Subject: History

Central Idea

• Former Vice-President M. Venkaiah Naidu, actors Chiranjeevi and Vyjayanthimala Bali, and Bharatanatyam dancer Padma Subrahmanyam will be conferred with Padma Vibhushan, the country’s second-highest civilian award, the Central government announced on the eve of Republic Day.
• Bindeshwar Pathak, founder of Sulabh International, will be conferred with the award posthumously.

About Padma Award

• The Padma Awards are among India’s most prestigious civilian honors, announced annually on Republic Day’s eve, following the Bharat Ratna.
• These awards are designed to recognize outstanding achievements across various fields and disciplines, particularly those involving public service.
• The Government of India introduced the Bharat Ratna and Padma Vibhushan in 1954.
• Initially, the Padma Vibhushan had three classes: Pahela Varg, Dusra Varg, and Tisra Varg, which were renamed in 1955 as Padma Vibhushan, Padma Bhushan, and Padma Shri, respectively.

Award Categories

There are three categories of Padma Awards:

1. Padma Vibhushan: This is awarded for ‘exceptional and distinguished service.’
2. Padma Bhushan: This is for ‘distinguished service of a high order.’
3. Padma Shri: This is given for ‘distinguished service.’

Eligibility Criteria

• The awards are open to all individuals regardless of race, occupation, position, or gender.
• Government employees, except doctors and scientists, are generally ineligible.
• The awards are usually not given posthumously, but exceptions can be made in extraordinary cases.
• A recipient can be considered for a higher category of Padma award only if at least five years have passed since their previous Padma honor. However, exceptions can be made for exceptionally deserving cases.

Nomination Process

• Nominations are reviewed by the Padma Awards Committee, formed annually by the Prime Minister.
• The Committee, led by the Cabinet Secretary, includes the Home Secretary, Secretary to the President, and 4-6 distinguished members.
• The Committee’s recommendations are forwarded to the Prime Minister and the President for final approval.

Limitations

• The awards are not titles and cannot be used as prefixes or suffixes to the awardees’ names.
• The number of awards given annually (excluding posthumous awards and those to NRIs/foreigners/OCIs) is capped at 120.

Introduction

• The Indian Constitution, renowned as the world’s lengthiest written Constitution, is not just a legal document but a treasure trove of artistic richness.
• It features intricate hand-painted images and elaborate borders across all its 22 parts, making it the most visually appealing Constitution globally.

Narrative Scheme of Paintings

• Historical Representation: The paintings within the Constitution depict various periods in Indian history, from the Indus Valley civilization to the freedom struggle. Additionally, scenes from the epic tales of Ramayana and Mahabharata are featured.
• Geographical Diversity: These illustrations also capture India’s diverse geography, from the desert with marching camels to the grandeur of the Himalayas.

The Appointment of Artists

• Selection of Nandalal Bose: Nandalal Bose, a renowned artist and close associate of Mahatma Gandhi, was entrusted with the task of illustrating the Constitution in October 1949, just before the final session of the Constituent Assembly.
• Collaborative Effort: Bose collaborated with family members, students, and fellow artists, including Kripal Singh Shekhawat, A Perumal, and Direndrakrishna Deb Burman.
• Calligraphy: While the Constitution itself was handwritten by calligrapher Prem Behari Narain Raizada in a flowing italic style, the Hindi version’s calligraphy was masterfully crafted by Vasant Krishan Vaidya.

Notable Artistic Contributions

• Preamble and National Emblem: The Preamble page features intricate patterns sketched by Beohar Rammanohar Sinha and bears his signature, while Dinanath Bhargava sketched the National Emblem, the Lion Capital of Ashoka.
• Payment for Artists: Records suggest that the artists who painted the historical scenes were paid Rs 25 for each page.

Ideation of Artwork

• No Direct Correlation: Nandalal Bose’s artwork in the Constitution does not have a direct correlation with the text, as he did not illustrate the content of the Constitution itself. Instead, he crafted a visual narrative of India’s history as he envisioned it.
• Changes and Adjustments: A preliminary plan was drawn up for the artwork, which underwent changes with additions and deletions. For instance, a scene featuring ‘portraits of Akbar and Shahjahan with Mughal architecture’ was replaced with an image of Akbar.

Borrowing from History and Religion

• Diverse Representations: The artwork includes depictions of the Bull Seal from the Indus Valley region, scenes from the lives of hermits and ascetics, Buddha in meditation, Mahavir, sculptures from Mahabalipuram, and the descent of the Ganga to Earth.
• Incorporating Epics: Scenes from the Mahabharata and Ramayana are featured in the artwork, symbolizing India’s rich mythological heritage.
• Homage to Tagore: Three landscapes within the Constitution pay tribute to Nobel Laureate Rabindranath Tagore and his composition of the National Anthem, celebrating India’s diverse geographical landscapes.

