Monday, June 8, 2020

diff G.

The Mundaka Upanishad describes the ideal guru as one who is a Brahma Jnani who is also well-versed in the scriptures and is by nature tranquil and self-controlled. Such a guru is aware of the needs of students with differing tastes and capabilities and orients his teaching to equip each one of them to overcome the likely hurdles that may arise in the learning process, pointed out Sri R. Rajagopala Sarma in a discourse. The guru impresses on the student the value of the learning practices, sravana, listening, manana, recalling the teaching, and nidhidyasa, continuous introspection of what is taught. He draws from scriptures that anticipate the doubts that can be raised when learning esoteric truths and explain with apt examples to allay the misunderstanding

For instance, suppose one is trying hard to imbibe the Advaita bhavana. How can one forget the body or not respond to hunger and thirst, one may ask. Is it not clear that the three entities, Brahman, the atma and the jagat are distinct? How can anyone accept the jiva and Brahman as one? It is shown that when a jiva can conjure impossible objects and possibilities in dream state, what is not possible for the omnipotent, omnipresent and omniscient Brahman? One has to accept that in each state of waking, dream, etc, there are different levels of truth pertaining to that state. Examples such as those of the rope and serpent can clear the doubts.

Still another hurdle remains in the form of inherent avidya vasana that keeps one chained to wrong notions. This can also be dispelled by nidhidyasa, when one engages in deep reflection and meditation on the idea of “Aham Brahmasmi.” Just as cycle balance is gained by sheer practice, this conviction will also get assimilated by constant exposure to Vedanta.

Thirumoolar, in his Thirumantiram, talks of sages who worshipped Lord Siva, said R. Narayanan in a discourse. He mentions four sages — Sanaka, Sanatana, Sanandana and Sanatkumara. He mentions four others, too, who also became spiritual gurus. These four are Sivayoga muni, Vyagrapada, Patanajali, and Thirumoolar himself.

Thirumoolar was originally Sundaranatha. When a cowherd called Moolan died, Sundaranatha exited his body and entered Moolan’s body and became Thirumoolar, the saint. Thirumoolar acknowledges that all this happened because Lord Siva wanted Vedanta and the knowledge of the Agamas to reach everyone. Thirumoolar had seven disciples, and he gives their names — Malankan, Indiran, Soman, Brahman, Rudran, Kalangi and Kanjamalayan. Thirumoolar’s teachings were carried down from generation to generation. This is seen from one of Thayumanavar’s statements.

Thayumanavar’s guru was Mauna guru, and Thayumanavar says that Mauna guru followed the tradition of Thirumoolar. Thayumanavar lived in the 18th century. So clearly, Thirumoolar’s teachings had an impact that continued to extend for centuries, and the impact still continues. Thirumoolar says that Sanaka, Sanatana, Sanandana and Sanatkumara learnt about the greatness of Lord Siva, and they wanted to communicate it to everyone because they wanted everyone to have the joyful experience they had had. It is not enough if we have jnana. Imparting knowledge to others is important. Thirumoolar says Lord Siva has no desires. He is not subject to temptations. His good qualities are limitless, and cannot be described. He does not show His greatness to everyone. He reveals it only to a few. Thirumoolar again repeats the names of the sages who had this blessing.

Among the characters in the Mahabharata, we find men like Duryodhana who are ambitious, envious and unjust in their thoughts, words and deeds. We find characters like Sanjaya, whose very name means ‘he who has won in the right way.’ Sanjaya had conquered his indriyas and had acquired jnana. Among the most virtuous ranks Vidura. We must not hesitate to take the advice of a person, even if he does not have a high position. Vidura was the son of a servant maid, and yet he was virtuous, whereas Dhritarashtra, the king, was not, said Kidambi Narayanan in a discourse.

Vidura never swayed from the path of dharma, and Dhritarashtra turned to him for consolation. Dhritarashtra sent Sanjaya to the Pandavas, with a request that they avoid war. But because of the adamance of Duryodhana, it was clear that war was going to break out soon. Dhritarashtra knew the war would go against his sons, and he was worried. Moreover, when Sanjaya returned, an anxious Dhritarashtra asked him what Krishna and the Pandavas had said. But Sanjaya said he would tell about that in court the next day, in the presence of the ministers and elders. Dhritarashtra was sleepless, and sent for Vidura. He asked Vidura for advice.

