77 quotes found
"Another pagoda, the best of all, is on an island called Pori, which we call the Isle of the Elephant. On it there is a hill and in the upper part of it is a subterranean house worked out of the living rock, and the house is as large as a monastery. Within there are courts and cisterns of good water. On the walls, all round, there are sculptured images of elephants, lions, tigers, and many human images, some like Amazons, and in many other shapes well sculptured. Certainly it is a sight well worth seeing, and it would appear that the devil had used all his powers and knowledge to deceive the gentiles into his worship. Some say that it is the work of the Chinese when they navigated to this land. It might well be true seeing that it is so well worked and that the Chinese are sutis. It is true that, at the present day, this pagoda is much defiled by cattle getting inside but in the year 1534, when I came from Portugal, it was a very fine sight. I saw it at the time when Bataim was at war with us. Soon afterwards the King of Cambaya ceded it to [Governor] Nuño da Cunha."
"We shall never be able to do justice to Indian art, for ignorance and fanaticism have destroyed its greatest achievements, and have half ruined the rest. At Elephanta the Portuguese certified their piety by smashing statuary and bas-reliefs in unrestrained barbarity; and almost everywhere in the north the Moslems brought to the ground those triumphs of Indian architecture, of the fifth and sixth centuries, which tradition ranks as far superior to the later works that arouse our wonder and admiration today.... Time and fanaticism joined in the destruction, for the orthodox Hindus abandoned and neglected temples that had been profaned by the touch of alien hands."
"Now, by all odds, the most ancient extant portrait anyways purporting to the whale's is to be found in the famous cavern pagoda of Elephanta, in India .... The Hindoo whale referred to, occurs in a separate department of the wall, depicting the incarnation of Vishnu in the form ofleviathan, learnedly known as the Matse-Avatar...."
"How do you ignore history? But the nationalist movement, independence movement ignored it. You read the Glimpses of World History by Jawaharlal Nehru, it talks about the mythical past and then it jumps the difficult period of the invasions and conquests. So you have Chinese pilgrims coming to Bihar, Nalanda and places like that. Then somehow they don't tell you what happens, why these places are in ruin. They never tell you why Elephanta island is in ruins or why Bhubaneswar was desecrated."
"Another pagoda, the best of all, is on an island called Pori [Gharapuri], which we call the Isle of the Elephant…On the walls, all round, there are sculptured images of elephants, lions, tigers, and many human images, some like Amazons, and in many other shapes well sculptured. Certainly it is a sight well worth seeing and it would appear that the devil had used all his powers and knowledge to deceive the gentiles into his worship. Some say it is the work of the Chinese when they navigated to the land. It might well be true seeing that it is so well worked."
"The mountain on this island which I said was opposite the Northern region, on the one side, which is a continuous cliff, is hard natural rock. Beneath the mountain a vast temple was cut and fashioned, hollowing out the living rock, a temple of such marvellous workmanship that it seems impossible for it to have been made by human hands. All the works, images, columns, reliefs, workrooms, which are there are carved in the massive stone of the mountain, all of which seems to pass beyond the bounds of nature; indeed, the proportions and the symmetry with which each figure and everything else is made would be well worth the while of any painter to study, even if he were Apelles. This temple is 35 bracas long, 25 wide and about 4 high. And what greater monument to pride could men fashion than to hollow out a very hard natural rock by means of iron and sheer tenacity, and thereby to enter into such vast spaces?"
"…not only the figures looked very beautiful, but the features and workmanship could be very distinctly perceived, so that neither in silver or wax could such figures be engraved with greater nicety, fineness or perfection…The From the pavement of this chapel issued a body from the waist upwards of so enormous size, that it fills the whole vacuum in length and breadth of the chapel: it has three large faces, the middle one looks to the north, the second to the west, and the other to the east. Each of these faces has two hands, and on the neck two large necklaces, wrought with considerable perfection. The figures have on their heads three very beautiful crowns.…[the interior was covered with a fine coat of lime and bitumen which] made the Pagoda so bright, that it looked very beautiful and was worth seeing."
"…and round about the wals are cut and formed, the shapes of Elephants, Lions, Tigers…Amazones and [many] other [deformed] things of divers sorts, which are all so well [and workmanlike] cut, that it is strange to behold."
"Having in a Week’s time compleated my Business, returning the same way, we steered by the South side of the Bay, purposely to touch at Elephanto, so called from a monstrous Elephant cut out of the main Rock, bearing a Young one on its Back; not far from it the Effigies of an Horse stuck up to the Belly in the Earth in the Valley; from thence we clambered up the highest Mountain on the Island, on whose Summit was a miraculous Piece hewed out of solid Stone: It is supported with Forty two Corinthian Pillars, being a Square, open on all sides but towards the East; where stands a Statue with three Heads, crowned with strange Hieroglyphicks: At the North side in an high Portuco stands an Altar, guarded by Giants, and immured by a Square Wall; all along, the Walls are loaded with huge Giants, some with eight hands, making their vanquished Knights stoop for mercy. Before this is a Tank full of water, and beyond that another Place with Images. This seems to be of later date than that of Canorein [Kanheri], though defaced by the Portugals, who have this Island also…"
"Here likewise are the just dimensions of a Horse Carved in Stone, so lively with such a Colour and Carriage and the shape finisht with that Exactness, that many have Fancyed it, at a distance, a living Animal, than only a bare Representation....These Figures have been Erected not barely for displaying the Statuary’s skill, or gratifying the Curiosity of the Sight, but by their admirable Workmanship were more likely design’d to win upon the Admiration, and thereby gain a kind of Religious Respect from such Heathens as came near them."
