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Subject: History

  • Heritage conservation

    heritage Context

    • Despite all the public talk of the importance of conserving our national heritage, the budget of the ASI, the primary institutional guardian of monuments, in 2021-22 has been reduced by more than Rs 200 cr.

    How do you define heritage?

    • Heritage is the full range of our inherited traditions, monuments, objects, and culture. Most important, it is the range of contemporary activities, meanings, and behaviours that we draw from them.

    Threats to Indian Heritage

    • Theft: The incidents of thefts have been observed usually from unprotected monuments, ancient temples. The thefts cases have also been seen in the protected monuments and museums as well. It is due to negligence of security guards in museums, monuments etc.
    • Smuggling: illicit traffic and smuggling in antiquities. Illicit traffic is motivated often by profit and sometimes by the demand for luxuries.
    • Tourism: Unregulated tourism, tourist activities run by touts, private agents have affected the art heritage places. The Culture Ministry of India has reported that up to 24 Indian monuments have been declared “untraceable” or “missing” by the Archaeological Survey of India (ASI).
    • Issues with security of museums: Most of the museums are poorly guarded due to shortage of manpower leading to theft of artifacts, fire accidents etc.
    • Duplication: Fakes paintings and art forms leading to threat to livelihoods of artists.
    • Poor Maintenance: The state of the wall paintings in Ajanta caves is continuously getting worse, which can be attributed to humidity as well as to a lack of care.
    • Encroachment on monuments: Another miss from the ministry has been encroachments of monuments. Over 278 centrally protected monuments have been encroached upon or have illegal occupants, as per government data.

    heritage Why should we protect our heritage?

    • Evolution of human consciousness is a continuous process: History here serves as a laboratory and the past serves as a demarcation to understand the regional laws and social structures. This understanding helps in our progress towards an ideal society.
    • Pride of country: The art heritage is the identity and pride of our country. It is duty of every citizen to protect, preserve and perpetuate the cultural richness.
    • Tourism potential: for art monuments and museums is very high. Tourism generates revenue for the state as well as private artists due to the money-multiplier quality.
    • Infrastructure development: takes place in and around the areas. Eg. Hampi despite being a small town has excellent infrastructure.
    • Jobs: It creates jobs for a lot of people from art industry and tourism industry as well
    • Sense of belonging: It creates a feeling of oneness and a sense of attachment by enhancing a sense of belonging to a culture or a region.
    • Strengthen conviction: Every historical site has an important story to tell and these stories have inspired many people to strengthen their convictions and commitment to fight injustice and oppression.
    • Soft power: Art and culture is also a part of soft power in world politics.

    About Archaeological Survey of India (ASI)

    • The ASI is an attached office of the Ministry of Culture.
    • It was founded in 1861 by Alexander Cunningham who also became its first Director-General.
    • Under the provisions of the AMASR Act of 1958, the ASI administers more than 3650 ancient monuments, archaeological sites and remains of national importance.
    • These can include everything from temples, mosques, churches, tombs, and cemeteries to palaces, forts, step-wells, and rock-cut caves.

    Initiatives by ASI

    • Museums: ASI’s museums are customarily located right next to the sites that their inventories are associated with “so that they may be studied amid their natural surroundings and not lose focus by being transported”. A dedicated Museums Branch maintains a total of 44 museums spread across the country.
    • Publications by ASI: Epigraphia Indica, Ancient India, Indian Archaeology: A Review (Annually).
    • Library: Central Archaeological Library in the National Archives building in Janpath, New Delhi.

    Issues and Challenges ahead of ASI

    • To restore or not: Issue is that technically speaking- ruins are seldom “restored” in original state. This is because in absence of documentation- archaeologists are left to conjecture what buildings may have looked like when they were originally built.
    • Personnel Management Issues: Higher Authorities of ASI are traditionally from IAS Cadre. In-house specialist must be promoted for better coordination b/w technical and managerial aspects of restoration
    • Issues explored in CAG Report: 92 monuments are untraceable with no database on artifacts. Poor Documentation of Protected Monuments/Artifacts. Paucity of funds (Eg- Red fort gardens lie unkempt).

