Tag Archives: India

In My Hands Today…

Posted on by
Reply

The Great Partition: The Making of India and Pakistan – Yasmin Cordery Khan

The partition of India in 1947 promised its people both political and religious freedom—through the liberation of India from British rule, and the creation of the Muslim state of Pakistan. Instead, the geographical divide brought displacement and death, and it benefited the few at the expense of the very many. Thousands of women were raped, at least one million people were killed, and ten to fifteen million were forced to leave their homes as refugees. One of the first events of decolonization in the twentieth century, Partition was also one of the most bloody.

In this book Yasmin Khan examines the context, execution, and aftermath of Partition, weaving together local politics and ordinary lives with the larger political forces at play. She exposes the widespread obliviousness to what Partition would entail in practice and how it would affect the populace. Drawing together fresh information from an array of sources, Khan underscores the catastrophic human cost and shows why the repercussions of Partition resound even now, some sixty years later. The book is an intelligent and timely analysis of Partition, the haste and recklessness with which it was completed, and the damaging legacy left in its wake.

Sacred Stones, Spaces, and Stories: Ashtavinayaka Part 4

Posted on by
Reply

In the lush, rolling hills of Maharashtra’s Raigad district, nestled between the ancient Sarasgad fort and the gentle flow of the Amba River, stands the Ballaleshwar Temple at Pali, one of the eight sacred Ashtavinayak shrines dedicated to Lord Ganesha. Unique among Ganesha temples, Ballaleshwar is the only incarnation of the deity known by the name of his devotee rather than his own. This temple is not only a centre of deep spiritual resonance but also a living testament to the transformative power of unwavering devotion.

Pali is a picturesque village, approximately 30 km from Karjat, surrounded by verdant hills and blessed with natural beauty. The temple’s location, between the imposing Sarasgad fort and the tranquil Amba river, imbues the site with a sense of protection and serenity. Two lakes flank the temple, their waters used for ritual purposes and adding to the sanctity of the environment.

Source

The story of Ballaleshwar is inseparable from that of Ballal, a young boy whose devotion to Lord Ganesha was so profound that it changed the course of his life and the spiritual landscape of Pali forever. Ballal was the son of Kalyansheth, also called Kalyan or Kalyani Seth, and Indumati, a wealthy and respected couple in the village. While his parents were initially childless, they were eventually blessed with Ballal, who from an early age showed an extraordinary inclination toward worship and spirituality.

Ballal’s devotion was infectious. He would gather his friends and lead them into the forest to conduct elaborate rituals, using stones as makeshift idols of Lord Ganesha. So engrossed were the children in their prayers that they would lose track of time, often returning home late. This behaviour soon drew the ire of the other villagers, whose complaints reached Ballal’s father.

Angered by Ballal’s neglect of worldly duties and the complaints of the villagers, Kalyansheth stormed into the forest. There, he disrupted the children’s worship, threw away the Ganesha idol, destroyed the pandal, or the temporary shrine, and beat Ballal mercilessly. To punish him further, he tied Ballal to a tree, taunting him to see if his beloved Ganesha would come to his rescue.

Despite his pain and injuries, Ballal’s faith never wavered. He continued to chant Ganesha’s name, his prayers echoing through the forest. Moved by such unshakeable devotion, Lord Ganesha appeared before Ballal in the guise of a Brahmin. Ganesha untied the boy, healed his wounds, and asked him to make a wish. Ballal, ever selfless, requested that Ganesha remain in Pali and bless all devotees who came to worship him there. Pleased, Ganesha agreed, promising to take Ballal’s name before his own, thus becoming Ballaleshwar, “the Lord of Ballal.”

Source

The stone idol that Ballal’s father had thrown away was later found and installed near the main temple as Dhundi Vinayak. Tradition holds that devotees must first pay respects to Dhundi Vinayak before entering the Ballaleshwar temple, acknowledging the resilience of faith even in adversity.