In the Mahabharata, Vidura’s advice to Dhritarashtra is covered in 450 slokas, and it is advice not just for Dhritarashtra, but it is advice for all of us, and has validity at all times. Vidura adhered to dharma and so was qualified to offer counsel. In the Rama avatara, the Lord adhered to dharma. Mareecha said, “RamO vigrahavAn dharmah - Rama is the embodiment of dharma.” In the Krishna avatara which comes later, the Lord talks about dharma. So, the Lord shows us the importance of keeping to dharma, before we preach dharma to others.

There are four types of poets: Asu kavi — the spontaneous poet; madhura kavi — one whose verses are pleasing; vistaara kavi — one whose poetry is elaborate and chitra kavi — one whose words come together to form an image. Thirumangai Azhvar could compose in all four genres and was, therefore called Naalu kavi Perumal. His Thiruvezhukoottrirukkai, in praise of Lord Aravamudhan, the deity of Kumbakonam, falls in the category of ratha bandham, and it is because of this work that he is considered a chitra kavi. In this work, he uses words that represent numerals, to form a chariot. He uses the numerals in ascending and descending order to build the ratha of words. Thirumangai Azhvar’s ratha of words, can be represented in a figure as a ratha with seven decks. He cleverly describes and praises the auspicious qualities and amazing exploits of the Lord, while all the while using only words that refer to numerals from one to seven, said V.S. Karunakarachariar, in a discourse.

Often, he resorts to puns — the same word meaning a number but also meaning something else. In one case where he has to represent three, he talks of the three-fold fortification, which Ravana’s capital city of Lanka had. A capital city should ideally have three types of protections, to keep enemies at bay — a moat, hills and forests. Lanka is blessed in this respect, for instead of a moat, it has a sea, and of course, it has forests and hills too. When having to represent two, Thirumangai Azhvar says Rama’s arrow shot out of His bow, with the hiss of the forked tongue of a snake. Forked tongue can also be expressed as two tongued. Once, with His two feet, He measured the three worlds, and so on, using numerals up to seven, Thirumangai Azhvar’s work deals with philosophy, and also describes the Lord’s attributes.

Prabuddha is one of the nine yogisvaras who feature in Srimad Bhagavatam, said P.T. Seshadri in a discourse. King Nimi asks the yogisvaras for spiritual advice. Prabuddha says that in this world, people want to lead a comfortable life. They do not want to experience any difficulty. And so they begin to acquire wealth, so that they will not lack any comforts. But the very wealth which they seek so ardently, leads to sorrow. You have to work hard to get wealth. And this wealth eventually becomes the cause for the loss of a person’s peace of mind. His possessions and his relatives are all impermanent. While these do give him joy, the joy does not last. Being mindful of the results of his actions, a man may do a lot of deeds that will earn him punyas. But punyas only enable him to go to svarga, which is not a peaceful place, as we imagine. It is a place where he will witness quarrels between the devas. So, there is no true joy in svarga either. The only lasting joy comes from knowing about the Supreme One, says Prabuddha.

He tells Nimi that a person should find an Acharya, who will guide him. He must also serve the deity of his choice. He should have affection towards devotees of Lord Narayana. He should see God in all creatures. He should dress in simple clothes. He should not have a permanent dwelling place of his own. He should learn the Sastras and contemplate on what he has studied. He must have tolerance. He must observe a vow of silence. He must delight in hearing about God’s qualities and His avataras. He must meditate on Him, and spend his whole life in serving Him. He must perform yagas; he must give to the deserving; he must resort to penance. He must do japa. He must have good conduct. He must help God’s devotees, when they are in distress.
Prakarana granthas are aids to help beginners get initiated into Vedanta study which alone can equip one with the drive, means and practices to attain Brahma Jnana, said Sri R. Rajagopala Sarma in a discourse. This is the final goal that liberates one from the cycle of samsara, say the scriptures. They also show the difficulties in knowing/ realising/ attaining Brahman though He is all pervading, all knowing and all powerful. When caught in this world, the jivatma is mired in ignorance of the true values. Just as it is difficult to try to identify objects in dim light, the jivatma gropes to seek the eternal truth in this immediate world of change and sense perceptions which he considers as the reality. But even in this context, there is no guarantee that his observations and conclusions are true and valid since he has to deal with layers of misconceptions that can easily distort his opinion and judgment.

