Bodhgaya Sculpture

  

Bodhgaya is one of the most important and sacred Buddhist pilgrimage center in the world. The temple is an architectural amalgamation of many centuries, cultures and heritages. Bodhgaya is a religious site and place of pilgrimage associated with the Mahabodhi Temple Complex in Gaya district in the Indian state of Bihar. The Temple Complex has direct associations with the life of the Lord Buddha as the place where in 531 BC he attained the "Enlightenment" while seated under the "Bodhi Tree". The site consists of the main temple and 6 sacred places within an enclosed area and a 7th one, the Lotus Pond outside the enclosure to the south.

King Ashoka visited Bodhgaya about 250 years after the Enlightenment took place and it is considered as he constructed the Maha Bodhi Temple. It is said that Ashoka with establishing a monastery erected a diamond throne shrine at this spot with a canopy supported by 4 pillars over a stone representation of the Vajrasana, the seat of enlightenment, for which the temple of Maha Bodhi is famous.

The Maha Bodhi Temple: The Mahabodhi Temple, one of the few surviving examples of early brick structures in India, has had significant influence in the development of architecture over the centuries. The present temple is one of the earliest and most imposing structures built entirely from brick in the late Gupta period. The sculpted stone balustrades are an outstanding early example of sculptural relics in stone.

The temple is built in the classical style of Indian temple architecture. It has a low basement with mouldings decorated with honeysuckle and geese design. Above this is a series of niches containing images of the Buddha. Further above there are mouldings and Chaitya niches, and then the curvilinear Shikhara or tower of the temple surmounted by Amalaka and Kalasha. At the 4 corners of the parapet of the temple are 4 statues of the Buddha in small shrine chambers. A small tower is built above each of these shrines. The temple faces east and consists of a small forecourt in the east with niches on either side containing statues of the Buddha. Inside the temple there is a colossal image of the Buddha in sitting posture touching the earth by his right hand. In this posture the Buddha accomplished the supreme enlightenment. The entire courtyard of the temple is studded with large number of votive stupas. Most of them are extremely elegant in structural beauty.

The Bodhi Tree: The most important of the sacred places is the giant Bodhi Tree. This tree is to the west of the main temple and is supposed to be a direct descendant of the original Bodhi Tree under which the Buddha spent his First Week and where he had his enlightenment.

The Animeschalochana Chaitya: To the north of the central path, on a raised area, is the Animeschalochana Chaitya where the Buddha is believed to have spent the Second Week.

Ratnachakrama: The Buddha spent the Third Week walking 18 paces back and forth in an area called Ratnachakrama, which lies near the north wall of the main temple. It is believed that wherever the Buddha put his feet lotus sprang up. This was built as a low platform adorned with nineteen lotuses, which are parallel to the Maha Bodhi temple on its north side.

Ratnaghar Chaitya: The Buddha spent one week here, where it is believed that five colors came out of his body. The spot where he spent the Fourth Week is Ratnaghar Chaitya, located to the north-east near the enclosure wall.

Ajapala Nigrodh Tree: Immediately after the steps of the east entrance on the central path there is a pillar which marks the site of the Ajapala Nigrodh Tree, under which Buddha meditated during his Fifth Week, answering the queries of Brahmins.

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Kaivalya Pada, Patanjali Yoga Sutra

  

Kaivalya Pada is the fourth and the final chapter of Patanjali Yoga Sutra. The three components of Indian philosophy have been laid down systematically in the unique way of Patanjali. The components of Kaivalya Pada are 'Bhakti Marga', 'Karma Marga', and 'Jnana Marga'. In Kaivalya Pada, the path of renunciation or the 'Vairagya Marga' is elaborately explained.

Kaivalya means exclusiveness, or eternal emancipation. Kaivalya Pada describes an absolute, indivisible state of existence of the 'Yogi'. The yogi is free of thoughts, mind, intellect and ego and also freed from the intricacies of the 'gunas' of nature like, 'sattva', 'rajas' and 'tamas'. The chapter of Kaivalya Pada is both impressive and exhaustive. One of its main themes is that the content of consciousness is pure, absolute and divine, provided it remains unblemished by action; be it white ('sattvic') grey ('rajasic') or black ('tamasic'). The absolute nature of consciousness is to be realised by propitious birth, spiritual fervour and meditation.