The original temple at Pali was a simple wooden structure, its date of origin lost to history. The current stone temple was reconstructed in 1640 by Moreshwar Vitthal Sindkar and later renovated by Nana Phadnavis in 1760. The temple faces east, and its design is such that during Dakshinayana, the period when the sun moves southward, the first rays of the morning sun fall directly on the main idol, a marvel of ancient engineering and devotion. The temple itself is shaped like the sacred “Shree” symbol in Devanagari script, further emphasising its spiritual significance.

The idol of Ballaleshwar is three feet tall, seated on a stone throne with a silver backrest. The idol’s trunk turns to the left, and its eyes and navel are studded with precious diamonds. Uniquely, Ganesha is depicted here in the attire of a Brahmin, a nod to his appearance before Ballal. On either side of the idol stand are Riddhi and Siddhi, the goddesses of prosperity and spiritual power, waving chamaras, or fly-whisks, in service.

Two lakes, one on either side of the temple, provide water for rituals. The lake on the right is especially significant, as its water is used for the deity’s daily worship and other auspicious occasions.

Source

The temple is a hive of activity throughout the year, with daily rituals conducted following ancient tradition. The day begins with the early morning aarti, the Kakad Aarti, awakening the deity and invoking his blessings. Offerings of food, Neivedhya, are made to the deity and later distributed as prasad to devotees. Maha Aarti is held at noon and in the evening; these aartis are accompanied by devotional singing and the rhythmic clanging of bells. Shej Aarti is the final ritual of the day, performed before the deity is symbolically put to rest.

A unique tradition at Ballaleshwar is that devotees must first seek the blessings of Dhundi Vinayak, the stone idol thrown away by Ballal’s father, before entering the main temple. This act honours the resilience of faith and the sanctity of all forms of devotion, however humble their origins. During Dakshinayana, the temple’s east-facing design allows the first rays of the sun to illuminate the main idol, symbolising the dispelling of darkness and ignorance by divine light.

On the fourth day of the Bhadrapada month, a special Maha Bhog, or grand offering, is made to the deity. It is believed that the imprint of Ganesha’s fingers can be seen on the offerings, a miraculous sign that draws thousands of devotees to witness and receive blessings on this auspicious day.

During the Magh festival, the third day is marked by a grand palkhi, or palanquin, procession. The idol is carried through the village, accompanied by singing, dancing, and bands, as devotees join in a vibrant celebration of faith.

The Bhadrapadi Utsav, held from the first to the fifth day of the bright fortnight in the month of Bhadrapada, is one of the temple’s main festivals. The temple is adorned with colourful lights, and the air resonates with the sounds of bhajans, devotional songs, kirtans or spiritual discourses, and traditional music. Eminent scholars and local literati participate, recounting the birth and exploits of Lord Ganesha.

Source

The Maghi Utsav, celebrated from the first to the fifth day of the bright fortnight in the month of Magh, is another major festival. The highlight is the evening palkhi procession, which winds through the village with much fanfare. Devotees are blessed with prasad after the procession, and the entire temple complex is suffused with joy and spiritual fervour.

Every month, on the fourth day of the waxing moon, Chaturthi, the temple witnesses a surge of devotees. Special decorations, rituals, and offerings mark these occasions, reinforcing the temple’s role as a living centre of faith and devotion.

Ballaleshwar is unique among the Ashtavinayak temples, and indeed, among all Ganesha shrines, in being named after a devotee rather than the deity himself. This reflects the deep Hindu belief in the power of bhakti or devotion to move the divine, and the reciprocal relationship between the devotee and the deity. The story of Ballal is a powerful reminder that true devotion is characterised by innocence, persistence, and selflessness. Ballal’s unwavering faith, even in the face of suffering, is held up as an ideal for all devotees.

The temple’s eastward orientation and the phenomenon of sunlight illuminating the idol are rich in symbolism, representing the triumph of light over darkness, knowledge over ignorance, and faith over adversity.

In My Hands Today…

Posted on by
Reply

Dethroned: The Downfall of India’s Princely States – John Zubrzycki

On 25 July 1947, India’s last Viceroy, Lord Louis Mountbatten, stood before the Chamber of Princes in New Delhi and prepared to deliver the most important speech of his career. He had just three weeks to convince more than 550 sovereign princely states–some the size of Britain, some so small that cartographers had trouble locating them–to become part of a free India. Once Britain’s most faithful allies, the princes could choose between joining India or Pakistan, or declaring their independence.