For instance, it is possible for one to mistake a rope for a snake in inadequate light and then experience fear and confusion about its presence until such time when with the help of light only the rope is seen. All along, there was no snake at all. This is the analogy quoted in scriptures to show that this universe and creation is the superimposition on Brahman. Lack of knowledge or partial knowledge makes one think of this world as the reality. But it is Brahman who has created this entire universe and is also present in each and every aspect of it. Brahman supports all of this and is the cause for its dissolution as well. Brahman alone is the eternal Truth and the jagat is a superimposition. The inner self in each being is of the nature of this Brahman. This is the Brahma Jnana that dispels ignorance and thereby gradually leads one into the path of liberation.

Sunday, June 7, 2020

A T mystery

https://photos.google.com/photo/AF1QipPMI2ba941lHSQSIX3y-OmfhBCD131Ka1mq-u6X

r

https://mail.google.com/mail/u/0?ui=2&ik=af663e1d81&attid=0.0&permmsgid=msg-f:1668824335345051110&th=1728dae424c4e5e6&view=att&disp=safe

Saturday, June 6, 2020

iron Pillar

The iron pillar of Delhi is a structure 23 feet 8 inches (7.2 metres) high with 16 inches diameter that was constructed by a "King Chandra", probably Chandragupta II (reigned c. 375-415 CE), and now stands in the Qutb complex at Mehrauli in Delhi, India. It is famous for the rust-resistant composition of the metals used in its construction. The pillar weighs over 3,000 kg (7,000 lb) and is thought to have been erected elsewhere, perhaps outside the Udayagiri Caves and moved to its present location early in the Delhi Sultanate.

The height of the pillar, from the top of its capital to the top of its base, is 7.21 m (23 ft 8 in), 1.12 m (3 ft 8 in) of which is below ground. Its bell pattern capital is 306 mm (12 in). It is estimated to weigh more than six tonnes (13,228 lb)

The pillar has attracted the attention of archaeologists and materials scientists because of its high resistance to corrosion and has been called a "testimony to the high level of skill achieved by the ancient Indian iron smiths in the extraction and processing of iron". The corrosion resistance results from an even layer of crystalline iron(III) hydrogen phosphate hydrate forming on the high-phosphorus-content iron, which serves to protect it from the effects of the Delhi climate.

The inscription covers an area of 2'9.5" × 10.5". The ancient writing is preserved well because of the corrosion-resistant iron on which it is engraved. However, during the engraving process, iron appears to have closed up over some of the strokes, making some of the letters imperfect.

It contains verses composed in Sanskrit language, in shardulvikridita metre. It is written in the eastern variety of the Gupta script. The letters vary from 0.3125" to 0.5" in size, and resemble closely to the letters on the Allahabad pillar inscription of Samudragupta. However, it had distinctive matras (diacritics), similar to the ones in the Bilsad inscription of Kumaragupta  While the edges of the characters on the Allahabad inscription are more curved, the ones on the Delhi inscription have more straight edges. This can be attributed to the fact that the Allahabad inscription was inscribed on softer sandstone, while the Delhi inscription is engraved on the harder material (iron).

The text has some unusual deviations from the standard Sanskrit spelling, such as:[10]

  • pranśu instead of praṃśu: the use of dental nasal instead of anusvara
  • mūrtyā instead of mūrttyā: omission of the second t
  • kīrtyā instead of kīrttyā: omission of the second t
  • śattru instead of śatru (enemy): an extra t

In 1831, the East India Company officer William Elliott made a facsimile of the inscription. Based on this facsimile, in 1834, James Prinsep published a lithograph in the Journal of the Royal Asiatic Society of Great Britain and Ireland. However, this lithograph did not represent every single word of the inscription correctly.Some years later, British engineer T. S. Burt made an ink impression of the inscription. Based on this, in 1838, Prinsep published an improved lithograph in the same journal, with his reading of the script and translation of the text.

Decades later, Bhagwan Lal Indraji made another copy of the inscription on a cloth. Based on this copy, Bhau Daji Lad published a revised text and translation in 1875, in Journal of the Bombay Branch of the Royal Asiatic Society. This reading was the first one to correctly mention the king's name as Chandra. In 1888, John Faithfull Fleet published a critical edition of the text in Corpus Inscriptionum Indicarum.