    Conclusion

    • It is the duty of every citizen to value and preserve the rich heritage of our composite culture. Preservation and conservation of India’s rich cultural heritage and promotion of all forms of art and culture, both tangible and intangible, is essential and assumes a lot of importance.

    Mains question

    Q. Safeguarding the Indian heritage is the need of the moment. What are the challenges faced in safeguarding them? What steps would you suggest to protect them?

     

     

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  • Manusmriti: the controversial ancient Sanskrit text

    The Vice Chancellor of a renowned university recently criticized the Manusmriti, the ancient Sanskrit text, over its gender bias.

    What is the news?

    • The VC said that the Manusmriti has categorised all women as shudras, which is extraordinarily regressive.

    What is Manusmriti?

    • The Mānavadharmaśāstra, also known as Manusmriti or the Laws of Manu, is a Sanskrit text belonging to the Dharmaśāstra literary tradition of Hinduism.
    • Composed sometime between the 2nd century BCE and 3rd century CE, the Manusmriti is written in sloka verses, containing two non-rhyming lines of 16 syllabus each.
    • The text is attributed to the mythical figure of Manu, considered to be ancestor of the human race in Hinduism.
    • There has been considerable debate between scholars on the authorship of the text.
    • Many have argued that it was compiled by many Brahmin scholars over a period of time.
    • However, Indologist Patrick Olivelle argues that Manusmṛiti’s “unique and symmetrical structure,” means that it was composed by a “single gifted individual,” or by a “strong chairman of a committee” with the aid of others.

    What is the text about?

    (A) Social aspects

    • The Manusmriti is encyclopaedic in scope, covering subjects such as the social obligations and duties of the various castes and of individuals in different stages of life.
    • It seeks to govern the suitable social and sexual relations of men and women of different castes, on taxes, the rules for kingship, on maintaining marital harmony and the procedures for settling everyday disputes.
    • At its core, the Manusmriti discusses life in the world, how it is lived in reality, as well as how it ought to be.

    (B) Political aspects

    • They argue that the text is about dharma, which means duty, religion, law and practice.
    • It also discusses aspects of the Arthashashtra, such as issues relating to statecraft and legal procedures.
    • The aim of the text is to present a blueprint for a properly ordered society under the sovereignty of the king and the guidance of Brahmins.
    • It was meant to be read by the priestly caste and Olivelle argues that it would likely have been part of the curriculum for young Brahmin scholars at colleges.

    What is its significance?

    • By the early centuries of the Common Era, Manu had become, and remained, the standard source of authority in the orthodox tradition for that centrepiece of Hinduism, varṇāśrama-dharma (social and religious duties tied to class and stage of life)”.
    • Indologists argue that it was a very significant text for Brahmin scholars — it attracted 9 commentaries by other writers of the tradition, and was cited by other ancient Indian texts far more frequently than other dharmaśāstra.

    How did colonists consider this text?

    • European Orientalists considered the Manusmṛiti to be of great historical and religious significance as well. It was the first Sanskrit text to be translated into a European language, by the British philologist Sir William Jones in 1794.
    • Subsequently, it was translated into French, German, Portuguese and Russian, before being included in Max Muller’s edited volume, Sacred Books of the East in 1886.
    • For colonial officials in British India, the translation of the book served a practical purpose.
    • In 1772, Governor-General Warren Hastings decided to implement laws of Hindus and Muslims that they believed to be “continued, unchanged from remotest antiquity.
    • For Hindus, the dharmasastras were to play a crucial role, as they were seen by the British as ‘laws,’ whether or not it was even used that way in India.

    Why is it controversial?

    • The ancient text has 4 major divisions: 1) Creation of the world. 2) Sources of dharma. 3) The dharma of the four social classes. 4) Law of karma, rebirth, and final liberation.
    • The third section is the longest and most important section.
    • The text is deeply concerned with maintaining the hierarchy of the four-fold varna system and the rules that each caste has to follow.
    • Then, the Brahmin is assumed to be the perfect representative of the human race.
    • While Shudras, who are relegated to the bottom of the order, are given the sole duty of serving the ‘upper’ castes.
    • Some verses also contain highly prejudicial sentiments against women on the basis of their birth.
    • There are many verses in the text that are considered highly controversial.