This is a saga of promises and betrayals, of brinkmanship and intrigue. Mountbatten worked with two of independent India’s founding fathers–the country’s most senior civil servant, V.P. Menon, and Congress strongman Vallabhbhai Patel–to save the subcontinent from self-destruction. What India’s architects described as a ‘bloodless revolution’ was anything but, as violence engulfed Kashmir and Indian troops put an end to Hyderabad’s dreams of independence.

Most states accepted the inevitable, giving up their kingdoms in exchange for guarantees that their privileges and titles would be preserved in perpetuity. Instead, they were led to their extinction–not by the sword, but by political expediency, leaving them with little more than fading memories of a glorified past.

Sacred Stones, Spaces, and Stories: Ashtavinayaka Part 3

Posted on by
Reply
Source

On the serene banks of the Bhima River, atop a gentle hillock shrouded in babul trees, stands the Siddhivinayak Temple at Siddhatek, a site revered as one of the eight sacred Ashtavinayak shrines of Maharashtra. This temple, with its unique right-trunked Ganesha and deep roots in myth and history, is a powerful spiritual destination, drawing pilgrims seeking blessings, accomplishment or siddhi, and the removal of obstacles. As the only Ashtavinayak temple where Ganesha’s trunk turns to the right, Siddhatek holds a special place in the hearts of devotees.

Siddhatek is a small village in the Ahmednagar district, about 100 km from Pune. The temple sits on a hillock, surrounded by the lush greenery of babul trees, with the Bhima River flowing nearby, creating an atmosphere of tranquillity and spiritual elevation. The pilgrimage to Siddhatek is not merely a physical journey but a symbolic ascent, both literal and metaphorical, toward divine accomplishment.

According to tradition, the original temple at Siddhatek was built by Lord Vishnu himself. Over the centuries, the temple fell into ruin and was lost to memory. The site’s sanctity was revived when a local cowherd, guided by a divine vision, discovered the ancient idol of Siddhivinayak and began worshipping it. News of the miraculous idol spread, and the shrine regained its prominence as a centre of devotion.

Source

The current temple was constructed in the late 18th century under the patronage of Rajmata Ahilyabai Holkar, the philosopher-queen of Indore, who is celebrated for her contributions to Hindu temple architecture across India. Further enhancements were made during the Peshwa era, notably by Sardar Haripant Phadke, who built the Nagarkhana, or drum chamber, and a paved pathway to the temple’s main entrance. The outer sabha-mandapa, or assembly hall, originally built by Mairal, a landlord from Baroda, was rebuilt in 1970 after being demolished in 1939. Today, the temple is managed by the Chinchwad Devasthan Trust, which also oversees the Morgaon and Theur Ashtavinayak temples.

The Siddhivinayak Temple is constructed primarily from black stone, giving it an austere yet elegant appearance. The temple faces north, a direction considered auspicious, and features a sanctum, the garbhagriha, with a dome-shaped stone ceiling. The sanctum is relatively modest in size, measuring 15 feet in height and 10 feet in width.

The central focus of the temple is the swayambhu, or self-manifested idol of Ganesha, known here as Siddhivinayak. Unlike most other Ganesha idols, which have their trunks turned to the left, the Siddhatek idol’s trunk turns to the right, a feature regarded as highly potent and difficult to appease. The idol is encased in brass and is depicted in a cross-legged posture, flanked by his consort Siddhi, symbolising spiritual accomplishment.

Source

The entrance to the sanctum is guarded by brass statues of Jaya and Vijaya, the celestial gatekeepers of Vishnu’s abode. The sanctum also houses a Shiva-panchayatana, a grouping that includes Shiva, Ganesha, Vishnu, the Goddess, and Surya, the Sun God, reflecting the temple’s inclusive spiritual philosophy. The Nagarkhana, or the drum chamber, built by Sardar Haripant Phadke, is used during major festivals and rituals.