Kaivalya Pada opens with the contention that prodigious yogic powers may be inborn, acquired by merit accumulated through practice in former lives. They may also be attained through use of herbs ('ausadhi'), incantation ('Mantra'), devoted discipline ('tapas'), meditation ('dhyana') and total absorption ('Samadhi'). In these five types of yogis, nature's energy, which later becomes known as 'Kundalini', flows with ever-increasing abundance, preparing them to receive the infinite light of the soul. This is why tapas and Samadhi are held to be the best of the five; they provide a firm foundation for stable growth, which prevents the yogi from misusing the energy built up through his practices. For ensuring safety the yogis employ method and restrain so as to use nature's energy ('Shakti'), intelligently to gain wisdom.

In other chapters of Patanjali Yoga Sutra, it is pointed out that nature is eternal and its qualities or gunas are ever-changing. Kaivalya Pada further says that this blending of the gunas creates diversity in the mind so that it sees objects in different ways. The object is the same and the mind, too, is the same. But the same mind has many qualities of mood and behaviour. This fragmentation is the cause of 'Avidya'. The mind divided by the gunas moulds and re-moulds man. The study of subject and object helps the student to perceive with prejudice, and facilitates him to be aware of the objects exist independently, irrespective of his cognition of them.

The last word used in 'Vibhuti Pada' is Kaivalyam, which denotes detachment from the material world. There are almost thirty-four 'Sutras' under this section that guides the Yogi step by step, about what comes after Samadhi. After reaching this stage, the individual gains an amazing feeling of being united with the universe. There are no sorrows or happiness and there is only peace and contentment for the one who has successfully attained Kaivalyam. However, it is clearly mentioned in Kaivalya Pada that this should not deter the Yogi from living his life normally. A person continues to do all their material duties however without keeping any high expectations or with the greed for anything materialistic.

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Folk Dance in East India

  

Folk Dance in East India jumps profound into the common life, the folk norms and customs of the particular regions. They are the cultural mouth piece of the rhythmic vibrations of the common mass of the regions. They reflect and furtively project the creative platform conforming to the creative extravaganza of the socio economic life and its panoramic colours. Indian culture is diverse and so is its cultural plot.

East India is a region of India consisting of the Indian states of Bihar, Jharkhand, West Bengal, Odisha and also the union territory Andaman and Nicobar Islands.

Different Folk Dances in East India
Following are the different Folk Dances in East India:

Paika Dance: Paika Dance is a famous dance form of Odisha which is practiced by the ‘paikas’ of Oriya army. ‘Paika’ dance of Odisha has a martial art character and is performed with shields and swords. This dance exhibits the skills & the ability of the dancers to handle these weapons. Hence, the name of the dance is ‘Paika’ (battle) dance. The dance reaches its climax with the fast beats produced by 'Mandal'. The main target of this dance is to develop the physical excitement and the inner courage.

Brita Dance: Brita dance is one of the most popular folk dances of Bengal. Generally the barren women of the region carry out the Brita dance to pray to the blessings of the Gods so that their wishes are fulfilled. Usually this dance is performed after a person recovers from an infectious disease like small pox.

Dalkhai Dance: Dalkhai Dance is presented in the time of festivals. In the ‘Dalkhai’ dance the men typically play with the musical instruments. 'Dalkhai' dance is a popular folk dance among the women folks of the tribal people of Sambalpur, Odisha.

Chhau Dance: ‘Chhau’ is a well-liked folk dance of Bihar. The ‘Chhau’ dance is presented by males. ‘Chhau’ dance is full of energy and strength.

Goti Pua Dance: Goti Pua is yet another popular folk dance of Odisha. Goti Pua act is capably supported by a set of three musicians, who play the ‘pakhawaj’, cymbals and harmonium. The boys do the singing themselves, though at times the group has an extra singer.