"Universal art has succeeded in few materialization of the Divine as powerful and also as balanced. ... the greatest representation of the pantheistic god created by the hands of man.... Never have the overflowing sap of life, the pride of force superior to everything, the secret intoxication of the inner god of things been so serenely expressed.""The three countenances of the one being are here harmonized without a trace of effort. There are few material representations of the divine principle at once as powerful and as well balanced as this in the art of the whole world. Nay, more, here we have undoubtedly the grandest representation of the pantheistic God ever made by the hand of man .. .Indeed, never have the exuberant vigor of life, the tumult of universal joy expressing itself in ordered harmony, the pride of a power superior to any other, and the secret exaltation of the divinity immanent in all things found such serenely expressed.""
"...the revising of the date for the cave temples of Elephanta to about 1000 c.k. in 1819 from early modern dates that made them contemporary with the Egyptian pyramids completely altered Europeans’ attitude toward the temples. As Partha Mitter has argued: ‘‘At one stroke the whole myth of [Elephanta’s] remote antiquity was demolished as it was brought within a conceivable historical era.”’"
"In the early nineteenth century, when Europeans first visited the Ajanta caves, they had no literary precedents through which to determine what they saw. Thus they saw very little beyond hunting scenes, domestic scenes, seraglio scenes, Welsh wigs, Hampton court beauties, elephants and horses, an Abyssinian black prince, shields and spears, and statues that they called 'buddha' because of the curly hair."
"Herodotus, wrote in 400 BC that in India there were "trees growing wild, which produce a kind of wool better than sheep’s wool in beauty and quality, which the Indians use for making their clothes.” During this period, the famous Ajanta Cave carvings show innovative cotton growers in India had invented an early roller machine to get the seeds out of the cotton."
"Modern art has led me to the comprehension and appreciation of Indian painting and sculpture. It seems paradoxical, but I know for certain that had we not come away to Europe, I should perhaps never have realized that a fresco from Ajanta... is worth more than the whole Renaissance!"
"Revelations. Ellora magnificent. Ajanta curiously subtle and fascinating-I have for the first time since my return to India learnt something from somebody else's work."
"Richard Lannoy, the most scintillating interpreter of Indian culture to date, writes: At first sight it is the genial “Buddhist humanism” which strikes the visitor Itothe fresco caves]. Yet these reassuringly human scenes are not quite what they seem to be. For one thing, even the best preserved are exceedingly elusive to “read”; one must make an appreciable effort to slow down one's reading of their visual language in order to perceive the spatial and tactile relations established between the figures. There is no recession - all advance towards the eye, looming from a strange undifferentiated source to wrap around the viewer. This is not an optical illusion of cave-light; on close examination it will be found to result from a controlled use of almost equal tones in the variation of local colour. A patch of green, say, juxtaposed to a patch of red, is of very nearly the same tonality when photographed in monochrome. Because of this tonal equality one is constantly discovering new figures which were unseen through the deliberately unaccented or “suppressed” tonality of detail, and the tempo of this slow discovery is very precisely calculated. Every figure has a counterfigure, every body an anti-body. Each figure is inseparable from its environment. The optical basis of this technique is very simple and is frequently used by Bonnard, Vuillard, and Matisse to obtain a hallucinating, visionary effect; the later, psychedelic poster artists made a trick of it. One can assume that the Ajanta painters discovered the effect under similar lighting conditions. There is one vital difference, however; at Ajanta there is no source of light in the caves, a fact which says much about the metaphysic of the cave sanctuaries. Objects are their own light when experienced by all the senses in harmony, and such harmony was the goal of the cave ritual. When viewed by flickering light, as was intended, only' fragmentary glimpses of the colours and lines of the objects depicted can be obtained. A body undulates towards the eye from an indistinguishable blur; moments (perhaps minutes) later, a second body wells out of the blur and is seen to be intertwined with the first. The viewer is so involved in this optical assimilation that his relation to the other figure only proceeds gradually from the tactile to the emotional recognition of its significance. It cannot be reduced to verbal interpretation, as it is pure tactile sensation."
"But we cannot judge these works in their original form from what survives of them today; and doubtless there are clues to their appreciation that are not revealed to alien souls. Even the Occidental, however, can admire the nobility of the subject, the majestic scope of the plan, the unity of the composition, the clearness, simplicity and decisiveness of the line, and among many details the astonishing perfection of that bane of all artists, the hands. Imagination can picture the artist-priest who prayed in these cells and perhaps painted these walls and ceilings with fond and pious art while Europe lay buried in her early-medieval darkness. Here at Ajanta religious devotion fused architecture, sculpture and painting into a happy unity, and produced one of the sovereign monuments of Hindu art."