The most celebrated legend associated with Siddhatek is rooted in the ancient Mudgala Purana and other sacred texts. At the dawn of creation, the god Vishnu lay in deep yogic slumber or yoganidra, while Brahma, the creator, emerged from a lotus growing from Vishnu’s navel. As Brahma began the work of creation, two demons, Madhu and Kaitabha, arose from the dirt in Vishnu’s ear and began to wreak havoc, threatening the cosmic order.

Vishnu awoke and engaged the demons in battle, but despite his might, he could not defeat them. Seeking guidance, he approached Shiva, who revealed that Vishnu had neglected to invoke Ganesha, the remover of obstacles, before commencing his task. Realising his error, Vishnu travelled to Siddhatek and performed intense penance, chanting the mantra “Om Sri Ganeshaya Namah” for over a hundred years.

Moved by Vishnu’s devotion, Ganesha appeared and granted him siddhi, divine powers, and success. Armed with these blessings, Vishnu returned to the battlefield and, through a clever ruse, tricked the demons into granting him a boon, which he used to destroy them. Thus, the site where Vishnu attained siddhi became known as Siddhatek, and the form of Ganesha worshipped here is called Siddhivinayak, the bestower of accomplishment and supernatural powers. Siddhatek is also believed to be the place where other great souls, Maharshi Vyas, Bhrushundi, the Ganapatya saint Morya Gosavi, and his son Narayan Maharaj, attained siddhi through intense devotion and penance.

Source

The Siddhivinayak Temple at Siddhatek is renowned for its rigorous and elaborate daily worship schedule. The day begins with the Kakad aarti, the early morning prayer, typically around 5 – 5:30 am. Shree Darshan is the early morning darshan, or viewing of the deity, from 5:30 am to noon. Naivedhya, or the offering of food to the deity, takes place around 12:05–12:30 pm. The afternoon Shree Darshan takes place between 12:30 and 7 pm. The evening Dhup Aarti is from 7 to 7:10 pm, while the evening aarti is from 7:30 to 8 pm. The night Shree Darshan is from 8 to 9:50 pm, while the final aarti before bedtime, the Shejaarti, happens at 9:50 pm, after which the temple is closed until the next morning. During the Maha Abhishekha, the grand ritual bathing, which occurs from 7:30 am to 1:00 pm, devotees are not permitted in the main temple area, and offerings of flowers and fruits are restricted.

Source

A distinctive ritual at Siddhatek is the practice of performing 21 pradakshinas, or circumambulations, around the temple. This tradition is rooted in the story of Sardar Haripant Phadke, who, after losing his post as commander-in-chief, prayed to Siddhivinayak for 21 days, performing 21 circumambulations each day. His devotion was rewarded, and he regained his position, a testament to the temple’s reputation as a “jagrut kshetra”, a site of living, active divine power. Devotees continue this practice, believing that sincere performance of 21 pradakshinas can fulfil heartfelt wishes and bring about spiritual accomplishment.

Ganesh Chaturthi, celebrated in August or September, is the most prominent festival at Siddhatek. The temple is adorned with elaborate decorations, and the air is filled with devotional hymns and the rhythmic beat of traditional drums. Thousands of devotees gather to participate in the festivities, which include special rituals, processions, and communal prayers.

Ganesh Jayanti, marking the birth anniversary of Lord Ganesha, is celebrated in the Hindu month of Magha, about January or February. The highlight of the festival is a three-day “palkhi” or a palanquin procession, during which the idol of Ganesha is carried through the village, accompanied by devotional singing and cultural performances. Special rituals and celebrations also occur on Vijayadashami or Dussehra and Somavati Amavasya, a new moon that falls on a Monday, further enhancing the temple’s vibrant spiritual life.

Siddhatek is traditionally the second temple visited in the Ashtavinayak pilgrimage circuit, following Morgaon. However, due to travel convenience, some pilgrims visit it third, after Morgaon and Theur. Regardless of the sequence, Siddhatek is regarded as a crucial stop, as the right-trunked Ganesha is believed to be especially powerful in granting siddhi and removing obstacles. The temple is not just a site of individual devotion, but also a centre of community and cultural life.