Celebrating Monarchs and Freedom Fighters

• Emperor Ashoka: Part VII features Emperor Ashoka seated on an elephant, propagating Buddhism.
• King Vikramaditya and Tipu Sultan: Part IX showcases a scene from King Vikramaditya’s court, while Rani Lakshmibai of Jhansi shares the page with Tipu Sultan in Part XVI.
• Gandhi and Freedom Fighters: Mahatma Gandhi appears twice, leading the Dandi March and visiting Noakhali in Bangladesh. Subhas Chandra Bose is depicted saluting the flag with members of the Azad Hind Fauj.

Introduction

• The Gyanvapi Structure sin Varanasi has been the center of a longstanding controversy regarding its historical origin and the existence of a Hindu temple preceding its construction.
• The Archaeological Survey of India (ASI) has recently concluded that a Hindu temple indeed existed at the site before the mosque’s construction, relying on scientific studies, textual evidence, and historical accounts.

Gyanvapi: Historical Background

• Temple’s Existence: The ASI’s findings suggest that a substantial Hindu temple once stood adjacent to the Kashi Vishwanath temple, which is believed to have been demolished during the reign of Mughal Emperor Aurangzeb.
• Persian Chronicles: The primary source for this claim is Saqi Mustaid Khan’s Maasir-i-Alamgiri, a Persian chronicle written shortly after Aurangzeb died in 1707. It mentions Aurangzeb’s orders to destroy temples and schools of the “infidels.”
• Aurangzeb’s Policy: Historians interpret this as part of Aurangzeb’s broader policy against Hinduism, marked by the destruction of temples and discriminatory measures, such as customs duties.

Historical Interpretations

• Selective Targeting: Some historians argue that the 1669 decree was not a blanket order to destroy all temples but targeted institutions where certain teachings took place, especially in Benares (now Varanasi).
• Conflict with Shivaji: It is suggested that Aurangzeb ordered the destruction of the Kashi temple as retribution following Chhatrapati Shivaji’s escape from Mughal custody.
• Religious Cloth: The Gyanvapi Mosque incorporates a part of the ruined temple’s wall, possibly serving as a religious statement of the consequences of opposing Mughal authority.

Expert Opinions and Legal Implications

• ASI Report: The ASI’s extensive report provides expert evidence but can be contested in court during the ongoing legal battle.
• Witnesses and Cross-Examination: The civil suit involves witnesses from various fields, including historians, archaeologists, and religious experts, who will be cross-examined.
• Court Determination: The courts will decide whether the ASI report can be conclusively relied upon and assess the significance of the existence of a Hindu temple in determining the mosque’s religious character.

Legal and Constitutional Aspects

• Maintainability Issue: The preliminary issue of whether the suit can be filed depends on the fate of the Places of Worship Act, 1991, which aims to maintain the religious character of places of worship as of August 15, 1947.
• Relevance of ASI Report: The relevance of the ASI report could change significantly if the 1991 law is altered or struck down. Currently, the law is considered a fundamental feature of the Constitution, safeguarding secularism.
• Secularism and Non-Retrogression: The Places of Worship Act is seen as essential in upholding the principles of secularism and non-retrogression, core elements of India’s Constitution.

Conclusion

• The controversy surrounding the Gyanvapi Mosque underscores the complexities of historical interpretation and legal implications.
• The ASI’s findings, while significant, are part of an ongoing legal process, and the final determination will have far-reaching consequences on the historical narrative and religious character of the site.

Introduction

• A politician was recently denied entry to Assam’s Batadrava Than for his political campaigning.

About Batadrava Than

• Location: Situated in Nagaon district, Batadrava Than, also known as Bordowa Than, holds deep significance for Assamese Vaishnavites.
• Birthplace of Srimanta Sankardeva: It stands at the birthplace of Srimanta Sankardeva (1449-1568), a revered Vaishnavite reformer-saint.
• Founder of Kirtan Ghar: Sankardeva established the first-ever Kirtan Ghar at Bordowa in 1494 AD, where he practiced and preached the neo Vaishnavite faith.