    Dr. Ambedkar and Manusmriti

    • On December 25, 1927, Dr B R Ambedkar had famously burned the Manusmṛiti, which he saw as a source of gender and caste oppression.
    • However, he widely acknowledged that Manusmriti is NOT a religious decree but a social doctrine, manipulated since centuries to normalize oppression of the population.

     

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  • Artforms in news: Yakshagana dance

    This newscard is an excerpt of the original article published in TH.

    What is Yakshagana?

    • Yakshagana is a traditional theater, developed in Dakshina Kannada, Udupi, Uttara Kannada, Shimoga and western parts of Chikmagalur districts, in the state of Karnataka and in Kasaragod district in Kerala.
    • It emerged in the Vijayanagara Empire and was performed by Jakkula Varu.
    • It combines dance, music, dialogue, costume, make-up, and stage techniques with a unique style and form.
    • Towards the south from Dakshina Kannada to Kasaragod of Tulu Nadu region, the form of Yakshagana is called as ‘Thenku thittu’ and towards north from Udupi up to Uttara Kannada it’s called as ‘Badaga Thittu‘.
    • It is sometimes simply called “Aata” or āṭa (meaning “the play”). Yakshagana is traditionally presented from dusk to dawn.
    • Its stories are drawn from Ramayana, Mahabharata, Bhagavata and other epics from both Hindu and Jain and other ancient Indic traditions.

    Try this question from CSP 2017:

    Q.With reference to Manipuri Sankirtana, consider the following statements:

    1. It is a song and dance performance.
    2. Cymbals are the only musical instruments used in the performance.
    3. It is performed to narrate the life and deeds of Lord Krishna.

    Which of the statements given above is/are correct?

    (a) 1, 2 and 3.

    (b) 1 and 3 only

    (c) 2 and 3 only

    (d) 1 only

     

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  • What is ‘Mandala’ in Art?

    Some residents of Liverpool in the UK are marveling over a mandala art the size of one and a half football pitches in length created by artist James Brunt with materials such as leaves and rocks.

    What is Mandala Art?

    • Literally meaning “circle” or “centre” in Sanskrit, a mandala art is defined by a geometric configuration that usually incorporates the circular shape in some form.
    • Mandala patterns are a centuries-old motif that are used to depict the cosmos, and have been adapted by artists the world over, each of whom have added their own interpretation and painted it as their own.
    • While it can also be created in the shape of a square, a mandala pattern is essentially interconnected.

    Its origin

    • It is believed to be rooted in Buddhism, appearing in the first century BC in India.
    • In Hinduism, the mandala imagery first appeared in Rig Veda (1500 – 500 BCE).
    • Over the next couple centuries, Buddhist missionaries travelling along the Silk Road took it to other regions.
    • By the sixth century, mandalas have been recorded in China, Korea, Japan, Indonesia and Tibet.

    The meaning of the motif

    • It is believed that by entering the mandala and moving towards its center, one is guided through the cosmic process of transforming the universe .
    • It depicts transition from one of suffering to that of joy.
    • A traditional Buddhist mandala, a circular painting drawn with coloured sand, aided in meditation, with the main objective of aiding its creator to discover their true self.
    • In Hinduism, a mandala or yantra is in the shape of a square with a circle at its center.
    • There are various elements incorporated within the mandala, each of which has its own meaning.
    • For instance, the eight spokes of the wheel (the dharmachakra) represent the eightfold path of Buddhism, the lotus flower depicts balance, and the sun represents the universe.
    • Facing up, triangles represent action and energy, and facing down, they represent creativity and knowledge.

    Mandala in modern Indian art

    • Deep-rooted in ancient philosophy, the mandala has attained varied forms in the hands of modern and contemporary Indian artists.
    • While it continues to appear in thangka paintings, it has a central place in the practice of mainstream artists associated with the tantric and neo-tantric spiritual movements.
    • Choosing to transition from the more figurative depictions of the previous generations of Indian artists, in the 1960s Sohan Qadri and Prafulla Mohanty gained widespread recognition for their works.
    • Their work is imbibed in tantric symbolism, such as mandalas that are also used in the rituals of tantric initiation.
    • Geometric compositions also dominated works of artists such as Biren De, GR Santosh, Shobha Broota, and famously SH Raza, who visualised the bindu as the center of his universe and the source of energy and life.

