Tag Archives: India

In My Hands Today…

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The Tatas: How a Family Built a Business and a Nation – Girish Kuber

The Tatas is the story of one of India’s leading business families.

It starts in the nineteenth century with Nusserwanji Tata – a middle-class Parsi priest from the village of Navsari in Gujarat, and widely regarded as the Father of Indian Industry – and ends with Ratan Tata – chairman of the Tata Group until 2012.

But it is more than just a history of the industrial house; it is an inspiring account of India in the making. It chronicles how each generation of the family invested not only in the expansion of its own business interests but also in nation building.

For instance, few know that the first hydel project in the world was conceived and built by the Tatas in India. Nor that some radical labour concepts such as eight-hour work shifts were born in India, at the Tata mill in Nagpur.

The National Centre for the Performing Arts, the Tata Cancer Research Centre, the Tata Institute of Fundamental Research – the list about the Tatas’ contribution to India is a long one. A bestseller in Marathi when it was first published in 2015, this is the only book that tells the complete Tata story over two hundred years.

Sacred Stones, Spaces, and Stories: Ashtavinayaka Part 9

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Rising from the fertile plains of the Pune district, the Mahaganapati Temple at Ranjangaon stands as the culminating jewel of Maharashtra’s Ashtavinayak pilgrimage. Revered as the seat of Mahaganapati, the “Great Ganesha”, this temple is steeped in legend, history, and architectural grandeur. Here, Lord Ganesha is worshipped in his most potent form, invoked even by Lord Shiva himself in the cosmic battle against the demon Tripurasura. For centuries, devotees and warriors alike have sought Mahaganapati’s blessings, making Ranjangaon not just a spiritual destination but a living testament to the enduring power of faith and myth.

Ranjangaon is a tranquil village located about 50 km from Pune, along the Pune-Ahmednagar highway. The temple’s strategic location made it a favoured stop for Maratha chieftains and pilgrims journeying through the Deccan. Today, it is the eighth and final stop for those completing the revered Ashtavinayak Yatra, a circuit of eight self-manifested Ganesha temples across Maharashtra.

Historical records and the temple’s stone pillars suggest that the Mahaganapati Temple was originally constructed in the 9th or 10th century, with significant enhancements during the Peshwa era. Shrimant Madhavrao I, the Peshwa ruler, was a devout worshipper who regularly visited the temple before heading to battle. He built a stone sanctum around the idol and created a special cellar to safeguard the deity during times of turmoil. The temple’s hall and surrounding apartments, or owaris, were commissioned by Sardar Kibe, Sardar Pawar, and Sardar Shinde, prominent nobles of the time. In modern times, the temple’s Nagarkhana, or drum house, above the entrance, was inaugurated by Chief Minister Manohar Joshi in 1997, reflecting ongoing reverence and restoration.

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The temple boasts a massive and ornate entrance gate, flanked by two imposing dwarapalas, or gatekeepers, visible from the main road. The temple is ingeniously constructed so that during Dakshinayana, the sun’s southern movement, the rays of the rising sun fall directly on the main idol in the sanctum, a marvel of ancient engineering. The drum house above the entrance is used during festivals and processions, adding to the temple’s festive aura. The sanctum houses the swayambhu, or self-manifested idol, of Mahaganapati, seated on a lotus and accompanied by his consorts, Riddhi and Siddhi. Local tradition holds that the original idol, known as “Mahotkat,” is hidden in a basement and is said to have ten trunks and twenty arms, though the visible idol is more conventional in form.

The temple’s enduring myth centres on the cosmic battle between good and evil, with Mahaganapati as the divine catalyst. According to legend, the esteemed sage Grutsamad once sneezed, and from this act, a boy named Tripurasura was born. Tripurasura, raised with spiritual wisdom, learned the Ganesh mantra from his father and performed severe penance to Lord Ganesha. Pleased, Ganesha granted him a boon: Tripurasura would become the most powerful being in the universe and could only be defeated by Lord Shiva, after which he would attain liberation.