In 1945, Govardhan Rai Sharma dated the inscription to the first half of the 5th century CE, on paleographic grounds. He observed that its script was similar to the writing on other Gupta-era inscriptions, including the ones discovered at Bilsad (415 CE), Baigram (449 CE), and Kahanum (449 CE). R. Balasubramaniam (2005) noted that the characters of the Delhi inscription closely resembled the dated inscriptions of Chandragupta II, found at Udayagiri in Madhya Pradesh.

The inscription is undated, and contains a eulogy of a king named Chandra, whose dynasty it does not mention. The identity of this king, and thus the date of the pillar, has been the subject of much debate. The various viewpoints about the identity of the issuer were assembled and analyzed in a volume edited by M. C. Joshi and published in 1989.

The king is now generally identified with the Gupta King Chandragupta II.[19] This identification is based on several points:

  • The script and the poetic style of the inscription, which point to a date in the late fourth or early fifth century CE: the Gupta period.
  • The inscription describes the king as a devotee of the god Vishnu, and records the erection of a dhvaja ("standard", or pillar) of Vishnu, on a hill called Vishnupada ("hill of the footprint of Vishnu"). Other Gupta inscriptions also describe Chandragupta II as a Bhagavata (devotee of Vishnu). The names of the places mentioned in the inscription are also characteristic of the Gupta era. For example, Dakshina Jalanidhi (the Indian Ocean) and Vanga (the Bengal region).
  • The short name "Chandra" is inscribed on the archer-type gold coins of Chandragupta II, while his full name and titles appear in a separate, circular legend on the coin.
  • A royal seal of Chandragupta's wife Dhruvadevi contains the phrase Shri Vishnupada-svami Narayana ("Narayana, the lord of the illustrious Vishnupada").

As the inscription is a eulogy and states that the king has abandoned the earth, there has been some discussion as to whether it is posthumous, i.e. whether king Chandra was dead when the record was created. Dasharatha Sharma (1938) argued that it was non-posthumous. According to B. Chhabra and G. S. Gai, the inscription states that the king's mind is "fixed upon Vishnu with devotion", and therefore, indicates that the king was alive at the time. They theorize that it may have been recorded when Chandragupta II abdicated his throne, and settled down as a vanaprastha (retiree) in Vishnupada.

Following is the Roman script transliteration of the text:

Yasy odvarttayah-pratīpamurasā śattrun sametyāgatan Vańgeshvāhava varttinosbhilikhitā khadgena kīrttir bhuje
Tirtvā sapta mukhāni yena samare sindhor jjitā Vāhlikāyasyādya pyadhivāsyate jalanidhir vviryyānilair ddakshinah
Khinnasy eva visrijya gām narapater ggāmāśritasyaetrām mūr(t)yā karmma-jitāvanim gatavatah kīrt(t)yā sthitasyakshitau
Śāntasyeva mahāvane hutabhujo yasya pratāpo mahānnadhayā pyutsrijati pranāśista-ripor Yyatnasya śesahkshitim
Prāptena sva bhuj ārjitan cha suchiran ch aikādhirājayam kshitau chandrāhvena samagra chandra sadriśīm vaktra-śriyam bibhratā
Tenāyam pranidhāya bhūmipatinā bhāveva vishno (shnau) matim prānśurvisnupade girau bhagavato Vishnuordhidhvajah sthāpitah

 J. F. Fleet's 1888 translation is as follows:

(Verse 1) He, on whose arm fame was inscribed by the sword, when, in battle in the Vanga countries (Bengal), he kneaded (and turned) back with (his) breast the enemies who, uniting together, came against (him); – he, by whom, having crossed in warfare the seven mouths of the (river) Sindhu, the Vahlikas were conquered; – he, by the breezes of whose prowess the southern ocean is even still perfumed; –
(Verse 2) He, the remnant of the great zeal of whose energy, which utterly destroyed (his) enemies, like (the remnant of the great glowing heat) of a burned-out fire in a great forest, even now leaves not the earth; though he, the king, as if wearied, has quit this earth, and has gone to the other world, moving in (bodily) from to the land (of paradise) won by (the merit of his) actions, (but) remaining on (this) earth by (the memory of his) fame; –
(Verse 3) By him, the king, attained sole supreme sovereignty in the world, acquired by his own arm and (enjoyed) for a very long time; (and) who, having the name of Chandra, carried a beauty of countenance like (the beauty of) the full-moon,-having in faith fixed his mind upon (the god) Vishnu, this lofty standard of the divine Vishnu was set up on the hill (called) Vishnupada.

