Mir Taqi Mir, Great Urdu Poet

The comparison of Mir Taqi Mir with Mirza Ghalib reminds me of the debate on Christopher Marlowe vs Shakespeare. As a matter of fact, Mirza Ghalib himself says that Mir Taqi Mir is really great. He wrote a couplet about this:

Reekhta kay tumhi ustaad nahi ho Ghalib
Kehte hain agle zamane me koi Mir bhi tha

You are not the only master of poetry, Ghalib
They say there used to be a Mir in the past

Known as Khuda-e-Sukhan'(God of poetry), Mir Taqi Mir was born in Agra in 1723 and died in 1810 in Lucknow. This year marked the 200th death anniversary of Mir. He moved to Delhi at the age of 11 after his father's death.

When the prestige of the Mughal Empire began to wane and chaos began to reign supreme due to the constant invasions from the foreign powers including Ahmad Shah Abdali, Mir moved to the court of Asaf-ud-Daula Nawab of Oudh in Lucknow.

In 1782 Mir came to Lucknow, where he breathed his last on September 21, 1810.

One of Mir’s ghazals, `Dikhaai diye yun ke bekhud kiya, hamen aap se bhi juda kar chale’ has been rendered to music by Khayyam, one of the leading lights of Bollywood music in the movie Bazaar. Enjoy the song.

Ashokan Inscriptions

The importance of Ashokan inscriptions is immense. This can be gauged from the fact that till the decipherment of the languages of the his inscriptions by James Prinsep, the world had been cracking their brains as to historicity of this great king, referred to as ‘Piyadassi’ in the Sri Lankan chronicles Dipavamsa and Mahavamsa. 

James Prinsep, an official of the Calcutta Mint and secretary of the Asiatic Society of Bengal, was able to read the inscriptions in 1837. In fact, the inscriptions of Asoka are the oldest surviving written documents of any historical significance. These inscriptions comprise a series of edicts engraved on rocks and pillars throughout different places in his empire which stretched from the valley of Oxus to Kaveri delta in south India. The Asokan edicts are in the nature of official pronouncement of policy, and instructions to his officers and subjects. 

The inscriptions of Ashoka are written in two scripts known as Brahmi and Kharosthi. Like the European scripts, Brahmi is written from left to right, the Kharosthi is a cursive script read from right to left. Kharosthi script has been used in the inscriptions found at Shahbazgarhi (in Mardan District of Khyber-Pakhtunkhwa province of Pakistan) and Manshera (in Pakistan).

Mahavamsa: The Great Chronicle of Sri Lanka

Written in Pali language in the fifth century AD, the Sri Lankan Chronicle Mahavamsa is mainly a history of Buddhism in Sri Lanka. Composed by Mahanama Thera, the Buddhist Chronicle also gives reliable information on political history of India.

Mahavamsa has also great literary merit. It contains several passages of immense beauty. The passage describing the capture of Vijitanagara, the capital of the Tamil invader Elara, by the Sinhalese national hero, King Dutthagamani (161-137 BC) with aid of his favourite elephant, Kandula. is indeed one of the jewels in the crown.

Mahavamsatika or Vamsatthapakasini, a commentary on Mahavamsa, was composed in the 10th century AD.

Images of The Buddha

Before the introduction of the Buddha’s images, wheel, an empty throne, footprints, pipal trees, stupas were the symbols used for his remembrance. Why the Buddha was symbolized in such a way even many centuries after his death is not known. One reason may be that he was so venerated that it was blasphemous to depict the Buddha. However, there is no evidence to confirm this.

Hence, there are no image of the Buddha at the Buddhist sites of Bharhut, Sanchi and Gaya that are dated between c 150 BC and the end of the 1st century AD.
The earliest images of the Buddha in human form belong to the Gandhara School. However, some experts are of the view that Mathura school produced the first images of the Buddha. Both the schools flourished under the Kushana dynasty.
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The most beautiful images of the Buddha were carved out in the Gupta School of art. Nalanda in Bihar was the richest source of the well-known smooth images of the Buddha in black salt and an extensive series of Buddhist bronzes.