Empowered by this boon, Tripurasura’s pride grew unchecked. He conquered the underworld, the heavens, and even threatened the gods themselves. Lord Brahma hid in a lotus, and Lord Vishnu retreated to the cosmic ocean, unable to withstand Tripurasura’s might. Desperate, the gods turned to sage Narada, who advised them to worship Lord Ganesha. Ganesha, taking the form of a Brahmin, approached Tripurasura and offered to create three flying chariots that could only be destroyed by Shiva. In exchange, he asked for the Chintamani jewel from Kailash. When Tripurasura demanded the jewel, Lord Shiva refused, leading to a fierce battle.

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Despite his power, Shiva could not defeat Tripurasura. Realising his mistake in not honouring Ganesha first, Shiva paused and recited the Shadaakshar Mantra to invoke Ganesha. Blessed with a special beejmantra, or seed mantra, Shiva was finally able to destroy Tripurasura with a single arrow]. This victory was possible only after seeking Ganesha’s grace, emphasising the deity’s role as the remover of all obstacles, even for the gods!

The site where Shiva invoked Ganesha and achieved victory became Ranjangaon, and the form of Ganesha worshipped here is known as Mahaganapati or Tripurarivade Mahaganapati, the destroyer of Tripurasura.

The idol at Ranjangaon is revered as one of the most powerful forms of Ganesha. Mahaganapati is depicted seated on a lotus, flanked by his consorts Riddhi, or prosperity, and Siddhi, or spiritual power. The idol is Swayambhu, believed to have emerged naturally from the earth. In some traditions, the idol is described as “Mahotkat,” possessing ten trunks and twenty arms, though it is more commonly seen with eight, ten, or twelve arms.. The idol’s serene yet commanding presence embodies both the gentle and formidable aspects of the deity.

Each day, the idol is ritually bathed with water, milk, and fragrant substances, accompanied by the chanting of Vedic mantras. Morning and evening aartis are performed with lamps, bells, and devotional songs, filling the temple with a vibrant spiritual energy. Offerings of modaks, coconut, and flowers are made to the deity, and prasad is distributed to devotees as a blessing.

Sahastravartan is an elaborate ritual that involves the recitation of Ganesha’s names or mantras a thousand times, seeking his blessings for the removal of obstacles and the fulfilment of wishes. The Satyavinayak Pooja is a special worship performed for significant life events or to fulfil vows. During the Bhadrapada festival, devotees perform “Lotangan”, which means rolling their bodies in prostration along the path to the temple as an act of surrender and devotion.

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Unlike many other villages, the people of Ranjangaon do not bring Ganesha idols into their homes during Ganesh Chaturthi. Instead, the entire community gathers at the Mahaganapati Temple for collective worship, reinforcing the temple’s role as the spiritual heart of the region.

Ganesh Chaturthi is celebrated with immense fervour at Ranjangaon. The temple is adorned with flowers and lights, and special rituals, abhisheks, and aartis are performed. On the fifth day of the festival, a grand feast called a mahabhog is offered to the deity, and the idol is taken in a flower-bedecked palkhi, or palanquin procession, around the temple grounds. Wrestling matches and cultural events are also organised, drawing large crowds from nearby villages.

A unique sixth-day celebration during Bhadrapada sees devotees flocking to the temple, performing special rituals, and participating in communal festivities. The atmosphere is one of joy, devotion, and unity.

The Mahaganapati Temple is more than a place of worship; it is a symbol of the triumph of wisdom and humility over pride and chaos. The legend of Tripurasura underscores the importance of invoking Ganesha before any new undertaking, a tradition now embedded in Hindu practice. The temple’s sun-aligned architecture, powerful idol, and living rituals all reinforce the message that with faith, even the greatest obstacles can be overcome.

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Ranjangaon is the eighth and final stop in the Ashtavinayak circuit, making it the spiritual culmination of the pilgrimage. Pilgrims often report a sense of completion and fulfilment upon receiving Mahaganapati’s blessings, believing that their prayers and efforts throughout the yatra have been acknowledged and rewarded.

After Ranjangaon, pilgrims go back to the Moreshwar Temple to complete the Ashtavinayak circuit. And with that visit, they complete the pilgrimage. This circuit is something I have wanted to do for a while, given that the circuit is in my home state, and it is a pilgrimage for my ishtadev! I will do this sooner rather than later; that’s my promise to myself.