Sankardeva’s Philosophy

• Ek Saran Naam Dharma: Sankardeva’s philosophy centered on worship through bhakti (devotion) to Lord Krishna, emphasizing the singing and congregational listening of His name and deeds.
• Society Based on Equality: He advocated for a society free from caste distinctions, orthodox Brahmanical rituals, and sacrifices, promoting equality and fraternity.
• Devotion over Idol Worship: Sankardeva’s teachings favored prayer and chanting (naam) over idol worship.
• Four Components of Dharma: His dharma was founded on four components: deva (god), naam (prayers), bhakats (devotees), and guru (teacher).

Legacy of Sankardeva’s Movement

• Monastic Institutions: Sankardeva’s Neo-Vaishnavite reformist movement led to the establishment of monastic institutions known as Thans/Sattras across Assam.
• Religious, Social, and Cultural Reforms: These Thans/Sattras became centers for religious, social, and cultural reforms in the 16th century.
• “Worship Through Art” Approach: Today, the Sattras propagate Sankardeva’s unique approach of “worship through art” with music (borgeet), dance (xattriya), and theater (bhauna).
• Nucleus of Naamghar: Each Sattra has a naamghar (worship hall) as its nucleus and is led by an influential “Sattradhikar.”

Political Significance and Controversies

• Assamese Identity: Thans/Sattras are integral to Assamese identity, and Batadrava Than is frequently visited by politicians.
• Electoral Issue: The government has highlighted “land grabbing around Sattras by illegal settlers” as an electoral issue.
• Proposed Land Law: The CM has announced plans for a law preventing “non-indigenous people” from buying land within an eight-kilometer radius of Batadrava Than.
• Beautification Project: Home Minister Amit Shah launched a Rs 188 crore beautification project at Batadrava Than in 2021.

Also read:

Assam’s Sattras and their Political Significance

Introduction

• In the remote colony of Kookanam, Kerala, the Chakaliya community faces a sobering reality—their unique language, Madhika, teeters on the brink of extinction.
• With no script to preserve it, Madhika is struggling for survival, and the last two speakers.

About Madhika Language

• A Linguistic Blend: Madhika may sound reminiscent of Kannada, but its influences run deeper, encompassing Telugu, Tulu, Kannada, and Malayalam.
• Endangered Heritage: The younger generation, drawn to mainstream languages like Malayalam, shows little interest in preserving Madhika, leading to its decline.

Chakaliya Community’s History

• Nomadic Origins: The Chakaliya community was once nomadic and worshippers of Thiruvenkatramana and Mariamma.
• Migration to Kerala: Centuries ago, they migrated from the hilly regions of Karnataka to northern Malabar in Kerala.
• Change in Status: Initially recognized as Scheduled Tribe, they were later included in the Scheduled Caste category in Kerala.
• Historical References: References to the Chakaliya community can be found in the book “Caste and Tribes of Southern India.”

Social Stigma and Its Impact

• Untouchability and Dehumanization: The Chakaliya community faced social stigma, including untouchability and exclusion from important feasts and ceremonies.
• Modern Disassociation: Many young and educated members of the community seek to disassociate themselves from the past, preferring to speak Malayalam over Madhika.

Also read about:

[pib] Scheme for Protection and Preservation of Endangered Languages of India (SPPEL)

Introduction

• The epic narrative of the Ramayana, cherished in India for millennia, has transcended its geographical boundaries to become a cherished tale worldwide.
• This enduring journey of the Ramayana highlights how the Indian diaspora, including traders, preachers, and indentured laborers, played a pivotal role in its global dissemination.

Ramayana’s Path across Asia

• The Ramayana embarked on its Asian voyage during the early centuries of the Common Era. It traversed three distinct routes:

1. Northern Route: From the regions of Punjab and Kashmir, the epic story ventured into China, Tibet, and East Turkestan overland.
2. Southern Route: Originating from Gujarat and South India, it sailed across seas to reach Java, Sumatra, and Malaya, making it a significant part of these cultures.
3. Eastern Route: Through the eastern overland route, the Ramayana entered Burma, Thailand, and Laos, reaching Vietnam and Cambodia via Java.

• This expansion was primarily attributed to Indian traders who embarked on their journeys for commerce, trading spices, gold, and aromatic wood.
• Many of these travelers eventually settled in these regions, contributing to the dissemination of Indian religion, culture, and philosophy.

Cultural Influence on Southeast Asia

• The Indian diaspora brought with them a profound influence on the native cultures of Southeast Asia.
• Brahmin priests, Buddhist monks, scholars, and adventurers played a crucial role in transmitting Indian traditions.
• Over time, the Ramayana became an integral part of these countries’ cultural fabric.