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Kirana Gharana, Khayal, Indian Music

  

Kirana is possibly the only major gharana that, for the most part, came into being during the very early part of the 20th century. Many 20th century singers of this style trace their origin back to the legendary beenkar Bande Ali Khan. Yet another stream of the gharana claim to belong to the dhrupadic line of Naik Gopal, a singer in the Mughal court, who later adopted Islam and settled down in a village near Saharanpur. The Kirana gayaki assumed the status of a gharana, for the most part, after Ustad Abdul Karim Khan (1872-1937) and Ustad Abdul Waheed Khan (d.1949) clamed to belong to it. They were both born in village Kairana, near Kurukshetra in Haryana. The ancestors of Abdul Karim and Abdul Waheed were sarangi players. Their singing style bears, according to some music scholars like Van Meer, the strong imprint of the instrument. Sarangi players who taught vocal music placed greater emphasis, given the leanings of their instrument, on smooth voice production, tunefulness and sweetness of tone as opposed to dhrupadic gharanas, which used broad and heavy meends and gamaks. By common consent, it is held that the Kirana style demonstrates the influence of both the rudra veena and the sarangi. Abdul Waheed Khan remained a reclusive and shadowy figure as opposed to his more colourful relative, Abdul Karim. It was Abdul Waheed Khan, who had reintroduced the merukhand system, a highly cerebral mode of raaga exploration that relies on the permutation and combination of notes, into Hindustani singing, as he did the ati-vilambvit laya - the slow and meditative tempo. Karim Khan, his sister Hirabai Barodekar and Pt. Prannath were directly influenced by Waheed Khan's style. Ustad Amir Khan, though no disciple of his, was deeply inspired by his music and went on to readapt the Waheed Khan gayaki to suit his own native genius.

Early in life, Abdul Karim Khan migrated to the court of Baroda, later to the Mysore court and eventually settled down in Miraj. It would not be a hyperbole to say that the Kirana revolution was set into motion in Maharashtra and north Karnataka by Abdul Karim Khan, who conquered Western India with his lingering and deeply alluring music during the first quarter of the 20th century. His music also reflects the creative influence of the Karnatic system, especially seen in his rendition of swaras. Appreciably, he produced a whole host of towering disciples like Sawai Gandharva, Ramachandra Behrebua, Balakrishnabua Kapileshwari and Roshanara Begum who, in their turn, diffused the Kirana legacy all over the country.

Without a trace of doubt, it can be stated that Kirana has turned out to be the most popular of gharanas in the 20th century. Unlike the restrained Gwalior, the weighty Agra or the cerebral Jaipur styles, Kirana gayaki evokes the aesthetic configurations of ragas in the most stirring manner. Since it emphasized tunefulness, sweet intonation, and, importantly bhava, the everyday public took to it almost immediately. Also, it has produced and continues to produce a steady stream of singers who hold a commanding sway over lay and the conversant audiences. Bhimsen Joshi, though broadly a Kirana singer, has creatively incorporated numerous idioms from other gharanas into his gayaki. Gangubai Hangal, Firoz Dastur, Basavraj Rajguru, Manik Verma, Prabha Atre, Pt. Maniprasad, the duo Niaz Ahmed and Fayyaz Ahmed Khan, and Mashkoor Ali Khan are some of the outstanding talents of this gharana to emerge on the post-Independence scenario.

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Nazrul Geeti, Traditional Indian Music

  

Nazrul Geeti refers to the songs written and composed by Kazi Nazrul Islam, who is the national poet of Bangladesh and an active revolutionary of Indian Independence Movement. The words ‘Nazrul Geeti’ mean music of Nazrul. Nazrul Islam wrote almost 4000 songs, which are equally popular all around India and Bangladesh. Nazrul Geeti has recently been translated and recorded in Oriya language as a studio album.

Origin of Nazrul Geeti
Nazrul Islam started to show his poetic and musical skills from a very tender age. Finally, he started writing songs when he was the member of a Leto Group (Folk Musical Group). Soon he became an expert in composing songs and setting them on tunes by following his uncle Kazi Bazle Karim and a leader of the Leto Group. This group played a major role in his musical career and helped it in forming in the proper shape. Later, Nazrul met Satish Kanjilal, a teacher of Searsolo School, who was fond of Hindustani Classical Music. He gave Nazrul some lessons on Classical Music, following which Nazrul started to widen his knowledge on music, when he was serving as a Havilder in Karachi Barrack under Bengal Regiment.

Musical Style of Nazrul Geeti
Songs of Nazrul Islam can be divided into four groups- Revolutionary Mass Music, Bhakti Geeti, Ghazal and Ragasrayi Songs (songs based on Ragas). Nazrul learned Arabian and Persian language during his childhood, as a result of which, some of his poems and songs have Urdu, Arabian and Persian words. The themes of the songs are based on revolution, devotion, love, nature, patriotism etc.

