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THE BHAGAVAD GITA columbia.edu

http://www.columbia.edu/itc/mealac/pritchett/00routesdata/0100_0199/gita/patachitra/patachitra.html

*Maha-bharata*	The Gita is located just at the beginning of the great battle of Kurukshetra, described in the great epic "Mahabharata," which may be the longest epic poem in the world
	The classic scene in which the Gita is spoken by Krishna to Arjuna on the battlefield is here depicted in Orissan pata-chitra versions
	Versions in kalamkari, from Andhra Pradesh
	And in Madhubani, from Bihar
	And in Tanjore style, from Thanjavur
	And in metalwork
	And in modern printed form
	A new, huge ISKCON image, reimagining the setting in terms of Mughal and Rajput miniature painting conventions

	Krishna's revelation to Arjuna of his cosmic self is depicted in kalamkari (though not half as terrifyingly as in the text itself)
	And in Madhubani style
	And in painting
	And in modern printed forms

	After the lesson, Arjuna is ready to launch the great fratricidal war, and Krishna urges the horses into battle, as shown in batik form
	And in modern printed form as well

content for

A modern Orissan pata-chitra of the famous opening Gita scene

Source: ebay, June 2001

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The lesson of the Gita; a modern pata-chitra painting from Orissa

Source: http://www.exoticindiaart.com/paintings/PC60
(downloaded March 2001)

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A more colorful pata-chitra version

Source: http://exoticindia.com/product/PD71/
(downloaded Dec. 2004)

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Another modern version

Source: http://www.exoticindia.com/product/PE54/
(downloaded July 2005)

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== Indian Routes index == Indian Routes sitemap == Glossary == FWP's main page ==

0100_0199/gita/vishvaprints/vishvaprints.html

Vishnu Avatar

0100_0199/gita/vishvaprints/vishvaprints.html

A print from the Ravi Varma Press, c.1910's

Source: ebay, Nov. 2006

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Another version, with no fangs: a bazaar art print from c.1910-20

Source: ebay,  Feb. 2006

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A Vishva-rupa print, Bombay, earlier 1900's

Source: ebay, June 2002

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Another early print of the same scene; click on the image for a very large scan

Source: Bought on ebay and scanned by FWP, Apr. 2009

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A print by C. Konddiah Raja, c.1950's

Source: ebay, May 2006

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Bazaar art, c. mid-1900's

Source: ebay, May 2007

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A modern religious poster

Source: ebay, Sept. 2008

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"The universal form," from an ISKCON (International Society for Krishna Consciousness) website

Source: http://www.asitis.com/gallery/plate31.html
(downloaded Nov. 1999)

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Bazaar art, c.1980's; this one seems to suggest a little of the "fire of time" imagery

Source: ebay, Dec. 2007

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Bazaar art, c.1990's

Source: ebay, Apr. 2008

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Bazaar art, c.1990's; two gold-bordered versions

Source: ebay, Oct. 2008

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== Indian Routes index == Indian Routes sitemap == Glossary == FWP's main page ==

the battlefield of Kurukshetra,

On the battlefield of Kurukshetra, Krishna prepares to instruct Arjuna, a modern poster

Source: http://spiritweb.org/Spirit/image-gallery.html?topic=Vedic%20Deity
(downloaded Oct. 1999)

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Another representation of the scene

Source: http://www.bhagvatgita.com/krishna2.jpg
(downloaded Dec. 2004)

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Bazaar art print, c.1940's

Source: ebay, May 2005

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A didactic print from the 1960's that uses the Gita scene as a focal point for general religious instruction

Source: ebay,  Mar. 2006

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Krishna appears simultaneously as charioteer and as deity (bazaar art, c.1990's)

Source: ebay, Sept. 2008

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== Indian Routes index == Indian Routes sitemap == Glossary == FWP's main page ==

Religious customs in Narsinga (an old name for Vijayanagar); from a five-volume set of travel accounts of 'India Orientalis' and elsewhere, by Johann Theodore de Bry and Johann Israel de Bry, Frankfurt, c.1599; more engravings from this work, some with modern hand coloring:

*Some Arab and Ethiopian inhabitants of Goa*
*Fishing boats of Goa and Cochin*
*"A foist with a Portuguese pavilion"*
*A shipwreck during a voyage that included Goa and Point de Galle*
*"Illustration of a certain horrible robbery, perpetrated in the state of Goa" [a wife conspires to rub and murder her husband]*
*Wedding rituals in Ballagate, near Goa*; *the whole page*
*Funeral rituals in Ballagate*; *the whole page*
*"Balliadera" [bayadere]*; *the whole page*
 *Village life in India*; *the whole page*
*Brahmins and merchants*; *the whole page*