"The earliest dateable Indian painting is a group of Buddhist frescoes (ca. 100 B.C.) found on the walls of a cave in Sirguya, in the Central Provinces. From that time on the art of fresco painting—that is, painting upon freshly laid plaster before it dries—progressed step by step until on the walls of the caves at AjantaVII it reached a perfection never excelled even by Giotto or Leonardo. These temples were carved out of the rocky face of a mountain-side at various periods from the first to the seventh century A.D. For centuries they were lost to history and human memory after the decay of Buddhism; the jungle grew about them and almost buried them; bats, snakes and other beasts made their home there, and a thousand varieties of birds and insects fouled the paintings with their waste. In 1819 Europeans stumbled into the ruins, and were amazed to find on the walls frescoes that are now ranked among the masterpieces of the world’s art."
"The temples have been called caves, for in most cases they are cut into the mountains. Cave No. XVI, for example, is an excavation sixty-five feet each way, upheld by twenty pillars; alongside the central hall are sixteen monastic cells; a porticoed veranda adorns the front, and a sanctuary hides in the back. Every wall is covered with frescoes. In 1879 sixteen of the twenty-nine temples contained paintings; by 1910 the frescoes in ten of these sixteen had been destroyed by exposure, and those in the remaining six had been mutilated by inept attempts at restoration.21 Once these frescoes were brilliant with red, green, blue and purple pigments; nothing survives of the colors now except low-toned and blackened surfaces. Some of the paintings, thus obscured by time and ignorance, seem coarse and grotesque to us, who cannot read the Buddhist legends with Buddhist hearts; others are at once powerful and graceful, a revelation of the skill of craftsmen whose names perished long before their work."
"Despite these depredations, Cave I is still rich in masterpieces. Here, on one wall, is (probably) a Bodhisattwa—a Buddhist saint entitled to Nirvana, but choosing, instead, repeated rebirths in order to minister to men. Never has the sadness of understanding been more profoundly portrayed; one wonders which is finer or deeper—this, or Leonardo’s kindred study of the head of Christ.VIII On another wall of the same temple is a study of Shiva and his wife Parvati, dressed in jewelry. Nearby is a painting of four deer, tender with the Buddhist sympathy for animals; and on the ceiling is a design still alive with delicately drawn flowers and fowl. On a wall of Cave XVII is a graceful representation, now half destroyed, of the god Vishnu, with his retinue, flying down from heaven to attend some event in the life of Buddha; on another wall is a schematic but colorful portrait of a princess and her maids. Mingled with these chef-d’æuvres are crowded frescoes of apparently poor workmanship, describing the youth, flight and temptation of Buddha."
"The caves at Ajanta, besides being the hiding-place of the greatest of Buddhist paintings, rank with Karle as examples of that composite art, half architecture and half sculpture, which characterizes the temples of India. Caves I and II have spacious assembly halls whose ceilings, cut and painted in sober yet elegant designs, are held up by powerful fluted pillars square at the base, round at the top, ornamented with flowery bands, and crowned with majestic capitals; Cave XIX is distinguished by a façade richly decorated with adipose statuary and complex bas-reliefs; in Cave XXVI gigantic columns rise to a frieze crowded with figures which only the greatest religious and artistic zeal could have carved in such detail. Ajanta can hardly be refused the title of one of the major works in the history of art."
"[After that, ‘Ala’ al-din’s army turned its attention to the citadel of Mandi and to the conquest of Malwa.] When the spearmen of the victorious army had with their spears put antimony into the eyes of the rais many great zamindars who were more sharp sighted threw aside their boldness and impudence from fear of the stone-splitting arrows of the Turks and came with open eyes to the sublime threshold and turned that threshold into antimony by rubbing their black pupils upon it. They thus saved their bones from becoming antimony boxes for the dust.”?"
"“In AH 631 he invaded Malwah, and after suppressing the rebels of that place, he destroyed that idol-temple which had existed there for the past three hundred years...."
"“Thou didst depart with a thousand joyful anticipations on a holy expedition, and didst return having achieved a thousand victories… On this journey the army destroyed a thousand idol-temples and thy elephants trampled over more than a hundred strongholds. Thou didst march thy arm to Ujjain; Malwa trembled and fled from thee… On the way to Kalinjar thy pomp obscured the light of day. The lip of infidelity became dry through fear of thee, the eye of plural-worship became blind…”"
"When Malwa was attacked (1305) its Raja is said to have possessed 40,000 horse and 100,000 foot. After the battle, "so far as human eye could see, the ground was muddy with blood"."
"“The King, after the decease of his son, marched his army towards Runtunbhore, to quell an insurrection in those parts, leaving his son Arkully Khan in Dehly, to manage affairs in his absence. The enemy retired into the fort of Runtunbhore, and the King reconnoitred the place, but, despairing of reducing it, marched towards Oojein, which he sacked. At the same time also, he broke down many of the temples of Malwa, and after plundering them of much wealth, returned to Runtunbhore.”"