Did Muhammad bin Tughluq kill Ghiyas-ud-din Tughluq?

Did Muhammad bin Tughluq launch his career as a ruler of the Tughlaq dynasty by arranging the murder of his own father, Ghiyas-ud-din Tughlaq, the founder of the dynasty?

Ghiyas-ud-din Tughlaq, the founder of the Tughlaq dynasty of Delhi Sultanate, died in 1325 AD from the collapse of a wooden pavilion which his son Jauna, better known as Muhammad bin Tughluq, had got built by the royal architect (Mir ‘Imard) Ahmad, son of Ayaz. The wooden structure was built at Afghanpur to welcome Sultan after his successful military campaign in Bengal. Afghanpur was located some six miles from Tughluqabad (located on Mehrauli Badarapur Road in Delhi), the fortress-city founded by Ghiyas-ud-din.



Ghiyas-ud-din Tughlaq's Tomb

Ghiyas-ud-din Tughlaq was buried in the tomb which he had built for himself at Tughlaqabad. There are two schools of thought about the Sulltan’s death. While one has accused Muhammad bin Tughlaq of patricide, other has attributed the death to divine intervention. While African traveler Ibn Batutah holds Jauna responsible for pre-planning the accident to kill the Sultan, Ziauddin Barni attributes the crash of the pavilion to lightning striking it. According to Yayiha bin Ahmad Sarhindi, author of Tarikh-i-Mubarak Shahi, ‘divine preordination’ was responsible for the collapse of the structure.

However, the account of Ibn Batutah seems to be right. His informant, Shaikh Rukn-ud-din, was in the pavilion when it crashed. There is no reason to believe Batutah’s intentional denigration of Muhammad bin Tughlaq because the African traveler was well received by the latter during whose rule he came to India in 1333 AD. Later historians like Abul Fazl, Nizam –ud din Ahmad and Badauni also concur with the views of Ibn Batutah.

Barni’s account seems to be biased. This is obvious because he authored his work 'Tarikh-i-Firuz Shahi' during the reign of Firuz Tughlaq who had a great regard for his predecessor Muhammad bin Tughlaq and as such Barni didn't want to displease Firuz.

U.N. adds Chhau Dance to Heritage List

A United Nations committee added Chhau dance, a traditional dance of eastern India to a list of "intangible heritages" that need preservation. Chhau dance, prevalent in parts of the states of Orissa, West Bengal and Jharkhand, has been included in the list along with two other Indian performing art forms - Kalbelia folk songs and dances of Rajasthan and Mudiyettu, a ritual theatre of Kerala.

The additions were among 51 items added to The Representative List of the Intangible Cultural Heritage of Humanity. The list highlights elements needing protection against the increasing urbanization and globalization.

The Chhau dance, famed for its crafted masks and mock combat movements, is in need of support due to the backwardness of the area where this dance form is practised.

The Representative List of the Intangible Cultural Heritage of Humanity now comprises 213 elements.

Mattavilas-prahasana: Masterpiece of Sanskrit Literature

Mattavilasa-prahasana, one of the masterpieces of Sanskrit literature, was written by Mahendravarman I of the Pallava dynasty of south India. Mahendravarman I (571– 630CE), also known as Mahendravikramavarman, was a contemporary of Harshavardhan of Kanauj. The Pallava ruler is credited with the introduction of the cave style of architecture. He is known for assuming the significant title of Vichitrachitta, “curious minded.” 

Mattavilasa (the Sport of the Drunkards) is a one-act play, full of rollicking satire. This little farce tells the story of a drunken Shaivite (follower of Shaivism, the cult of the god Shiva) ascetic, who accuses a Buddhist monk of stealing the skull which he uses as a begging bowl. This leads to the scene of acrimonious debate, full of satirical dialogue, among ascetics of different sects and both sexes. In the end it is found that the skull was stolen by a dog.