1. Thailand: The Ayutthaya kingdom drew inspiration from the Ramayana, with Ayutthaya itself resembling the mythical city of Ayodhya. The Ramayana remains Thailand’s national epic, profoundly influencing its culture and royalty.
2. Cambodia: The Angkor Wat temple complex, originally dedicated to Vishnu, features captivating murals narrating episodes from the Ramayana.

Contemporary Influence in Southeast Asia

• Even today, the Ramayana continues to hold a significant place in the cultures of Southeast Asian countries.
• Despite diverse dominant religions, ranging from Buddhism to Islam, the epic persists as a source of inspiration.

1. Thailand: The Ramakien, a Thai version of the Ramayana, is Thailand’s national epic, with rulers of the Chakri dynasty adopting names from the Ramayana.
2. Laos: The story of Phra Ram is considered the national epic, with unique interpretations reflecting Lao culture.

• Variations in these narratives often mirror local cultures and traditions, emphasizing the enduring appeal of the Ramayana across Southeast Asia.

Ramayana beyond Asia

• The 19th century witnessed another phase in the global dissemination of the Ramayana, propelled by the movement of indentured laborers, known as girmitiyas, from India to regions such as Fiji, Mauritius, Trinidad and Tobago, Guyana, and Suriname.
• These laborers carried with them the cultural heritage of India, prominently featuring Tulsidas’s Ramcharitmanas, an iconic religious text in North India.

Preservation amidst Adversity

• Girmitiya Migration: Indentured laborers, primarily from Uttar Pradesh and Bihar, were sent abroad to work on plantations after the abolition of slavery.
• Preservation of Culture: Despite their modest means, the girmitiyas preserved their culture and religion. The Ramcharitmanas became a symbol of their homeland in an unfamiliar land.
• Cultural Sustenance: The Ramayana offered solace and nostalgia, fostering a sense of belonging and connection to their roots.

Conclusion

• Remarkable journey of the Ramayana from India’s heartland to distant shores underscores the enduring power of storytelling, culture, and tradition.
• Whether in the ancient temples of Southeast Asia or the hearts of indentured laborers in faraway lands, the Ramayana continues to inspire and resonate, bridging the geographical gaps of our diverse world.

Introduction

• The upcoming inauguration of the Ram temple in Ayodhya designed by Chandrakant Sompura and his son Ashish in the Nagara style of temple architecture has piqued interest in the rich architectural heritage of India.

Emergence of Nagara Architecture

• Historical Context: Nagara architecture originated in northern India during the late Gupta period, around the 5th century CE.
• Contrasting Styles: It stands in contrast to the Dravida style prevalent in southern India, both evolving around the same period.

“Languages” of Architecture

• Debating Terminology: While commonly referred to as “styles,” Nagara and Dravida are more accurately described as “languages” of temple architecture.
• Architectural Vocabulary: Each language provides a unique vocabulary and a set of rules for assembling architectural elements.

Distinctive Features of Nagara Temples

• Raised Plinth: Nagara temples are built on elevated plinths, with the sanctum sanctorum (garbha griha) as the most sacred part.
• Towering Shikhara: The shikhara, or tower, is the hallmark of Nagara temples and symbolizes the natural and cosmological order in Hindu tradition.
• Circumambulatory Passage: A path encircles the garbha griha, allowing devotees to circumambulate the inner sanctum.
• Mandapas and Ornamentation: Nagara temples often feature multiple halls (mandapas) and intricate murals and reliefs on their walls.

Modes of Nagara Architecture

• Five Modes: Nagara architecture has evolved over time, leading to five distinctive modes: Valabhi, Phamsana, Latina, Shekhari, and Bhumija.
• Early Nagara Style: Valabhi and Phamsana are associated with the early Nagara style, resembling barrel-roofed structures and multi-eave towers.
• Dominance of Latina: Latina, a single curved tower with equal sides, reigned supreme for three centuries starting in the 7th century.
• Later Developments: Shekhari introduced attached sub-spires, while Bhumija featured miniature spires in horizontal and vertical rows, creating a grid-like effect.

Diversity within Modes

• Simplified Classifications: These modes are scholastic classifications, and actual temple architects didn’t consciously adhere to a particular mode.
• Variation Abounds: Temples often exhibit variations within these modes, with multiple shikharas atop a single structure.

Contrasting Dravida Architecture

• Vimana vs. Gopuram: In Dravida style temples, the vimana (tower) is smaller than the prominent gopurams (gatehouses).
• Boundary Walls: Dravida temples often feature boundary walls, a unique feature not commonly seen in Nagara style temple complexes.
• Ayodhya’s Unique Blend: Ayodhya’s Ram temple combines elements of both styles, featuring a boundary wall but not elaborate gopurams.