The Siddhivinayak Temple at Siddhatek, with its unique right-trunked deity, ancient legends of divine accomplishment, and vibrant ritual, makes it a cornerstone of the Ashtavinayak pilgrimage.

Sacred Stones, Spaces, and Stories: Ashtavinayaka Part 2

Posted on by
Reply
Source

Also known as the Shri Moreshwar Temple, the Shri Mayureshwar Mandir, situated in the tranquil village of Morgaon, approximately 65 km from the Pune district, marks the starting and ending point of the Ashtavinayak circuit.

Morgaon is the foremost centre of worship of the Ganapatya sect, which considers Ganesha as the Supreme Being. A Hindu legend relates the temple to the killing of the demon Sindhura by Ganesha. The exact date of the temple’s construction is unknown, although the Ganapatya saint Moraya Gosavi is known to have been associated with it. The temple flourished due to the patronage of the Peshwa rulers and descendants of Moraya Gosavi.

The village of Morgaon derives its name from the Marathi word for peacock, ‘mor,’ a nod to the region’s once-abundant population of these majestic birds. The temple itself is situated on the banks of the sacred Karha River, and the village is said to be laid out in the shape of a peacock, deepening the connection between the land and its presiding deity, Lord Ganesha in his Mayureshwar, or peacock-riding, form.

The origins of Shri Mayureshwar Mandir trace back to the Bahmani period, with construction believed to have occurred between the 14th and 17th centuries. The temple’s architecture is distinctive, featuring a high stone boundary wall and four minarets at each corner, giving it the appearance of a mosque from a distance, a strategic design choice to protect it during times of political upheaval. The temple flourished under the patronage of the Peshwa rulers, who considered Ganesha their family deity, and the spiritual influence of the Ganapatya saint Moraya Gosavi, who is closely associated with the temple’s history and legacy.

Source

The Shri Moreshwar Temple is a striking blend of Hindu and Islamic architectural influences. There are our entrance gates, with each gate facing a cardinal direction and adorned with an image of Ganesha, representing his manifestations in the four Yugas or ages. The four minarets and 50-foot-tall stone walls were built to safeguard the temple from invaders. Unusually, a large statue of Nandi, Shiva’s sacred bull, stands before the temple entrance, a rare sight in Ganesha temples, explained by a local legend that the Nandi statue was left there after the vehicle transporting it broke down. The sabha-mandapa or assembly hall houses 23 different idols of Ganesha, each depicting a unique form, including the eight avatars described in the Mudgala Purana. The courtyard contains two sacred trees, Shami and Bilva, associated with penance and spiritual significance. Two lamp towers or Deepmalas and a six-foot-tall mouse, Ganesha’s vahana or mount, are prominent features in the courtyard. The sanctum sanctorum, the garbhagriha, enshrines the swayambhu or self-manifested idol Lord of Ganesha as Mayureshwar, depicted with four arms, three eyes, and a trunk turned to the left, seated on a peacock and flanked by his consorts, Siddhi and Buddhi.

The most celebrated legend associated with the temple is the tale of Ganesha’s incarnation as Mayureshwar to vanquish the demon Sindhu. According to the Ganesha Purana, Sindhu was born to Chakrapani and Ugra, and by the grace of the Sun-god, was granted a bowl of amrita, the elixir of immortality. To safeguard it, Sindhu swallowed the bowl, becoming invincible and unleashing terror across the three worlds. The gods, unable to withstand his tyranny, prayed to Ganesha, who incarnated as Mayureshwar, a six-armed, white-complexioned deity riding a peacock. In a fierce battle, Ganesha defeated Sindhu’s army, slew his general Kamalasura, and ultimately cut open Sindhu’s body to empty the amrita bowl, thus killing the demon and restoring cosmic order. After this victory, Ganesha gifted his peacock mount to his brother Kartikeya, cementing his epithet as Mayureshwar or Moreshwar, aka the “Lord of the Peacock.”