     

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  • Har Ghar Tiranga Campaign

    The Centre is set to launch a large-scale campaign to encourage Indians to fly the National Fag at their homes to mark the 75th Independence Day under the Har Ghar Tiranga Campaign.

    Also, August 2 marks 146th birth anniversary of Pingali Venkayya, the designer of Pingali Venkayya.

    Har Ghar Tiranga

    • ‘Har Ghar Tiranga’ is a campaign under the aegis of Azadi Ka Amrit Mahotsav to encourage people to bring the Tiranga home and to hoist it to mark the 75th year of India’s independence.
    • The campaign aims to have citizens hoisting our National Flag in their homes between August 13 and 15.

    Why such move?

    • Our relationship with the flag has always been more formal and institutional than personal.
    • Bringing the flag home collectively as a nation in the 75th year of independence thus becomes a symbolic act of personal connection to the Tiranga.
    • The idea behind the initiative is to invoke the feeling of patriotism in the hearts of the people and to promote awareness about the National Flag.

    Story of our National Flag

    • On July 22, 1947, the Constituent Assembly adopted our National Flag.
    • The flag that was finally chosen underwent several changes since it was originally designed by Pingali Venkayya in 1923.
    • Venkayya was not just the architect of the flag but also a freedom fighter.
    • He was known as Jhanda Venkayya as he published a book in 1916 on 30 designs for the Indian flag.
    • August 2 marks his 146th birth anniversary and citizens across this country will now know more of his contributions in designing the flag that we have today.

    How this was made possible?

    • First, the Flag Code was changed to make the flag more accessible and thus give every Indian the unique opportunity to hoist the flag at their homes.
    • Subsequently, the government has taken various steps to ensure the supply of flags across the country.
    • Flags are now available in all post offices in the country.
    • State governments have tied up with various stakeholders for the supply of flags.
    • The flag will be available on the government’s e-market marketplace (GEM) portal, on e-commerce portals, and with various self-help groups (SHGs).

    What is the Flag Code of India?

    • The Flag Code of India is a set of laws, practices and conventions that apply to the display of the national flag of India.
    • The Code took effect from 26 January 2002 and superseded the “Flag Code-India” as it existed earlier.
    • It permits the unrestricted display of the tricolour, consistent with the honour and dignity of the flag.

    The Flag Code of India has been divided into three parts:-

    • First Part: General Description of the National Flag.
    • Second Part: Display of the National Flag by members of public, private Organisations & educational institutions etc.
    • Third Part: Display of National Flag by Union or State Governments and their organisations and agencies.

    Disposing of the national flag

    • A/c to the Flag Code, such paper flags are not to be discarded or thrown on the ground after the event.
    • Such flags are to be disposed of, in private, consistent with the dignity of the flag.

    Do you know?: Hoisting the national flag is a fundamental right

    • The bench headed by Chief Justice of India V. N. Khare said that under Article 19(1)(a) of the Constitution of India, citizens had the fundamental right to fly the national flag on their premises throughout the year.
    • However, it provided that the premises do not undermine the dignity of the national flag.

    About Prevention of Insults to National Honour Act

    • The law, enacted on December 23, 1971, penalizes the desecration of or insult to Indian national symbols, such as the National Flag, the Constitution, the National Anthem, and the Indian map, as well as contempt of the Constitution of India.
    • Section 2 of the Act deals with insults to the Indian National Flag and the Constitution of India.

    Do you know?

    Article 51 ‘A’ contained in Part IV A i.e. Fundamental Duties asks:

    To abide by the constitution and respect its ideals and institutions, the National Flag and the National Anthem in clause (a).

    Back2Basics: Story of our National Flag

    (1) Public display for the first time

    • Arguably the first national flag of India is said to have been hoisted on August 7, 1906, in Kolkata at the Parsee Bagan Square (Green Park).
    • It comprised three horizontal stripes of red, yellow and green, with Vande Mataram written in the middle.
    • Believed to have been designed by freedom activists Sachindra Prasad Bose and Hemchandra Kanungo, the red stripe on the flag had symbols of the sun and a crescent moon, and the green strip had eight half-open lotuses.

