Jantar Mantar - And what it stands for

 

No mere coincidence that Jantar Mantar is where people came together.

To reclaim their right to learn and live in an empathetic society.

Let us remember why Jantar Mantar was built 300 years ago in Delhi.

https://open.substack.com/pub/anishashekharmukherji/p/jantar-mantar-and-what-it-stands?utm_source=share&utm_medium=android&r=5p71tv

Bidhir Bandhon Kaatbe Tumi

 

Bidhir bandhon kaatbe tumi
Emon shoktimaan —
Tumi ki emon shoktimaan!
Aamader bhaanga gara tomar haathe
Emon obhimaan —
Tomader emni obhimaan
Chirodin taanbe pichhe, chirodin raakhbe nichhe —
Eto bal naai re tomaar shoeibe na shei taan.
Shashone jotoi ghero — aache bol durbolero, 
Hao-na jotei boro aachhen bhogaban.
Aamader shokti mere torao banchbi ne-re
Bojha tor bhari holei doob-be torikhan.

 
Rabindranath Tagore, 1905



And so you believe you 
Can evade what destiny has in store for you —
So powerful are you!

And so you believe you
Can break us and make us too —
So full of pride are you.

That it is you who
Can always drive us back, keep us under —
That power you do Not possess, 
Your hold will sunder.

Encircle us as you might
Know that the weak too can resist, can fight.
Elevate yourself all you will
There is a God higher still.

Suppress us and you perish too.
The swollen ship you steer 
Will buckle and sink with you.

Free Rendition/Translation in English: Anisha Shekhar Mukherji

Consultation and advice: Snehanshu Mukherjee and Dilip K Basu

विधि के बंधन को भी काट सकोगे, हो इतने शक्तिमान,
तुम क्या इतने शक्तिमान!

हमारा बनना-बिगड़ना तुम्हारे हाथों, इतना अभिमान,
तुम्हारा ऐसा अभिमान।

हमेशा खींचोगे पीछे, हमेशा रखोगे नीचे,
इतना बल नहीं तुममें, रहोगे नहीं हमें खींचें।

शासन में जितना ही घेरो, है बल दुर्बल में भी,
जितने भी क्यों न हो तुम बड़े, है भगवान भी।

हमारी शक्ति मार के, ख़ैर नहीं तुम्हारी,
बोझा भारी कर के, डूबेगी ही नाव तुम्हारी।

Translation in Hindi: Anisha Shekhar Mukherji

People First in Shahjahanabad

 

SHAHAR, an acronym for Shahjahanabad And Her Residents, is an initiative of understanding the city through its residents, as an alternative method of looking at Shahjahanabad.

It recognises the fact that the most important stake-holders in any place, are the people who live there 24 x 7 — followed by those who spend significant time here: workers, shop-keepers, traders. SHAHAR gives importance to speaking to and listening to long-time residents of Shahjahanabad. Its premise is very simple: successful conservation of historic cities, anywhere in the world, has to put people first. They have to be at the top of any list.

Read more here:

https://open.substack.com/pub/anishashekharmukherji/p/people-first-in-shahar?utm_source=share&utm_medium=android&r=5p71tv

An Object a Day - #8: Cast Iron Tava and Kadhai

DAY 8 in the Series on A Handcrafted Object Of Daily Use

Crafted objects that I use on a daily basis, which are beautiful, functional and sustainable.

This iron tava and kadhai is something I had ordered from Kerala almost exactly ten years ago. From something called The Village Fair. Beautifully cast, detailed and finished.

Talking about the Red Fort...and more

A conversation on the Red Fort, ways of inhabiting space, architectural practice, and more...

It can be heard on this link:

https://youtu.be/WIMfHlZ5NHo?si=yt1kWnkGoUF0KolA

Portrait of the Mason as Artist

This is a painting on the wall at the entrance of Jhanda Durbar in Dehradun. 

The writing accompanying the painting has this to tell us: 

TulsiRam, Mistry, Tasveer Banane Wala (Tulsi Ram, Mason, Painter of Pictures). 

Lokesh Ohri pointed out this painting when he led a walk to Jhanda Durbar as part of Been There Doon That. 

What does this tell us?

First, that the maker is honoured. He has the confidence, and the leeway to put himself right there - at the entrance. 

Second, a mason can also be an artist. This is a self-portrait of the mason and artist. 

Asserting his identity. Claiming his place. And recording himself and his work for posterity.

This is a render on the wall at the entrance to our flat.

And a photograph of the mason and his helper: Boski Goswami and Shiv Kumar, who made this. 

They collaborated with us in experimenting with applying lime putty on whitewash. This had to be done in a certain way. The lime putty pulled in small strokes to get this interesting and vivid effect. 

In fact, they volunteered to do so. The painters - after much explaining and even a demonstration, said that this was beyond them, throwing their hands up - and their brushes and patti down. 

Boski then said he would give it a try. 

The mason and his helper, artists. We asked them to sign their names.

Boski Goswami. Shiv Kumar.

They wrote them on the skirting on the right-hand bottom corner, more proficient in painting than writing. 

Next time, we will plan their signatures centre-stage. It is only fitting that the maker is honoured. This is part of the Indian tradition.

As I have written earlier in Attributing Design Identity, Identifying Design Attributes: 

'The Mayamatam states that all building technicians must be honoured. There is an hierarchical order of responsibilities amongst the sthapati, the architect; the sutragrahin, who measures length, height and proportions; the taksaka, who cuts and carves stone, wood and bricks, and the vardaka, who assembles and erects the building. However, there is significant freedom along with responsibility in each category, and it is stated that the taksaka, sutragrahin or vardaka, depending on occasion and ability, can take on the duties and even the designation of the sthapati.

This is what we have to get back in the profession. That architects learn to build on-site with their hands. That masons learn to write, draw, design. 

Lateral and vertical freedom along with responsiblity among all the different players in the craft of building.

An Object a Day - #7: Woven Basket

DAY 7 in the Series on A Handcrafted Object Of Daily Use

Crafted objects that I use on a daily basis, which are beautiful, functional and sustainable.

This beautifully woven basket was bought last December from a crafts fair at Dehradun. I have used it as a chapati box, but it can be also used to store condiments, fruits or anything that requires a breathable container.

This form of weaving is traditionally practised in different parts of Uttarakhand. I found a fascinating article by Suresh Kumar, relating the story of his father, Shilpkar Dev Ram, and how he came to practise this craft in Pithoragarh. Pithoragarh is incidentally the place that my father's family is originally from too.

This is the link to the article by 

Shri Suresh Kumar:

'When is any path in life ever straight?' https://www.voicesofruralindia.org/uttarakhand-ringal-weaving-craft/

Further links:

https://villagesquare.in/tharu-women-revive-their-craft-towards-financial-freedom

https://artsandculture.google.com/story/ringaal-bamboo-weaving-craft-project-fuel/XwVh5nRLhsZKaw?hl=en

An Object a Day - #6: Clay Cooking Pot/ Meenchatti

DAY 6 in the Series on A Handcrafted Object Of Daily Use

Crafted objects that I use on a daily basis, which are beautiful, functional and sustainable.

Today’s object is a clay cooking vessel - Meenchatti. Our friend, Veni Mathew, got it back for me from Kerala several years ago. I use it primarily for cooking rice, though it can also be used for cooking curries.