In My Hands Today…

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Early Indians: The Story of Our Ancestors and Where We Came From – Tony Joseph

Who are we Indians? Where did we come from? Many of us believe our ancestors have lived in South Asia since ‘time immemorial’. But, as it turns out, ‘time immemorial’ may not have been all that long ago. To tell us the story of our ancestry, journalist Tony Joseph goes 65,000 years into the past—when a band of modern humans, or Homo sapiens, first made their way from Africa into the Indian subcontinent.

Citing recent DNA evidence, he traces the subsequent large migrations of modern humans into India—of agriculturalists from Iran between 7000 and 3000 BCE and pastoralists from the Central Asian Steppe between 2000 and 1000 BCE, among others.

As Joseph unravels our history using the results of genetic and other research, he takes head-on some of the most controversial and uncomfortable questions of Indian history: Who were the Harappans? Did the ‘Aryans’ really migrate to India? Are North Indians genetically different from South Indians? And are the various castes genetically distinct groups?

This book relies heavily on path-breaking DNA research of recent years. But it also presents earlier archaeological and linguistic evidence—all in an entertaining and highly readable manner. A hugely significant book, Early Indians authoritatively and bravely puts to rest several ugly debates on the ancestry of modern Indians. It not only shows us how the modern Indian population came to be composed as it is, but also reveals an undeniable and important truth about who we are: we are all migrants. And we are all mixed.

Sacred Stones, Spaces, and Stories: Ashtavinayaka Part 8

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Renowned as the “Remover of Obstacles,” the Vighneshwar Temple at Ozar lies on the banks of the Kukadi River. Here, Lord Ganesha is worshipped as Vighneshwar or Vighnahar, the vanquisher of Vighnasura, the demon of obstacles, making Ozar a beacon for those seeking the removal of life’s impediments and the fulfilment of their aspirations.

Ozar is a small town in the Pune district, about 85 km from Pune city and near the famed Lenyadri caves. The temple’s riverside location, close to the Yedagaon dam, and its proximity to the Lenyadri shrine and Shivneri Fort imbue the site with a sense of history and natural beauty. The approach to the temple is marked by a fortified stone gateway, flanked by deep malas, or lamp towers, and meditation rooms.

The lore of Vighneshwar Temple is rooted in ancient scriptures such as the Mudgala Purana, Skanda Purana, and Vinayaka Purana and is central to its spiritual identity. Once, King Abhinandana performed a grand sacrifice but neglected to offer due respect to Indra, the king of gods. Feeling slighted, Indra commanded Kala (time/death) to disrupt the sacrifice. Kala assumed the form of the demon Vighnasura, “the demon of obstacles,” and not only destroyed the ritual but unleashed havoc across the universe, creating impediments in the virtuous deeds and sacrifices of sages and mortals alike.

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Distressed by the chaos, the sages sought help from Brahma, or Shiva in some versions, who advised them to worship Lord Ganesha. Responding to their prayers, Ganesha confronted Vighnasura. Realising he could not defeat the divine child, Vighnasura surrendered and promised to desist from troubling those who invoked Ganesha’s name. In some retellings, Vighnasura became Ganesha’s attendant, tasked with testing the devotion of those who neglected his worship.

To commemorate this cosmic victory, the sages consecrated an idol of Ganesha as Vighneshwar at Ozar. From that day, it was decreed that obstacles, or Vighnas, would only trouble those who failed to honour Ganesha, cementing his role as the universal remover of obstacles.

The Vighneshwar Temple’s historical prominence is closely linked to the Maratha Peshwas. After the victorious Battle of Vasai or Bacaim in 1739, Chimaji Appa, the younger brother and military commander of Peshwa Baji Rao I, renovated the temple and adorned its shikhara, or spire, with gold as an offering of gratitude for his triumph. The temple underwent further restoration in 1967 under the guidance of Appa Shastri Joshi, a devoted follower of Ganesha.

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The Vighneshwar Temple exemplifies classic Hindu temple architecture, blending grandeur with spiritual symbolism. The temple faces east, welcoming the rising sun and symbolising new beginnings. It is set within a large, walled courtyard with a prominent gateway, flanked by two massive stone Dwarapalas, or gatekeepers, and adorned with bas-reliefs of musicians. Two large deepmalas, or lamp towers, stand near the entrance, and small meditation rooms on either side offer spaces for contemplation. The temple features three intricately carved entrances, with the eastern gate serving as the main access point. The first hall houses an image of Dhundiraj Ganesha, while the second contains a white marble statue of Mushika, Ganesha’s mouse vehicle. The temple walls are decorated with vibrant murals and sculptures depicting scenes from Ganesha’s legends and the Ashtavinayak pilgrimage. The sanctum’s shikhara is covered in gold foil, a legacy of Chimaji Appa’s offering.