Revolutionary Mass Music: The songs based on this theme were widely used during the Indian Independence Movement and at Bangladesh Liberation war. The songs are extremely motivational in nature with strong and powerful words which talk about extremities on everything. It also talks against conservatism and helps to observe life in a wider parameter of philosophy and spirituality. Some of the notable patriotic songs of Nazrul are- ‘Mayer Deoya Mota Kapad’, ‘Abonato Bharat Chahe Tomare’, ‘Dhanya Amar Desh’, ‘Mago Tomar Bhabna Keno’, ‘Urdho Gogone Baje Madol’ etc.

Bhakti Geeti: Nazrul Islam composed several devotional songs, which are based on Lord Krishna, Goddess Shyama Kali etc. The songs are typically known as Bhajans and Shyama Sangeet. Some of the notable songs of this type are- ‘He Gobindo Rakho Chorone’, ‘Gangane Krishna Megh Dole’, ‘Jago Jogmaya Jago Mrinmoyee’, ‘Amar Kalo Meyer Payer Tolaye’ etc.

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Panchabhuta in Ayurveda

  

Panchabhuta in Ayurveda are said to be in balance and the same thing applies to the human beings too. Ayurveda states that the human body is also made up of the 5 elements that are: Earth, Water, Fire, Air and Space. When these things occur within the body, the body suffers from sickness and diseases.

The 5 elements are seen in the body in the form of 3 body types known as ‘Doshas’. The doshas exist in all matter and are composed of different combinations of the 5 elements. They are: Vata, Pitta and Kapha. Their influence affects all mechanisms of the body.

According to Ayurveda, everything in life is composed of the Panchabhutas - Akash (Space), Vayu (Air), Jal (Water), Agni (Fire) and Prithvi (Earth). The Panchabhutas are described below;

Earth: Earth represents the solid state of matter and it indicates stability, permanence, and rigidity. The body parts such as bones, teeth and tissues are considered as earth element. Earth is considered a stable substance.

Water: Water represents the liquid state of matter and it indicates changes or unstable. Water is vital for the survival of all living things. The blood, lymph and other fluids are considered as water element. Large part of the human body is made up of water element. Water elements bring energy, carry away wastes, regulate body temperature and carry nutrients and oxygen.

Fire: Fire represents the form without substance and it has the power to transfer the state of any substance, for instance solids into liquids, to gas and back again. Fire element is an invisible energy that binds atoms together, converts food to energy or fat (stored energy), and creates nervous reaction, feelings, and even thought processes.

Air: Air represents the gaseous form and it indicates mobility and dynamic. Within the body, air (oxygen) is vital for all energy transfer reactions. Air is a key element needed for fire to burn.

Space: Space represents the space in which everything happens. This is the field which is simultaneously the source of all matter and the space it exists. The main characteristic of space is sound and it represents the entire spectrum of vibration.

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Buddhist Cave Temples In India

  

There are more than 1,500 known rock cut structures in India, out of which about 1000 were made by Buddhists, 300 by Hindus and 200 by Jains. Many of these structures contain works of art of global importance, and many later caves from the Mahayana period are adorned with exquisite stone carvings. These ancient and medieval structures represent significant achievements of structural engineering and craftsmanship.

History of Buddhist Cave Temples
Buddhist Cave Temples in India are rampant and bear the bygone flavours of Buddhism. The earliest Buddhist Cave Temples belong to the period of Ashoka, who is said to be the founder of Viharas or monasteries, stupas or dagobas, asylums and other religious charitable works. The cave temples belonging to the age of Ashoka are mostly situated in Nagarjuni and Barabar Hills in Bihar. Of these chambers, four are on the Barabar hill and three on the Nagarjuni hill.

Buddhist Cave Temples have been classified into two distinct groups, as these belong to two great dimension of the Buddhist faith. To the first group belong those cave temples, which were excavated, so far as can be judged from style and inscriptions before the Christian era or during the first century. These belong to the Hinayana sect, or "lesser vehicle", or the original form of Buddhism. The cave temples of the second period belong to the Mahayana Buddhism, or the "Great Vehicle". The caves belonging to this sect are much less numerous.