Due to the tablets installed on the building in 1903 by Pandit Banke Rai, the reading provided by him enjoys wide currency. However, Bankelal's reading and interpretation have been challenged by more recent scholarship. The inscription has been revisited by Michael Willis in his book Archaeology of Hindu Ritual, his special concern being the nature of the king's spiritual identity after death. His reading and translation of verse 2 is as follows:

[khi]nnasyeva visṛjya gāṃ narapater ggām āśritasyetarāṃ mūrtyā karrmajitāvaniṃ gatavataḥ kīrtyā sthitasya kṣitau [*|]
śāntasyeva mahāvane hutabhujo yasya pratāpo mahān nādyāpy utsṛjati praṇāśitaripor yyatnasya śeṣaḥ kṣitim [||*]


 The Sanskrit portion given above can be translated as follows:

The residue of the king's effort – a burning splendour which utterly destroyed his enemies – leaves not the earth even now, just like (the residual heat of) a burned-out conflagration in a great forest.
He, as if wearied, has abandoned this world, and resorted in actual form to the other world – a place won by the merit of his deeds – (and although) he has departed, he remains on earth through (the memory of his) fame (kīrti).

Willis concludes:

Candragupta may have passed away but the legacy of his achievement is so great that he seems to remain on earth by virtue of his fame. Emphasis is placed on Candragupta's conquest of enemies and the merit of his deeds, ideas which are also found in coin legends: kṣitim avajitya sucaritair divaṃ jayati vikramādityaḥ, i.e. "Having conquered the earth with good conduct, Vikramāditya conquered heaven". The king's conquest of heaven combined with the description of him resorting to the other world in bodily form (gām āśritasyetarāṃ mūrtyā), confirms our understanding of the worthy dead as autonomous theomorphic entities.


 

Samvat 1109 inscription[edit]

One short inscription on the pillar is associated with the Tomara king Anangpal, although it is hard to decipher. Alexander Cunningham (1862–63) read the inscription as follows:

Samvat Dihali 1109 Ang Pāl bahi [Translation:] In Samvat 1109 [1052 CE], Ang [Anang] Pāl peopled Dilli

Based on this reading, Cunningham theorized that Anangpal had moved the pillar to its current location while establishing the city of Delhi. However, his reading has been contested by the later scholars. Buddha Rashmi Mani (1997) read it as follows:[27]

Samvat Kinllī 1109 Angapala bādi [Translation:] Anangpal tightened the nail [iron pillar] in Samvat 1109


 While the pillar was certainly used as a trophy in building the Quwwat-ul-Islam mosque and the Qutb complex, its original location, whether on the site itself or from elsewhere, is debated.

According to the inscription of king Chandra, the pillar was erected at Vishnupadagiri (Vishnupada). J. F. Fleet (1898) identified this place with Mathura, because of its proximity to Delhi (the find spot of the inscription) and the city's reputation as a Vaishnavite pilgrimage centre. However, archaeological evidence indicates that during the Gupta period, Mathura was a major centre of Buddhism, although Vaishnavism may have existed there. Moreover, Mathura lies in plains, and only contains some small hillocks and mounds: there is no true giri (hill) in Mathura.

Based on paleographic similarity to the dated inscriptions from Udayagiri, the Gupta-era iconography, analysis of metallurgy and other evidence, Meera Dass and R. Balasubramaniam (2004) theorized that the iron pillar was originally erected at Udayagiri. According to them, the pillar, with a wheel or discus at the top, was originally located at the Udayagiri Caves. This conclusion was partly based on the fact that the inscription mentions Vishnupada-giri (IAST: Viṣṇupadagiri, meaning "hill with footprint of Viṣṇu"). This conclusion was endorsed and elaborated by Michael Willis in his Archaeology of Hindu Ritual, published in 2009. The key point in favour of placing the iron pillar at Udayagiri is that this site was closely associated with Chandragupta and the worship of Vishnu in the Gupta period. In addition, there are well-established traditions of mining and working iron in central India, documented particularly by the iron pillar at Dhar and local place names like Lohapura and Lohangī Pīr (see Vidisha). The king of Delhi, Iltutmish, is known to have attacked and sacked Vidisha in the thirteenth century and this would have given him an opportunity to remove the pillar as a trophy to Delhi, just as the Tughluq rulers brought Asokan pillars to Delhi in the 1300s.

Relocation.