The presiding deity is a swayambhu, or self-manifested idol, naturally formed as an elephant-faced stone. The idol faces east, with its trunk turned to the left, and is covered in indoor, or vermilion. The eyes are set with emeralds, and diamonds adorn the forehead and navel. Brass images of Ganesha’s consorts, Riddhi and Siddhi, flank the main idol, symbolising prosperity and spiritual power.

The temple opens early, and devotees offer flowers, durva grass, and modaks to the deity. Ritual bathing of the idol is performed, especially on auspicious days. Morning and evening aartis are conducted with great devotion, accompanied by the ringing of bells and the chanting of hymns. Circumambulation, or pradakshina, of the sanctum is a common practice, with devotees seeking the removal of obstacles from their lives. On Sankashti Chaturthi, the fourth day after the full moon, special pujas and offerings are made, drawing large crowds of devotees.

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The deepmalas are lit during festivals, creating a mesmerising spectacle of light that symbolises the victory of knowledge over ignorance. The marble statue of Mushika is also worshipped, as he is considered Ganesha’s loyal vehicle and a symbol of humility and service.

Ganesh Chaturthi or Bhadrapada Shuddha Chaturthi, is the most important festival at Ozar. The temple is adorned with flowers and lights, and thousands of devotees gather for special abhisheks, aartis, and processions. The atmosphere is charged with devotion, music, and communal harmony.

Other major festivals include Tripuri Pournima, the full moon in the month of Kartik and Magh Chaturthi in January or February, when fairs are organised and the temple becomes a hub of religious and cultural activities.

Vighneshwar’s legend is a powerful reminder that obstacles are an inevitable part of life, but with faith and devotion, they can be overcome. The temple’s rituals, architecture, and festivals all reinforce the message that invoking Ganesha brings clarity, strength, and the removal of impediments.

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Ozar is traditionally the seventh temple visited on the Ashtavinayak pilgrimage, though many pilgrims visit it fifth for convenience. The temple’s association with the defeat of Vighnasura makes it a crucial stop for those seeking to complete the spiritual circuit and receive Ganesha’s blessings.

The temple stands as a radiant beacon of faith, resilience, and triumph over adversity. Its legends speak of cosmic battles and divine grace; its architecture embodies the grandeur and serenity of Hindu sacred spaces; its rituals and festivals unite communities in celebration and prayer.

In My Hands Today…

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Gods, Guns and Missionaries: The Making of the Modern Hindu Identity – Manu S. Pillai

When European missionaries arrived in India in the sixteenth century, they entered a world both fascinating and bewildering. Hinduism, as they saw it, was a pagan a worship of devils and monsters by a people who burned women alive, performed outlandish rites and fed children to crocodiles. But it quickly became clear that Hindu ‘idolatry’ was far more layered and complex than European stereotypes allowed, surprisingly even sharing certain impulses with Christianity.

Nonetheless, missionaries became a threatening force as European power grew in India. Western ways of thinking gained further ascendancy during the British while interest in Hindu thought influenced Enlightenment thinkers like Voltaire in Europe, Orientalism and colonial rule pressed Hindus to reimagine their religion. In fact, in resisting foreign authority, they often adopted the missionaries’ own tools and strategies. It is this encounter, Manu S. Pillai argues, that has given Hinduism its present shape, also contributing to the birth of an aggressive Hindu nationalism.

Gods, Guns and Missionaries surveys these remarkable dynamics with an arresting cast of characters – maharajahs, poets, gun-wielding revolutionaries, politicians, polemicists, philosophers and clergymen. Lucid, ambitious, and provocative, it is at once a political history, an examination of the mutual impact of Hindu culture and Christianity upon each other, and a study of the forces that have prepared the ground for politics in India today. Turning away from simplistic ideas on religious evolution and European imperialism, the past as it appears here is more complicated – and infinitely richer – than previous narratives allow.