"Since the days of Khalji and Tughlaq sultans of Delhi, there were large number of Muslims in Malwa, both indigenous and foreign. These numbers went on growing during the rule of the independent Muslim rulers of Malwa, the Ghoris and Khaljis (1401-1562). The pattern of growth of Muslim population in Malwa was similar to that in the other regions. Captives made in campaigns against Kherla, Orissa, and Gagraun, in the first quarter of the fifteenth century, would have added to Muslim numbers. Similarly, when sultan Mahmud led an expedition against the Hara Rajputs in 1454, he put many of them to the sword, “and sent their children into slavery at Mandu.” In 1468 from the ravaged and burning town of Karahra (near Chanderi), 7,000 prisoners were taken."
"Chandiri I stormed in 934 A.H. (1528 A.D.) and, by God's pleasure, took it in a few hours; in it was Rana Sanga's great and trusted man Midni Rao, we made general massacre of the Pagans in it and, as will be narrated, converted what for many years had been a mansion of hostility, into a mansion of Islam."
"Why they had gone so suddenly off the walls seems to have been that they had taken the resolve of those who give up a place as lost; they put all ladies and beauties to death, then, looking themselves to die, came naked out to fight. Our men attacking, each one from his post, drove them from the walls whereupon 2 or 300 of them entered Medini Rao's house and there almost killed one another in this way: -- one having taken stand with a sword, the rest eagerly stretched out the neckblow. Thus went the greater number to hell. By God's grace this renowned fort was captured in 2 or 3 garis (cir. an hour), without drum and standard, with no hard fighting done. A pillar of pagan-heads was ordered set up on a hill north-west of Chanderi. A chronogram of this victory having been found in the words of Fath-i-daru'l-harb (Conquest of a hostile seat), I thus composed them: Was for a while the station Chandiri Pagan-full, the seat of hostile force; By fighting, I vanquished its fort, The date was Fath-i-daru'l-harb."
"On this journey thy army destroyed a thousand idol-temples, and thy elephants trampled over more than a hundred strongholds. Thou didst march thy army to Ujjain Malwa trembled and fled from thee."
"Ayu went eastwards, the Kuru-Pañcalas and Kasi-Videha are (his descendants) the Ayavas; (And) Amavasu (went) westwards, the Gandharas, Parsus and Arattas are (his descendants) the Amavasyavas."
"The next Druhyu king Gandhāra retired to the northwest and gave his name to the Gandhāra country."
"Hindu society as a whole has ceased to remember that Afghanistan rose on the ruins of Gandhara and Kamboja, the two ancient Janapadas of Bharatavarsha which had stood guard on our North-Western gateway for ages untold."
"[Kennedy also notes the anthropological continuity between the Harappan population and that of the contemporaneous Gandhara (eastern Afghanistan) culture, which in an Aryan invasion scenario should be the Indo-Aryan settlement just prior to the Aryan invasion of India:] “Our multivariate approach does not define the biological identity of an ancient Aryan population, but it does indicate that the Indus Valley and Gandhara peoples shared a number of craniometric, odontometric and discrete traits that point to a high degree of biological affinity.”"
"As a side note, one reference in particular is repeatedly produced from the Puranas as evidence of a large emigration from Gandhara, Afghanistan, to the northern regions. The narrative is situated in the time of Mandhatr, who drove the Druhyu king Angara out of the Punjab. Pargiter ([1922] 1979) notes that the next Druhya king, Gandhara, retired to the Northwest and gave his name to the Gandhara country (which survives to the present day in the name Kandahar in Afghanistan). The last king in the Druhyu lineage is Pracetas, whose hundred sons take shelter in the regions north of Afghanistan 'udicitn disam as'ritah'and become mlecchas. The Puranas make no further reference to the Druhyu dynasty after this.38 The more enthusiastic see this as "evidence of the migration of Indo-Europeans from India to Europe via Central Asia" (Talageri 1993, 367)."
"According to Amir Khusru ‘the Malik represented that on the coast of Ma’bar were 500 elephants, larger than those which had been presented to the Sultan from Arangal, and that when he was engaged in the conquest of that place he had thought of possessing himself of them and that now, as the wise determination of the king, he combined the extirpation of the idolaters with this object, he was more than ever rejoiced to enter on this grand enterprise.” Amir Khusru makes it appear that having seen all the country from the hills of Ghazni to the mouths of the Ganges reduced to subjection and having effectively destroyed the prevalence of the ‘Satanism’ of the Hindus by the destruction of their temples and providing in their stead places for the criers to prayers in mosques, Alau-d-din was consumed with the idea of spreading the light of the Muhammadan religion in the Dekhan and South India. According to the same authority Ma’bar was so distant from the city of Delhi ‘that a man travelling with all expedition could only reach it after a journey of twelve months,’ and there ‘ the arrow of any holy warrior had not yet reached.’ Apart from this statement of Amir Khusru, the object of this expedition is made quite clear in what he puts in the mouth of Malik Kafur himself that what he actually coveted were the elephants of better breed, and, what went along with them of course, other items of wealth."