It is not certain when the pillar was moved to Delhi from its original location. Alexander Cunningham attributed the relocation to the Tomara king Anangpal, based on the short pillar inscription ascribed to this king. Pasanaha Chariu, an 1132 CE Jain Apabhramsha text composed by Vibudh Shridhar, states that "the weight of his pillar caused the Lord of the Snakes to tremble". The identification of this pillar with the iron pillar lends support to the theory that the pillar was already in Delhi during Anangpal's reign.

Another theory is that the relocation happened during the Muslim rule in Delhi. Some scholars have assumed that it happened around 1200 CE, when Qutb al-Din Aibak commenced the construction of the Qutb complex as a general of Muhammad of Ghor. Finbarr Barry Flood (2009) theorizes that it was Qutb al-Din's successor Iltutmish (r. 1210–1236 CE), who moved the pillar to Delh


Scientific analysis

Details of the top of iron pillar, Qutb Minar, Delhi.

The iron pillar in India was manufactured by the forge welding of pieces of wrought iron. In a report published in the journal Current Science, R. Balasubramaniam of the IIT Kanpur explains how the pillar's resistance to corrosion is due to a passive protective film at the iron-rust interface. The presence of second-phase particles (slag and unreduced iron oxides) in the microstructure of the iron, that of high amounts of phosphorus in the metal, and the alternate wetting and drying existing under atmospheric conditions are the three main factors in the three-stage formation of that protective passive film.

Lepidocrocite and goethite are the first amorphous iron oxyhydroxides that appear upon oxidation of iron. High corrosion rates are initially observed. Then, an essential chemical reaction intervenes: slag and unreduced iron oxides (second phase particles) in the iron microstructure alter the polarisation characteristics and enrich the metal–scale interface with phosphorus, thus indirectly promoting passivation of the iron[37] (cessation of rusting activity). The second-phase particles act as a cathode, and the metal itself serves as anode, for a mini-galvanic corrosion reaction during environment exposure. Part of the initial iron oxyhydroxides is also transformed into magnetite, which somewhat slows down the process of corrosion. The ongoing reduction of lepidocrocite and the diffusion of oxygen and complementary corrosion through the cracks and pores in the rust still contribute to the corrosion mechanism from atmospheric conditions.

The iron pillar in Qutb Minar, c. 1905

The next main agent to intervene in protection from oxidation is phosphorus, enhanced at the metal–scale interface by the same chemical interaction previously described between the slags and the metal. The ancient Indian smiths did not add lime to their furnaces. The use of limestone as in modern blast furnaces yields pig iron that is later converted into steel; in the process, most phosphorus is carried away by the slag. The absence of lime in the slag and the use of specific quantities of wood with high phosphorus content (for example, Cassia auriculata) during the smelting induces a higher phosphorus content (> 0.1%, average 0.25%) than in modern iron produced in blast furnaces (usually less than 0.05%). One analysis gives 0.10% in the slags for 0.18% in the iron itself. This high phosphorus content and particular repartition are essential catalysts in the formation of a passive protective film of misawite (d-FeOOH), an amorphous iron oxyhydroxide that forms a barrier by adhering next to the interface between metal and rust. Misawite, the initial corrosion-resistance agent, was thus named because of the pioneering studies of Misawa and co-workers on the effects of phosphorus and copper and those of alternating atmospheric conditions in rust formation.

The most critical corrosion-resistance agent is iron hydrogen phosphate hydrate (FePO4-H3PO4-4H2O) under its crystalline form and building up as a thin layer next to the interface between metal and rust. Rust initially contains iron oxide/oxyhydroxides in their amorphous forms. Due to the initial corrosion of metal, there is more phosphorus at the metal–scale interface than in the bulk of the metal. Alternate environmental wetting and drying cycles provide the moisture for phosphoric-acid formation. Over time, the amorphous phosphate is precipitated into its crystalline form (the latter being therefore an indicator of old age, as this precipitation is a rather slow happening). The crystalline phosphate eventually forms a continuous layer next to the metal, which results in an excellent corrosion resistance layer  In 1,600 years, the film has grown just one-twentieth of a millimetre thick.

In 1969, in his first book, Chariots of the Gods?Erich von Däniken cited the absence of corrosion on the Delhi pillar and the unknown nature of its creation as evidence of extraterrestrial visitation.[40] When informed by an interviewer, in 1974, that the column was not in fact rust-free, and that its method of construction was well-understood, von Däniken responded that he no longer considered the pillar or its creation to be a mystery.