    (2) In Germany

    • In 1907, Madame Cama and her group of exiled revolutionaries hoisted an Indian flag in Germany in 1907 — this was the first Indian flag to be hoisted in a foreign land.

    (3) During the Home Rule Movement

    • In 1917, Dr Annie Besant and Lokmanya Tilak adopted a new flag as part of the Home Rule Movement.
    • It had five alternate red and four green horizontal stripes, and seven stars in the saptarishi configuration.
    • A white crescent and star occupied one top corner, and the other had Union Jack.

    (4) Final version by Pingali Venkayya

    • The design of the present-day Indian tricolour is largely attributed to Pingali Venkayya, an Indian freedom fighter.
    • He reportedly first met Mahatma Gandhi in South Africa during the second Anglo-Boer War (1899-1902), when he was posted there as part of the British Indian Army.
    • Years of research went into designing the national flag. In 1916, he even published a book with possible designs of Indian flags.
    • At the All India Congress Committee in Bezwada in 1921, Venkayya again met Gandhi and proposed a basic design of the flag, consisting of two red and green bands to symbolise the two major communities, Hindus and Muslims.

    (5) During Constituent Assembly

    • On July 22, 1947, when members of the Constituent Assembly of India, the first item on the agenda was reportedly a motion by Pandit Nehru, about adopting a national flag for free India.
    • It was proposed that “the National Flag of India shall be horizontal tricolour of deep saffron (Kesari), white and dark green in equal proportion.”
    • The white band was to have a wheel in navy blue (the charkha being replaced by the chakra), which appears on the abacus of the Sarnath Lion Capital of Ashoka.

     

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  • Who was Raja Ravi Varma?

    Ahead of the 175th birth anniversary fete of the legendary artist Raja Ravi Varma, erstwhile royal family of Kilimanoor has urged the Union government to posthumously confer the Bharat Ratna, the country’s highest civilian award, on him.

    Raja Ravi Varma

    • Raja Ravi Varma was born in April 1848 in Kilimanoor, Kerala, to a family which was very close to the royals of Travancore.
    • Often referred to as the father of modern Indian art, he is widely known for his realistic portrayal of Indian gods and goddesses.
    • While he majorly painted for the royalty, he is also credited for taking art to the masses with his prints and oleographs.
    • At a young age, he would draw animals and everyday scenes on the walls in indigenous colours made from natural materials such as leaves, flowers and soil.
    • His uncle, Raja Raja Varma, noticed this and encouraged his talent.
    • Patronised by Ayilyam Thirunal, the then ruler of Travancore, he learnt watercolour painting from the royal painter Ramaswamy Naidu, and later trained in oil painting from Dutch artist Theodore Jensen.

    How he become an artist of the royals?

    • Varma became a much sought-after artist for the aristocrats and was commissioned several portraits in late 19th century.
    • Arguably, at one point, he became so popular that the Kilimanoor Palace in Kerala opened a post office due to the sheer number of painting requests that would come in for him.
    • He travelled across India extensively, for work and inspiration.

    Fame as a notable painter

    • Following a portrait of Maharaja Sayajirao of Baroda, he has commissioned 14 Puranic paintings for the Durbar Hall of the new Lakshmi Vilas Palace at Baroda.
    • Depicting Indian culture, Varma borrowed from episodes of Mahabharata and Ramayana for the same.
    • He also received patronage from numerous other rulers, including the Maharaja of Mysore and Maharaja of Udaipur.
    • As his popularity soared, the artist won an award for an exhibition of his paintings at Vienna in 1873.
    • He was also awarded three gold medals at the World’s Columbian Exposition in Chicago in 1893.

    Nature of his artforms

    • Much of his celebrated art also borrows heavily from Indian mythology.
    • In fact, he is often credited with defining the images of Indian gods and goddesses through his relatable and more realistic portrayals often painted with humans as models.
    • The depictions include Lakshmi as the goddess of wealth, Saraswati as the goddess of knowledge and wisdom, and Lord Vishnu with his consorts, Maya and Lakshmi.

    How he took Indian art to the masses?