"In the capital city of a Hindu State in Malabar coast, “there are about four thousand Muslims, who inhabit a suburb of their own inside the jurisdiction of the city. There is fighting between them and the inhabitants of the city often” (p. 185)..."
"Limited in the South by the above mentioned Indian Ocean, and on all three other sides by the lofty mountains, the waters of which flow down to it... the inhabitable world extending southwards from Himavant is Bharatvarsha, which is the centre of Jambudvipa. The parts named and ascribed to it are located in Al Hind alone."
"The land created by the gods and stretching from Himalayas to the Indu (i.e.Southern) ocean is called Hindusthan."
"Indians would certainly try to understand the fact that for more than a hundred years in the late fourth, third and early second centuries BC, there was a state which controlled the entire natural geographical domain of south Asia. Not even the British controlled such a large area for such a long period. This fact should in any case be one of the answers to the notion that there have only been divisive tendencies in the political history of India."
"The area extending from the Himalayas in the north to the sea and a thousand yojanas wide from east to west is the area of operation of the King-Emperor."
"In its simplest terms, geography is the description, study, and classification of the earth and its features. While many branches of geography are scientific in perspective and method, what is clear from the study of Hindu India is that its geographical features—its rivers, mountains, hills, and coastlands—no matter how precisely rendered, mapped, or measured, are also charged with stories of gods and heroes. It is a resonant, sacred geography. But it is also a landscape, in that these features are connected, linked to a wider whole."
"The final editing of the Ramayana and the Mahabharata is not dated later than the first centuries AD, and they are fully familiar with the concept and surface of India, as are Kalidasa's Raghuvamsha and the Puranas."
"The sea borders Hindustan on the east, west and south. In the north, the great mountain ranges separate India from Turan, Iran and China."
"Intelligent men of the past have considered Kabul and Qandahar as the twin gates of Hindustan… By guarding these two places, Hindustan obtains peace from the alien (raider) and global traffic by these two routes can prosper."
"This vast land... had been a single indivisible whole since times immemorial. Bharatavarsha had been termed by the ancients as the cradle of varnãšrama-dharma, witness to the wheel of the caturyugas, and the kshetra for chakravãrtya, spiritual as well as political. This historical memory and cultural tradition was alive as late as the imperial Guptas. Kalidasa had clothed it in immortal poetry in his far-famed Raghuvamša."
"The Mahabharata carries a complete picture of this cultural unity in its tîrtha-yãtrã-parva, which is part of the larger Vana-parva. The Pandavas accompany their Purohita, Dhaumya, on a long pilgrimage to all parts of Bharatavarsha. They pay their homage to many mountains, rivers, samgamas, lakes, tanks, forest groves and other sacred shrines which had become hallowed by association with Gods and Goddesses, rishis and munis, satees and sãdhvees, heroes and heroines. And they feel fulfilled as they never did before or after in their long lives. The same Pandavas made an imperial conquest of the whole country, not once but twice and performed a rãjasûya yajña at the end of each triumph. But the Pandava empire is a faint memory of the forgotten past. On the other hand, the sacred spots which the Pandavas visited during their one and only pilgrimage, draw millions of devotees in our own days as they did in the distant past, long before the Pandavas appeared on the scene."
"The very sound of ‘Indian sub-continent’ is shocking to the ears of those who have had the privilege of performing or participating in some Hindu saMskãras. The wording of every saMkalpa, starting with Jambudvîpe BharatakhaNDe, invokes the opposite vision of a single, though vast and variegated land, inhabited by a people who are proud of being born and having lived in it. The territorial unity and integrity of Bharatavarsha - the land that lies south of the Himalayas, east of Sakadvipa (Seistan), south-east of Vãhlîka (Balkh), west of Burma and between the two seas - was never a political contrivance created by the sword of a conqueror. On the contrary, it was meant and manifested by Mother Nature herself as the cradle of an incomparable culture - the culture of Sanãtana Dharma."
"The Ramayana, the Puranas and the Dharmashastras paint the same portrait of an ancient land, every spot of which is sacred to some cultural memory or the other. The Jainagama and the Tripitaka speak again and again of sixteen Mahajanapadas, which spanned the spread of Bharatavarsha in the life-time of Bhagvan Mahavira and the Buddha. Even a dry compendium on grammar, the Ashtadhyayi of Panini, provides a near complete count of all the Janapadas in ancient India-Gandhara and Kamboja, Sindhu and Sauvira, Kashmir and Kekaya, Madra and Trigarta, Kuru and Panchala, Kaushala and Kashi, Magadha and Videha, Anga and Vanga, Kirata and Kamarupa, Suhma and Udra, Vatsa and Matsya, Abhira and Avanti, Nishadha and Vidarbha, Dandakaranya and Andhra, Karnataka and Kerala, Chola and Pandya. The epic poetry poured out by Kalidasa, Magha, Bharavi and Sriharsha continues the same tradition of talking endlessly about Bharatavarsha as a single and indivisible geographical entity, as a karmabhûmi for Gods and Goddesses, Brahmarshis and Rajarshis, and as higher than heaven for all those who have had the good fortune of being born in it."