Balasubramaniam states that the pillar is "a living testimony to the skill of metallurgists of ancient India". An interview with Balasubramaniam and his work can be seen in the 2005 article by the writer and editor Matthew Veazey. Further research published in 2009 showed that corrosion has developed evenly over the surface of the pillar.

It was claimed in the 1920s that iron manufactured in Mirjati near Jamshedpur is similar to the iron of the Delhi pillar. Further work on Adivasi (tribal) iron by the National Metallurgical Laboratory in the 1960s did not verify this claim.

Evidence of a cannonball strike

Upper half of pillar, demonstrating horizontal fissuring thought to be caused by cannonball strike

A significant indentation on the middle section of the pillar, approximately 4 m (13 ft) from the current courtyard ground level, has been shown to be the result of a cannonball fired at close range. The impact caused horizontal fissuring of the column in the area diametrically opposite to the indentation site, but the column itself remained intact. While no contemporaneous records, inscriptions, or documents describing the event are known to exist, historians generally agree that Nadir Shah is likely to have ordered the pillar's destruction during his invasion of Delhi in 1739, as he would have considered a Hindu temple monument undesirable within an Islamic mosque complex. Alternatively, he may have sought to dislodge the decorative top portion of the pillar in search of hidden precious stones or other items of value.

No additional damage attributable to cannon fire has been found on the pillar, suggesting that no further shots were taken. Historians have speculated that ricocheting fragments of the cannonball may have damaged the nearby Quwwat-ul-Islam mosque – which is known to have suffered damage to its southwestern portion during the same period – and the assault on the pillar might have been abandoned as a result.

 

Friday, June 5, 2020

crit






sjm

Salar Jung Museum at Dewan Deodi

The Salar Jung Museum was established in 1951 and the Salar Jung family isresponsible for its collection of rare art objects from all over the world. Nawab Mir Yousuf Ali Khan, popularly known as Salar Jung III, whose passion as Art, avidly collected paintings, sculpture, household glass items and furniture from all over the world. The collection was however never intended to take the shape of a museum. But when he died as a bachelor on 2 March 1949, the entire collection was left behind without an inheritor. It was the family members of late Nawab who got together to gift the fabulous collection to the nation as it could not have been a better proposal.

The collection in the form of a museum was declared open on 16 December 1951 in the Dewan Deodi palace, the residential home of late Salar Jung, and opened to the public by Pandit Jawaharlal Nehru, the then prime minister of India. Later, the Government of India and the family members took over the Museum formally through a compromise deed and the museum was administered by the Ministry of Scientific Research and Cultural Affair, Government of India. Finally, In 1961, through an Act of Parliament the Salar Jung Museum along with its library was declared an ‘Institution of National Importance’.


The Salar Jung Museum has a collection of over 42,000 art objects, 9,000 manuscripts and 60,000 printed books that form the collection. A separate library houses the manuscripts and books. The art collection has been segregated broadly into Indian Art, Middle Eastern Art, Far Eastern Art, European Art and the Children’s Section. The exhibits on display are divided into more than 38 galleries.


The Museum also has a library of rare books and illuminated manuscripts of enormous value. There are autographed manuscripts with the seal and signatures of emperors like Akbar, Aurangzeb and of Jahanara Begum (daughter of Shah Jahan). It is apparent from the library collection that Salar Jung was a great patron of literature. The Museum offers a window to visitors to understand the art and crafts of India, and gives Indians the opportunity to view different aspects of the art of other countries


Nawab Mir Nizam Ali Khan Siddiqi Bahadur Asaf Jah II was the Nizam of Hyderabad State in south India between AD 1762–1803. He was the fourth son of Asaf Jah I. This painting depicts, the Nizam, with his paraphernalia, on one of his hunting expeditions around the Golconda fort. He is accompanied by nobles and staff on horseback and followed by the French Infantry. The camels and elephants were used to carry troops as well as baggage and camp equipment.

A popular painter amongst the royal Indian families in the 19th century AD was Raja Ravi Varma (AD 1848–1906). Post 1857, the British set up art schools in Bombay, Calcutta and Madras to train Indians in western aesthetics and techniques. Raja Ravi Varma received his initial training in the traditional art of Thanjavoor and thereafter, in European art. He is credited with providing the critical link between the Thanjavoor school and western academic realism. This painting is typical of his style depicting a classic Indian beauty in a traditional sari and jewellery, in a romantic mood, demurely playing with a flower while listening to her lover.