*The King of Bali*
*View of a market in Bantam*
*People of Malacca*
*People of Sumatra*
*Javanese dancers*
*Javanese drummers*
*A council in Java*
*A Javanese trireme*
*An attack on a Dutch ship in Java*
*Dutch ships in Amboina*

*People of the Euphrates*

*Nomination of a regent in China*

*Women warriors of Monomotapa, southern Africa*

*Dutch warships in Portugal*

*Mexicans killing captives*
*Dutch warships off the island of Brava, Costa Rica*
*The Dutch in the island of Mocha, Chile*

Source: ebay, Jan. 2008

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== Indian Routes index == Indian Routes sitemap == Glossary == FWP's main page ==

Note*MEENA'S : Legends of Rajasthan both article relates

Meenas bathed with their dead bodies

Kachwaha Rajputs was termed as most coward and shameful in history of Rajasthan.

The Meena King (Raja Ralun Singh) also known as Alan Singh Chanda of Khogong. Kind-heartedly adopted a stranded Rajput mother and her child who sought refuge in his realm. Later, the Meena king sent the child, Dhola Rae, to Delhi to represent the Meena kingdom.

The Rajput, in gratitude for these favours, returned with Rajput conspirers and massacred the weaponless Meenas on Diwali while performing rituals i.e. Pitra Trapan, it is customary in the Meenas to be weaponless at the time of PitraTrapan,

Pitra Trapan

"Filling the reservoirs in which the Meenas bathed with their dead bodies"

[Tod.II.281] and thus conquered Khogong. This act of Kachwaha Rajputs was termed as most coward and shameful in history . REF:- coward kachwaha

"Meenas bathed with their dead bodies"

Though historian Tod was fond of Rajputs and their history,but this betrayal of Kachwaha Rajputs was termed as one of the most shameful and coward act in history of India by him. T.H. Henley,states in his Rulers of India and the Chiefs of Rajputana (1897) . He said that meena will never give up that's why RAJPUT and British attack them while they are weaponless .Rajasthan history states that

The Kachwaha clan is believed to have settled in an early era at Rohtas in present-day Bihar, later the clan migrated to Rajasthan. Dhola Rae then subjugated the Sihra Gotra of Meenas at much later on known as Jamwa Ramgarh near Jaipur, and transferred his capital thence

Becoming the son-in-law of the prince of Ajmer, he died when battling 11,000 Meenas,most of whom he slew [Tod.II.282]. His son Maidul Rae "made a conquest of Amber from the Soosawut Meenas" by conspiracy whose King Raja Bhanu Singh Meena, was the head of the Meena confederation. He subdued the Nandla Meenas, annexing the Gatoor-Gatti district [Tod.II.282]. Hoondeo succeeded to the throne and "continued the warfare against the Meenas" [Tod.II.282]. Koontal, his successor, fought the Meenas "in which the Meenas were defeated with great slaughter, which secured his rule throughout Dhundhar" [Tod.II.282]. The Meenas were the original builders of Amber, which town they consecrated to Amba, the Mother Goddess,

Whom they knew as "Gatta Rani" or"Queen of the Pass" [Tod.II.282]. Amer was known in the medieval period as Dhundar (meaning attributed to a sacrificial mount in the western frontiers).  

Four Yugas

The cycle repeats itself, so altogether there are 1,000 cycles of Mahā-Yuga in one day of Brahma.

The four yugas which come one after the other are as follows (along with their durations):

The 4 Ages are:

1. The Satya or Krita Yuga, a Golden Age

2. The Treta Yuga, the Age of Ritual

3. Dvapara Yuga, the Age of Doubt: Man loses the sense of the Divine Reality of the world and grows away from natural law

4. The Kali Yuga, the Age of Conflict and confusion began in 3012 BC and will end with the nearly total devastation of the present humanity

MATSYA AVATAR TO KALKI

In Hindu metaphysics time is cyclical and each period of manifestation is called a KALPA of Brahma, equivalent to 4.32 billion human year.

The KALPA is subdivided into 14 MANVANTARAS.

We are now in the seventh MANVANTARA of this KALPA.

Each MANVANTARA is divided into 71 MAHA-YUGAS of 4,320,000 years each. 

We are in the 28th MAHA-YUGA of this MANVANTARA.