"It was this feeling of being at home everywhere in the country which took the Adi Shankaracharya from the southernmost tip to the farthest corners of Bharatavarsha in North and East and West and helped him found (or revive) the four foremost dhãmas at Badrinath, Dvaraka, Rameshvaram and Puri. There is no count of sadhus and sannyasins and house-holders who have travelled ever since on the trail blazed by that great acharya. Six and a half centuries later, Guru Nanak Dev followed in the footsteps of the Pandavas and the Shankaracharya in search of spiritual company."
"The image of the whole of Bharatavarsha being a chakravartikshetra is as old as the oldest Vedic literature. The Itihasa-Purana provide glorious accounts of many chakravartins-Ikshvaku, Puru, Prithu Vainya, Sivi Ausinara, Mandhata, Raghu and so on-who accompanied the ašvamedha horse demanding submission from all kingdoms and republics, big and small, spread all over the country. The rãjasûya yajña which was performed at the end of this campaign was more in the nature of a meeting of equals than a durbar held by a despot in order to humble or humiliate subordinate princes and patriarchs. Sri Krishna had demanded death for Jarasandha because the latter had violated this dharmic tradition of empire-building, and kept a hundred kings captive in his castle. The Nandas had won notoriety as an ignoble dynasty because they had also violated the standard code of conduct laid down by the rãjadharma for righteous emperors, destroyed many local dynasties, and reduced other princes to provincial satraps."
"That land where the black antelope naturally roams, one must know to be fit for the performance of sacrifices; (the tract) different from that (is) the country of the Mlekkhas."
"Another very important feature revealed in Sangam literature is the conception of the unity of the land-mass stretching from the Himalayas in the north to Kanyakumari in the south. In at least two sources, Tamil kings were praised as having had supremacy amidst all the chieftains who reigned in the land between ‘the Himalayan abode of Gods’ in the north and Kumari in the south and the lands which have the sea as the frontier. The northern limit of this cultural unity is often referred to as the Himalayas. Ganges in floods, as well as ships travelling on the Ganges, is among the scenes depicted in Sangam literature. Pilgrims from all over India coming to have holy baths at Kanyakumari as well as Rameswaram (Koti) have been mentioned in Sangam literature. Speaking of Himalayas and Kanyakumari in association, is another hallmark of many Sangam poems. Apart from such spiritual-cultural unity of India depicted in Sangam poems, there is at least one poem that refers to the political unity of India. This poem, from Puranannuru, speaks of a time when the whole of India ‘from Kanyakumari to Himalayas’ was ruled as one nation, unifying the diverse geographical zones of ‘plateaus, mountains, forests and human habitations’ by kings of the solar dynasty, and identifies Tamil kings as descendants of the solar dynasty."
"I will now, O chastiser of foes, describe to thee that country as I have heard of it. Listen to me, O king, as I speak of what thou hast asked me. Mahendra, Malaya, Sahya, Suktimat, Rakshavat, Vindhya, and Paripatra,--these seven are the Kala-mountains 1 (of Bharatvarsha). Besides these, O king, there are thousands of mountains that are unknown, of hard make, huge, and having excellent valleys. Besides these there are many other smaller mountains inhabited by barbarous tribes. Aryans and Mlecchas, O Kauravya, and many races, O lord, mixed of the two elements, drink the waters of the following rivers, viz., magnificent Ganga, Sindhu, and Saraswati; of Godavari, and Narmada, and the large river called Yamuna... and Mandakini, and Supunya, Sarvasanga, O Bharata, are all mothers of the universe and productive of great merit. Besides these, there are rivers, by hundreds and thousands, that are not known (by names), I have now recounted to thee, O king, all the rivers as far as I remember."
"The whole of Hind, from Peshawar to the shores of the Ocean, and in the other direction from Siwistan to the hills of Chin."
"The land was sacred, but it wasn’t political history that made it so. Religious myths touched every part of the land outside colonial Goa. Story within story, fable within fable: that was what people saw and felt in their bones. Those were the myths, about gods and the heroes of the epics, that gave antiquity and wonder to the earth people lived on."
"Verse 460 of Bk. iii Rajat records: The royal couple (Ranaditya) built the temple of Ranarambhasvamin and Ranarambhadeva and a matha for Pashupata (mendicants) on the hill of Pradyumanaî. By Pradyumnamurdhan is meant the Sharikaparvata or Harparvat in Srinagar. The E. slope and foot of the hill is now covered by extensive buildings, including sarais connected with the famous Muhammedan shrines of Muqaddam Sahib and Akhund Mulla Shah. These probably occupy the sites of earlier Hindu structures such as the mathas referred to in the verse."