Architecture of Buddhist Cave Temples
The ancient temple and intricate sculptures of Karla caves are mesmerizing. Karla and Bhaja rock-cut caves, sited near Lonavala in Maharashtra, are perfect examples of Buddhist cave Architecture in India. The history of these caves dated back to 2nd century BC. The beautiful interiors and the intricate sculptures of humans, Buddha and animals are fascinating. Moreover, these caves are remarkably well-adapted to Indian seasons as these are cozy in winter and cool in summer. The best feature of these caves is that they have a hemispherical 'sun window' that sieves light towards Stupa or Dagoba sheltered by an engraved wooden umbrella.

There is also a sculpture of Buddha seated on a lion-supported throne preaching his disciples. The sculpture also has splendid carvings of three elephants. Buddhist architecture consists of Rock cut caves, Viharas (Residential quarters for Monks), Stupas, Chaityas or Chaityagriha (assembly halls with a stupa), and Sangharamas (Buddhist monastery and school) etc.

Famous Buddhist Cave Temples
The earliest caves employed by humans were natural caves used by local inhabitants for a variety of purposes, such as shrines and shelters. Evidence suggests that the caves were first occupied and slightly altered during the Palaeolithic and Mesolithic periods, up to about 6000 BC.

Ajanta Caves: The Ajanta Caves are approximately 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 CE in Aurangabad district of Maharashtra. The caves include paintings and rock-cut sculptures described as among the finest surviving examples of ancient Indian art, particularly expressive paintings that present emotions through gesture, pose and form.

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Chess in India

 

Chess in India has always been counted as highly popular, and India enjoys an ancient chess tradition. Chess, or at least an early ancestor called Chaturanga, was arguably invented in India.

Modern Chess in India
Modern India has consistently produced exceptional chess professionals, who have achieved memorable milestones in all formats and levels of the game. The current world No.1 is an Indian (Viswanathan Anand) and the world No.2 amongst women is Humpy Koneru from Andhra Pradesh. India regularly produces remarkable chess prodigies, recent names in this roster include Parimarjan Negi, Srinath Narayanan and Sahaj Grover, all born in the early 1990s. The three The Sanskrit word 'Chaturanga' means "having four limbs or parts"; and it was also used to describe the Indian army of Vedic times, where a platoon had four divisions like elephants, chariots, cavalry, and infantry. The board of Chaturanga was called 'Ashtapada' (eight-square). Though, no specific time frame can be mentioned about the inception of Chaturanga, it was widely played in India during the Guptaperiod.

Beginning of Modern Era Chess
Chess in India gained the first dash of modernity during British rule. For the very first time, Indian chess broke the boundaries of pits, courts and palaces whilst reaching the mass; the popularity hence begun. However, that was just the beginning. Indian Chess took a further leap forward with the independence of India and indeed with the establishment of the All India Chess Federation in the year 1951.

All India Chess Federation
Since its inception, the All India Chess Federation (AICF) has been working relentlessly for the development of Indian Chess. The Indian Chess also started to be played in an organised manner, with the establishment of AICF. As the national body for Chess in India, the AICF initiated and supervised all kinds of Chess related activities in India, for the better management of Indian Chess. The AICF has also got immense help from the state Chess associations that have been performing different activities for the well being of Indian Chess and also for making India to stand apart with pride. They are also organising a number of Indian Chess tournaments on a regular basis with a view to bring up young and talented Indian Chess players from the grass route level. The Indian Chess tournaments are organised at various levels, like at the district level, state level or the national level. The tournaments are also organised in various age categories like under-7, under-9, under-11, under-15, under-19, junior, senior levels. Separate tournaments for men's and women's are organised in India, as well.

Contribution of Indian Chess Associations
The Indian Chess associations have got considerable success in bringing out talented Chess players so far, as a large number of Indian Chess players are making their marks in the international arena, now-a-days. In fact, the present World Champion in Chess is an Indian Chess legend, Vishwanathan Anand. Apart from Anand, several other players like Surya Shekhar Ganguly, Dibyendu Barua, Koneru Humpy, D Harika etc have also played extraordinarily in the international arena. They are bringing new glory and happiness for India Chess, day by day.

Chess as a Tradition
Indian Chess is just not a game but is the tale of the changing tradition of sports in India. Recognition certainly plays the pivotal role in marking this change in Indian sports. Indian Government has been honouring the eminent sportspersons with various prestigious awards like the Arjuna Awards to further popularise sports in India. There are a number of Arjuna Awardees in Chess.

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