Source

Another legend recounts how the creator-god Brahma, preserver-god Vishnu, dissolver-god Shiva, the Divine Mother Devi, and the Sun-god Surya meditated at Morgaon to understand their creator and purpose. Ganesha manifested before them as an Omkara flame, revealing his supremacy and blessing them with divine knowledge.

A further myth tells of Brahma’s penance to cleanse himself of the sin of desiring his daughter, Sarasvati. The sacred Turiya Tirtha river appeared, and Brahma carried its water in his pot to worship Ganesha at Morgaon. When he stumbled and spilt the water, it became the Karha River, which continues to flow by the temple today.

The Ganapatya saint Moraya Gosavi is deeply connected to the temple’s lore. He was a devout worshipper who travelled monthly from Chinchwad to Morgaon on foot to offer prayers. On one occasion, arriving after the temple had closed, the locks miraculously fell away, allowing him to worship Ganesha. His devotion inspired the construction of the Mangalmurti temple at Chinchwad and elevated the status of the Moreshwar temple as a premier centre of Ganapatya worship.

The temple’s daily worship schedule is meticulously observed, offering devotees multiple opportunities to participate in sacred rituals. The ritual bathing and purification of the deity, the Prakshal Puja, is conducted between 5 and 6 am, while the Shodashopachar Puja, the traditional sixteen-step ceremonial worship, happens between 7 am and 12 noon. The five-step worship, the Panchopachar Puja, takes place at 8 pm, while the Samudaik Evening Aarti, which is a communal ritual of lighting the lamp,p happens at 7:30 p,m and the nighttime aarti, the Shej Aarti, is done at 10 pm before the temple’s doors are shut for the day.

Source

Devotees traditionally first worship Nagna Bhairava, then Mayureshwar, and finally Sakshi Vinayaka, who is believed to be the witness to prayers offered at the temple. The people of Morgaon collectively offer food or a thali lunch to visitors during Magh Shuddh Panchami, reflecting the temple’s role as a hub of community and hospitality.

The temple becomes the focal point of grand celebrations during Ganesh Chaturthi, the Bhadrapada Shukla Chaturthi, and Ganesh Jayanti or Magha Shukla Chaturthi. Devotees flock to Morgaon, and a procession arrives from the Mangalmurti temple in Chinchwad, carrying the palkhi or palanquin of Ganesha. Festivities continue for more than a month, culminating on Ashvin Shukla Dashami, with fairs, processions, and communal feasting. The temple also hosts celebrations on Vijayadashami, Shukla Chaturthi, Krishna Chaturthi, and Somavati Amavasya, the new moon coinciding with a Monday.

The main idol is believed to be swayambhu or self-manifested and is said to have been consecrated twice by Brahma, once before and once after being destroyed by the demon Sindhu. Each of the four gates represents a cardinal direction and a life goal: Dharma or righteousness, Artha or wealth, Kama or desire, and Moksha or liberation. The idol is covered with layers of saffron-colored vermillion, which naturally peels off every century, revealing the original image, a phenomenon regarded as miraculous by devotees. The sabha-mandapa houses 23 different forms of Ganesha, including the eight avatars from the Mudgala Purana, making it a living gallery of Ganesha iconography. The presence of the Shami and Bilva trees in the courtyard is tied to legends of penance and spiritual awakening. The juxtaposition of Nandi and the mouse at the temple entrance is unique, blending Shaiva and Ganapatya symbolism.

Source

The Ashtavinayak Yatra, a pilgrimage to eight Ganesha temples around Pune, is considered incomplete unless the devotee both begins and ends the journey at Shri Mayureshwar Mandir. This cyclical pilgrimage reflects the Hindu understanding of spiritual journeys as both linear and circular, with every ending marking a new beginning.

Shri Mayureshwar Mandir in Morgaon is more than a temple; it is a living testament to the enduring power of faith, myth, and community. Its legends, rituals, and architecture encapsulate the essence of Maharashtra’s spiritual heritage, inviting devotees and seekers to embark on a journey that is as much about inner transformation as it is about external pilgrimage.