"About the temple of Pravarasena, Stein records: A short distance to the S.E. of Bhimasvamin rock and outside Akbarís fortress has the Ziart of Bahauíd-Din Sahib, built, undoubtedly with the materials of an ancient temple. The cemetery which surrounds it maintains also many ancient remains in its tombs and walls. To the S.W. corner of this cemetery rises a ruined gateway built of stone blocks of remrkable size and stil of considerable height. This structure is traditionally believed by the Srinagar Pandits to have belonged to the temple of Shiva Praveshvara which Kalhana mentions as the first shrine created by Pravarasena in his new capital."
"Stein tells us: Not far from Bahauíd-Din Sahibís ziarat, to the S.W., stands the Jamiía Masjid, the greatest Mosque of Srinagar. Around it numerous ancient remains attest the former existence of Hindu temples. Proceeding still further to the S.W., in the midst of a thickly-built city ... ... quarter, we reach an ancient shrine which has remained in a comparatively fair state of preservation probably owing to its conversion into Ziarat. It is now supposed to mark the resting place of the saint styled Pir Haji Muhammad. It consists of an octagonal cela of which the high basement and the side walls are stil well-preserved. The quadrangular court in which it stands is enclosed by ancient walls and approached by ornamented gateways."
"So many names that at a hasty glance appear utterly unmeaning can be traced back to original Sanskrit forms as to raise a presumption that the remainder, though more effectively disguised, will ultimately be found capable of similar treatment: a strong argument being thus afforded against those scholars who hold that the modern vernacular is impregnated with a very large non-Aryan element."
"The non-Indo-Aryan nature of the terms and names noted earlier also has to be juxtaposed with the fact that the place and river names in northern India are almost all Indo-Aryan. Place and river names are, to my mind, the singlemost important element in considering the existence of a substratum. Unlike people, tribes, material items, flora and fauna, they cannot relocate or be introduced by trade, etc. (although their names can be transferred by immigrants). Place names tend to be among the most conservative elements in a language. Moreover, it is a widely attested fact that intruders into a geographical region often adopt many of the names of rivers and places that are current among the peoples that preexisted them, even if they change the names of others (i.e. the Mississippi river compared to the Hudson, Missouri state compared to New England). With this in mind, it is significant that there are very few non-Indo-Aryan names (and almost none whose etymologies are completely uncontested) for rivers and places in the North of the Indian subcontinent, which is very unusual for migrants intruding into an alien language-speaking area. All the place names in the Rgveda, which are few in number, are Indo-Aryan, or at least sanskritized..."
"And curiously, an astonishing number of names of towns and villages in western Rajasthan (the heart of the Thar Desert) have names ending in the word ‘sar’, such as Lunkaransar, with ‘sar’ meaning ‘lake’ (from the Sanskrit word saras). I counted over fifty of them on an ordinary map, and there must be many more. Why should all those places be named after non-existent lakes? An unwary tourist reading a map of western Rajasthan might as well assume that the region is some kind of a Lake District!"
"Northern India is the only place where place-names and river-names are Indo-European right from the period of the Rigveda (a text which Max Müller refers to as “the first word spoken by the Aryan man”) with no traces of any alleged earlier non-Indo-European names."
"We already dealt with this possibility earlier: ‘This may be contrasted with the situation farther east in the Ganga plain, where we do find many Sanskrit-sounding names of rivers and regions which do not have a transparent Sanskrit etymology, for example, kauśikī or kośala, apparently linked to Tibeto-Burmese kosi, “water”, and the name of the river separating Kośala from Videha. In that case, we also see the ongoing sanskritization: kauśikī evolved from kosikī (attested in Pali), and kośala from kosala (idem), which Witzel (1999a: 382) considers as necessarily foreign loans because the sequence -os- is “not allowed in Sanskrit”. But while the phonetic assimilation is caught in the act here, we can see no semantic domestication through folk etymology at work. The name kośala doesn’t mean anything in Sanskrit, and that is a decisive difference with the western hydronyms gomatī, “the cow-rich one”, or asiknī, “the dark one”. While the occurrence of some folk-etymological adaptation among the Panjabi river names could in principle be conceded, it is highly unlikely to be the explanation of all thirty-five names. Until proof to the contrary, the evidence of the Northwest-Indian hydronyms favours the absence of a non-IE substratum, hence of the OIT.’ (Elst 2005:242)"
"The local river names and animal names in the Old Rigveda are purely Indo-Aryan names. This phenomenon is noted even by Witzel with surprise: “A better case for the early linguistic and ethnic history of India can be made by investigating the names of rivers. In Europe, river names were found to reflect the languages spoken before the influx of Indo-European speaking populations. They are thus older than c. 4500-2500 B.C. (depending on the date of the spread of Indo-European languages in various parts of Europe).” (WITZEL 1995a:104-105). But, in sharp contrast, “in northern India rivers in general have early Sanskrit names from the Vedic period, and names derived from the daughter languages of Sanskrit later on.[…] This is especially surprising in the area once occupied by the Indus Civilisation where one would have expected the survival of older names, as has been the case in Europe and the Near East. At the least, one would expect a palimpsest, as found in New England with the name of the state of Massachussetts next to the Charles river, formerly called the Massachussetts river, and such new adaptations as Stony Brook, Muddy Creek, Red River, etc., next to the adaptations of Indian names such as the Mississippi and the Missouri”. (WITZEL 1995a:105-107). Blažek (in his paper "Hydronymia Ṛgvedica") shows that out of 29 river-names, 22 have purely Indo-Aryan names, and the rest have suggested Indo-Aryan as well as suggested non-Indo-Aryan alternative etymologies."
