gold Kalasha of great honour was taken for Rs.8001. By the auction sale of these kalasha over Rs.75000.00 were collected and deposited with the Mysore Government for the protection and upkeep of the sacred image of Gommatesvara.

15. 1953 A.D. :-This time 1008 kalashas decorated pots, used for mahamastakabhisheka ceremony were divided into only two categories: 900 Silver Kalasha and 108 Gold Kalashas. All the Kalashas were disposed off netting a the hereditary privilege of per-forming the first puja of the image on the occasion.
As the appointed hour draws near, a thousand priests climb to their places on the scaffolding with pots of water. Suitable music is played by the temple musicians while the priests chant hymns and prayers from the Jain sacred texts. At the auspicious moment the thousand pots of water are emptied over the image amidst shouts of Jai Jai.
The huge proportions of the graceful colossus, whose head is anointed on that day by thousands of priests and pilgrims gives to the ritual an impressive character. The festival begins about a fortnight earlier and terminates after a fortnight of the Mahamastakabhisheka.

The preliminiaries of the festival commenced on 18th Feburary,1953 and the great ceremony was conducted on 5th March, 1953, in the presence of Shri Jaya Chamarajendra Wadiyar, the Maharaha of Mysore.

1967 A.D. :-In keeping with the established practice, 1008 Gold and Silver Kalasha meant for the mahamastakabhisheka ceremony were made available to the devotees through public auction and sale. The first Gold Kalasha of great honour was taken in public auction for Rs.47,500.00 as against Rs.18,001, in 1953 and Rs.8001 in 1940.

The festival of mahamastakabhisheka began on 15th March, 1967. The ceremonies of this day were witnessed by a huge gathering of about five hundred thousand.

The most spectaculars and memorable feature of the event was akasha pushpavrishti,the showeringof multi-coloured flowers with huge quantities of red vermilion and saffron colour powder upon the image by means of a helicopter. The crowds spontaneously responded with loud shouts of Shri Bahubali Bhagwan ki jai-victory to Lord Bahubali.

1981 A.D. :-The Mahamastahabhisheka festival was held from 9th February 1981 to 15th March, 1981. With great abhisheka scheduled on 22nd February. An extraordinarily special significance was attached to this historic event as it marked the 1000th anniversary of the consecration of the Bahubali Gommatesvara image. The 1008 Kalasha meant for the mahamastakabhisheka ceremony were divided into eight different categories. According to this scheme an eightfoot high holy copper urn was placed on a decorated chariot which passed through 110 major cities and towns of India. It reached the destination of Sravana Belagola on the 20th February,1981. The Jana Mangala kalyana Kalasha received a ceremonial send off from then Prime Minister, Smt. Indira Gandhi on 29th Sept, 1980 at the Red Fort grounds in Delhi. Smt. Indira Gandhi also attended the mahamastikabbhisheka ceremony on 22nd Feb, 1981.

The first Mahamastakabhisheka of 21st century was held in February 2006 and the then President of India A P J Abdul Kalam was present at the inaugural ceremony.

In addition to the statue, there are several Jain bastis (temples) and monasteries in Shravanabelagola. There are 14 shrines on Chandragiri hill and Chandragupta Maurya the Great Emperor is buried here. Of the temples the Chamundaraya basti, build in 982 is the most remarkable. There is a spacious sanctuary in Bhandari Basti about 200 meters to the left from the path leading to the Gommateshvara Statue containing the 24 images of Tirthankaras.

Shravanabelagola attained historical importance when Chandragupta Maurya, the greatest King of Mauryan Empire, settled on this hill in 3rd century BC, along with his Guru Bhagwan Bhadra Bahu Swami, after renouncing his kingdom. Bhadra Bahu was the greatest propagator of Jain faith in the South.

Swamiji releasing Jaya Gommatesha

These excerpts are reproduced from Bal Patil’s  book JAYA GOMMATESA (Published by Hindi Granth Karyalay, Mumbai)  2006 , now reprinted as Jainism: an Eternal Pilgrimage.) and the release of the publication by Sri Jagadguru Charukirti Bhattaraka of Sravana Belagola, head of the Sravana Belgola Math on the occasion of the first Mahamastakabhisheka of Gommatesvara on 13th February, 2006.