    • Raja Ravi Varma aspired to take his art to the masses and the intent led him to open a Lithographic Press in Bombay in 1894.
    • The idea, reportedly, came from Sir T Madhava Rao, former Dewan of Travancore and later Baroda, in a letter where he pointed out to Varma that since it was impossible for him to meet the large demand for his work, it would be ideal for him to send some of his select works to Europe and have them produced as oleographs.
    • Varma, instead, chose to establish a printing press of his own.
    • The first picture printed at Varma’s press was reportedly The Birth of Shakuntala, followed by numerous mythological figures and saints such as Adi Shankaracharya.

    Major works

    • It is believed that he had made around 7,000 paintings before his death at the age of 58.
    • But only one painting is now left in ‘Chithrashala,’ the artist’s studio at Kilimanoor Palace — an unfinished portrait of ‘Parsi lady’ which was his last work.
    • Some of his popular works include ‘Lady in the Moonlight’, ‘Nair Lady Adorning Her Hair’, ‘Malabar Lady with Violin’, ‘Lady with Swarbat’, and ‘Maharashtrian Lady with Fruits’.

    Try this PYQ:

     

    There are only two known examples of cave paintings of the Gupta period in ancient India. One of these is paintings of Ajanta caves. Where is the other surviving example of Gupta paintings?

    (a) Bagh caves

    (b) Ellora caves

    (c) Lomas Rishi cave

    (d) Nasik caves

     

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    Back2Basics: Bharat Ratna

    • Bharat Ratna – ‘Jewel of India’ is the highest civilian award of the country.
    • It is conferred for exceptional Service to the nation in various fields such as Science arts, literature and recognition of public service of the highest order.
    • The award can be granted posthumously and since its establishment, seven awards were granted posthumously.
    • The award was established by formal President of India Rajendra Prasad on 2nd January 1954.
    • The concept of awarding this award posthumously was not there in the original statute declared in January 1954.
    • Provision to award posthumously was finally added in January 1966 statute of this prestigious award.
    • The medallion is cast in Bronze.
    • The medallion is designed like the leaf of a pipal tree with a sunburst in the centre and Bharat Ratna is engraved underneath it.

     

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  • Anayoottu Ritual of Kerala

    Anayoottu, an annual ritual at the Sree Vadakkunnathan Temple, Thrissur was recently held.

    Why in news?

    • There is a history behind this annual ritual at the temple.
    • Kerala’s elephant pooram was selected, along with other cultural forms of the country, for display at the opening ceremony of the Asian Games held in Delhi in 1982.
    • Elephants were transported all throughout the country to New Delhi.

    What is Anayoottu?

    • The Aanayoottu (gaja pooja/ feeding of elephants) is a festival held in the precincts of the Vadakkunnathan temple in City of Thrissur, in Kerala.
    • The festival falls on the first day of the month of Karkkidakam (timed against the Malayalam calendar), which coincides with the month of July.
    • It involves a number of unadorned elephants being positioned amid a multitude of people for being worshipped and fed.
    • Crowds throng the temple to feed the elephants.

    Mythology behind

    • It is believed that offering poojas and delicious feed to the elephants is a way to satisfy Lord Ganesha—the god of wealth and of the fulfillment of wishes.
    • The Vadakkunnathan temple, which is considered to be one of the oldest Shiva temples in southern India, has hosted the Aanayottoo event for the past few years.

     

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  • In news: National Emblem of India

    A day after the National Emblem cast on top of the under-construction Parliament unveiled, controversy has erupted over its aggressive posture.

    National Emblem of India

    • On 26 January 1950, a representation of the Lion Capital of Ashoka placed above the motto, Satyameva Jayate, was adopted as the State Emblem of India.
    • The emblem is an adaptation of the Lion Capital of Ashoka, an ancient sculpture dating back to 280 BCE during the reign of the Maurya Empire.
    • It was originally made of Chunar sandstone.
    • The statue is a three-dimensional emblem showing four lions.