"The non-Indo-Aryan nature of the terms and names noted earlier also has to be juxtaposed with the fact that the place-names and river names in northern India are almost all Indo-Aryan. These names are, to my mind, the single most important element in considering the existence of a non-Indo-Aryan substratum position. Unlike people, tribes, material items, flora, and fauna, they cannot relocate or be introduced by trade (although their names can be transferred by immigrants). In other words, it is difficult to exclude the possibility that the foreign personal and material names in the Rgveda were intrusive into a preexisting Indo-Aryan area as opposed to vice versa. This argument of lexical transiency can much less readily be used in the matter of foreign place-names. Place-names tend to be among the most conservative elements in a language. Moreover, it is a widely attested fact that intruders into a geographic region often adopt the names of rivers and places that are current among the peoples that preceded them. Even if some such names are changed by the immigrants, some of the previous names are invariably retained (e.g., the Mississippi river compared with the Hudson, Missouri state compared with New England)."
"With this in mind, it is significant that there are very few non-Indo-Aryan names for rivers and places in the North of the Indian subcontinent, which is very unusual for migrants intruding into an alien language-speaking area. Of course, it could be legitimately argued that this is due to the Aryans' Sanskritizing the names of places and rivers in the North- west (although this raises the issue of why the local flora and other names were was not likewise Sanskritized)."
"The lack of foreign place-names in the oldest Indo-Aryan texts, in contrast, is remarkable when compared with the durability of place designations else- where. The same applies to rivers."
"In view of the fact that Witzel has provided a list of thirty-seven different Vedic river names, these two or three possible exceptions do not make as strong a case as one might have hoped. All the rest can indeed be derived from Indo- European roots. Morever, other scholars have even assigned Indo-Aryan etymologies to two of these three possible exceptions."
"Many of die foreign terms for flora and fauna could simply indicate that these items have continually been imported into the subcontinent over the centuries, as continues to be the case today. The exception to this is place-names and river names, but the absence of foreign terms for the topography and hydronomy of the Northwest deprives us of significant evidence that has been used to establish substrata elsewhere."
"Cutch is composed chiefly of hills, woods, and sandy wilds; and we are utterly ignorant of any particulars, relating to the interior part of it, The mouths of several rivers appear in the map of its coast: and the ancient maps describe the Puddar river, as discharging itself into the gulf of Cutch, through these opeyings. It is possible that the tiver formed by the Caggar, and other streams, may discharge itself by one or more of these openings; unlefs it loses itself in the sands of the desert, which borders on the north of Cutch. ... A MS. map describes the junction of the Sursooty and Caggar rivers: probably this junction is formed above Sursooty town; for Tamerlane had not crofsed the Caggar when at Sur- sooty ; and the Sursooty river lay beyond the Caggar."
"The Ran is the delta of the Hakra, the lost river of Sind."
"A hoIlowed-out space in living rock is a totally dIfferent environment from a building constructed of quarried stone. The human organism responds in each case with a different kind of empathy. Buildings are fashioned in sequence by a series of uniformly repeatable elements, segment by segment. from a foundation upwards to the conjuction of walls and roof; the occupant empathizes with a visible tension between gravity and soaring tensile strength. Entering a great building is to experience an almost imperceptible tensing in the skeletal muscles in response to constructional tension. Caves, on the other hand, are scooped out by a downward plunge of the chisel from ceiling to floor in the direction of gravity; the occupant empathizes with an invisible but sensed resistance, an unrelenting presence in the rock enveloping him; sculpted images and glowing pigments on the skin of the rock well forth from the deeps. To enter an Indian cave sanctuary is to experience a relaxation of physical tension in response to the implacable weight and density of solid rock."
"The design of the Kailasa remained, for all time, the perfect model of a Shivalinga, - the temple craftsman's vision of Shiva's wondrous palace in his Himalayan glacier, where in his Yogi's cell the Lord of the Universe, the great magician, controls the cosmic forces by the power of thought; the holy rivers, creating the life in the world below, enshrined in His matted locks; Parvati, His other Self, the Universal Mother, watching by His side."
"The Kailash temple at Ellora, a complete sunken Brahmanical temple carved out in the late seventh and eighth centuries A.D. is over 100 feet high, the largest structure in India to survive from ancient times, larger than the Parthenon. This representation of Shiva's mountain home, Mount Kailash in the Himalaya, took more than a century to carve, and three million cubic feet of stone were removed before it was completed. An inscription records the exclamation of the last architect on looking at his work: “Wonderful! O How could I ever have done it?”"