The Salar Jung Museum expanded its collections by acquiring the works of modern Indian artists. The Bengal school of painting of the 19th and 20th centuries is represented here by the artist Abdur Rahman Chugtai (AD 1899–1975). Chugtai took inspiration from several indigenous traditions such as the Rajasthan and Mughal school of painting. His style lies in delicate lines. The portrayal here is of a woman in flowing robes, lighting a lamp at sundown. Using the watercolour, tempera technique, Chugtai has drenched the entire painting in the warm orange hues of the setting sun. The handling of light and shade and the use of transparent layers of colours create a pleasing, lyrical quality.


A fine collection of paintings from Bengal was added to the collection started by Salar Jung III. Abanindranath Tagore, Nandalal Bose, Chughtai, Benode Behari Mukherjee and others were striving to find a fresh contemporary expression for Indian art that had been affected by colonial influences. The result was that schools like Shantiniketan produced artists as diverse as Jamini Roy, inspired by the arts of rural India, to others like M.N. Roy (AD 1887–1954), who worked to mould audiences for Indian art. This painting ‘After Bath’ by M.N. Roy, a political activist and occasional artist, is a sensuous portrait of an Indian woman emerging from her bath in a fine, white cotton sari, clinging to her person. The interplay of water, skin, hair, and fabric is quite extraordinary.


The ‘Veiled Rebecca’ is one of the most treasured works of art at the Salar Jung Museum. The sculpture by Giovanni Maria Benzoni was acquired by Salar Jung I when he visited Italy in 1876. Rebecca, an Old Testament biblical character, is shown as a young bride with a demure and shy expression. She is in her traditional bridal attire with a thin, transparent veil covering her face. Each layer of her clothes has been given a special individual texture, under which the contours of her body are subtly portrayed. The sculpture, made out of a single piece of cold white marble, has been masterfully carved to represent the softness of cloth, the transparency of the veil and the warm firm youthful body of the bride.


GOLDEN CASKET WITH IMAGES OF QUEEN VICTORIA AND KING ALBERT
This beautifully designed golden casket was presented to his Excellency Salar Jung by the City Corporation of London. It is studded with semi-precious stones and has
images of Queen Victoria and King Albert. The monogram of Salar Jung and the crest of the City of London, adorns the top of the casket.


Sir Josiah Wedgewood (AD 1730–1795) discovery, created for Britain its own style of long lasting earthenware. He experimented with various styles and shapes and decorated them with a frieze of classical figures in creamy white using a background of blue, green, and lavender. This huqqa base in blue and white depicting classical figures, trees and leaves was made especially for Salar Jung I when he visited England in 1876.


This ivory chair is believed to have been presented by King Louis XVI of France to Tipu Sultan, of Mysore. It is said that this unusual chair was Salar Jung III’s last acquisition before his death in 1949. The chairs are ornate and intricate in their craftsmanship and the artist has cleverly used ivory nails at all the joints, so that the beauty of the workmanship is not marred by metal. The chair has arms shaped like the head of a tiger and the legs that look like animal feet.

MEPHISTOPHELES AND MARGARETTA

The most intriguing treasure in the collection is the wooden statue of ‘Mephistopheles and Margaretta’ representing evil and good. These are characters from Goethe’s famous work ‘Dr. Faust’ (1808) and tell the story of love, heroism and tragedy. From a single log of sycamore wood the sculptor has carved two distinct images on either side. The male image is clad in a hooded cloak, heeled boots and has a long gaunt face with a cynical smile, while Margaretta is shown as a shy, simple girl with a prayer book in one hand and downcast eyes, lost in love.


MUSICAL Clock
The most famous object in the Salar Jung family collection is this Clock. Hundreds of men, women and children assemble every hour to watch and hear this clock strike on the hour each hour. At the upper end of the enormous clock is a carved miniature scene of a metal workshop. A few seconds before the hour, tiny mechanised figures emerge through a door to strike the toy bell. While the hammer of the metalsmith strikes the hours, the movement of his assistant marks the passage of the seconds. Once done the tiny figures go back through the door. The clock is wound daily by an old museum retainer who was trained by his father before him to take care of the clocks of the clock,

The Museum we as children visited so many times. we used to have great many guests visiting our home and we chiuldren were expected to accompany them. we literally became guides which had a 

Y & K