    Features of the emblem

    • The actual Sarnath capital features four Asiatic lions standing back to back, symbolizing power, courage, confidence, and pride, mounted on a circular base.
    • At the bottom is a horse and a bull, and at its center is a Dharma chakra.
    • The abacus is girded with a frieze of sculptures in high relief of The Lion of the North,
    • The Horse of the West, The Bull of the South, and The Elephant of the East, separated by intervening wheels, over a lotus in full bloom, exemplify the fountainhead of life and creative inspiration.
    • Carved from a single block of sandstone, the polished capital is crowned by the Wheel of the Law.

    Historical significance

    • One of the Buddha’s names is ‘Shakya Simha’, meaning ‘Lion of the Shakyas’.
    • The Buddha’s first sermon at Sarnath was known as the ‘Simhanada’ (Lion roar) of the Buddha.

     

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  • Sannati and Kanaganahalli Buddhist Sites

    Left almost unattended to for 20 years after excavation, the ancient Buddhist site on the bank of Bhima river near Kanaganahalli (forming part of Sannati site) in Kalaburagi district, has finally got some attention.

    About Sannati

    • Sannati is a small village on the banks of the River Bhima in Chittapur Taluka of Kalaburagi (Gulbarga).
    • It came into prominence after the collapse of the roof of the Kali temple in Chandralamba temple complex in 1986.
    • The collapse revealed the historically valuable Ashokan edicts written in Prakrit language and Brahmi script at the foundations of the temple, attracting historians from across India.
    • While the Stupa is believed to be one of the largest of its time.
    • The stone-portrait is considered to be the only surviving image of the Mauryan Emperor which had the inscription ‘Raya Asoko’ in Brahmi on it.

    Significance of Sannati

    • Further revelations led to the discovery of the magnificent Maha Stupa, which had been referred to as Adholoka Maha-Chaitya (The Great Stupa of the Netherworlds) in the inscriptions.
    • More importantly, a sculpture-portrait of Ashoka seated on his throne with his queens was also discovered.
    • Historians believe that the Sannati Ranamandal (war zone) was a fortified area spread over 210 acres, of which only a couple of acres have been excavated so far.

    Try this PYQ:

    In which of the following relief sculpture inscriptions is ‘Ranyo Ashokan’ (King Ashoka) mentioned along with the stone portrait of Ashoka?

    (a) Kanganahalli

    (b) Sanchi

    (c) Shahbazgarhi

    (d) Sohgaura

     

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  • Festivals in news: Puri Rath Yatra

    Lakhs of devotees thronged the coastal town of Puri town to witness the annual Rath Yatra with three decorated chariots of sibling deities Lord Balabhadra, Lord Jagannath and Devi Subhadra towed in front of the 12th century Shree Jagannath Temple.

    About Jagannath Rath Yatra

    • Ratha Jatra, the Festival of Chariots of Lord Jagannatha is celebrated every year at Puri, the temple town in Orissa, on the east coast of India.
    • It involves a public procession with a chariot with deities Jagannath (Vishnu avatar), BalaBhadra (his brother), Subhadra (his sister) and Sudarshana Chakra (his weapon) on a ratha, a wooden deula-shaped chariot.
    • The huge, colourfully decorated chariots, are drawn by hundreds and thousands of devotees on the bada danda, the grand avenue to the Gundicha temple, some two miles away to the North.
    • It attracts over a million Hindu pilgrims who join the procession each year.

    Back2Basics: Puri Temple Architecture

    • Jagannath Temple is a very big temple and covers an area of 37000m2. The height of the outer wall is 6.1m.
    • It is surrounded by a high fortified wall 6.1 m high is known as Meghanada Pacheri.
    • The main portion of the temple is also surrounded by a wall known as Kurma Bheda.
    • The temple is built in Rekha Deula style and has four distinct sectional structures, namely –
    1. Deula, Vimana or Garba griha (Sanctum sanctorum) where the triad deities are lodged on the ratnavedi (Throne of Pearls)
    2. Mukhashala (Frontal porch)
    3. Nata mandir/Natamandapa, which is also known as the Jagamohan (Audience Hall/Dancing Hall), and
    4. Bhoga Mandapa (Offerings Hall)

    Try this question from CSP 2019:

    Q.Building ‘Kalyaana Mandapas’ was a notable feature in the temple construction in the kingdom of-

    (a) Chalukya (b) Chandela (c) Rashtrakuta (d) Vijayanagara

     

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