Each MAHA-YUGA is made up of four yugas

Each Yuga is preceded by a period of a dawn and followed by a period of twilight. [Linga Purana 1.4.3-6]

Longer alternatives

The Bhagavata Purana also goes on to give an alternate list, wherein it numerically lists out 22 Vishnu avatars in chapter 1.3.^[53]

ancient ancestor's ancestors

1. Four Kumaras (Catursana) [BP 1.3.6] – the four Sons of god Brahma and exemplified the path of devotion
2. Varaha [BP 1.3.7]- The divine warthog who lifts earth from cosmic waters
3. Narada [BP 1.3.8] -the divine-sage who travels the worlds as a devotee of Vishnu
4. Nara-Narayana [BP 1.3.9] – the twin-sages
5. Kapila [BP 1.3.10] – a renowned sage spoken of in the Mahabharata, son of Kardama Muni and Devahuti and sometimes identified with the founder of the Samkhya school of philosophy
6. Dattatreya [BP 1.3.11] – the combined avatar of the Hindu trinity Brahma, Vishnu and Shiva. He was born to the sage Atri became a great seer himself
7. Yajna [BP 1.3.12] – the lord of fire-sacrifice, who was also a previous Indra – the lord of heaven
8. Rishabha [BP 1.3.13] – the father of Bharata Chakravartin and Bahubali
9. Prithu [BP 1.3.14] – the sovereign-king who milked the earth as a cow to get the world's grain and vegetation and also invented agriculture

start from

10.matsya : already post

10. Matsya [BP 1.3.15]- A narwhal who guided Manu's ark during the pralaya (deluge) and also killed demon Hayagriva
11. Kurma [BP 1.3.16]- A giant tortoise who balances Mount Mandara atop his caprice during the churning of the cosmic ocean of milk
12. Dhanvantari [BP 1.3.17] – the father of Ayurvedic medicine and a physician to the
13. DevasMohini [BP 1.3.17] – the enchantress
14. Narasimha [BP 1.3.18]- The man-lion who kills demon Hiranyakashpu
15. Vamana [BP 1.3.19]- The dwarf
16. Parashurama [BP 1.3.20]- The Brahmin warrior with an axe who kills Kartyavira Arjuna and his Kshatriya allies
17. Rama [BP 1.3.22]- 'Perfect King' from Suryavansha, Subject of Ramayana
18. Vyasa [BP] 1.3.21] – the compiler of the scriptures –
19. Vedas and writer of the scriptures
20. Puranas and the epic
21. MahabharataBalarama [BP 1.3.23]- Lord of agriculture and elder brother to Krishna
22. Krishna [BP 1.3.23]-Subject of the Mahabharata and the Bhagavad Gita
23. Buddha [BP 1.3.24]- The enlightened teacher
24. Kalki [BP 1.3.26]- The future lawgiver

Avatars like Hayagriva, Hamsa and Garuda are also mentioned in the Pañcaratra making the total of thirty-nine avatars.^[54] However, despite these lists, the commonly accepted number of ten avatars for Vishnu was fixed well before the 10th century CE.^[37]

11.Kurma

The Kurma legend appears in the Vedic texts, and a complete version is found in the Shatapatha Brahmana of the Yajurveda.^[2].^[7][8][9][8] Both Kurma and Matsya are exclusively and clearly linked to Vishnu.^[8]

Mount Meru was said to be the residence of King Padamja Brahma in antiquity.^[15]

According to Charles Allen, Mount Kailash is identified with Mount Meru. One description in the Vishnu Purana of the mountain states that its four faces are made of crystal, ruby, gold, and lapis lazuli.^[22] It is a pillar of the world and is located at the heart of six mountain ranges symbolizing a lotus.^[22]

Kurma in the Vedic texts is a symbolic cosmogonic myth.^[8] He symbolizes the need for foundational principles and support for any sustained creative activity. In sections 6.1.1 and 7.5.1 of the Shatapatha Brahmana, Kurma's shape reflects the presumed hemispherical shape of the earth and this makes it part of the fire altar design.

Enlarge source
The cosmic tortoise, and Mount Meru

source
The tortoise (Kurma) incarnation of Vishnu. Illustration to a 'Vishnu Avatara' series
Date
between circa 1860 and circa 1870 (made)

He is also considered the lord of the waters, thus symbolism for Varuna. In these early Hindu texts, Varuna and goddess earth are considered husband and wife, a couple that depend on each other to create and nourish a myriad of life forms.^[8] Alternate names such as Kumma, Kashyapa and Kacchapa abound in the Vedic literature, as well as early Buddhist mythologies such as those in the Jataka Tales and Jain texts, which also refer to tortoise or turtle.^[8][10][11]

To be continued....

Next topic

An artist's rendering of the identity of Atman and Brahman

Salwa king contemporary to Krishna

king salwa visiting kalayawana
Yet another Salwa king (3:12, 7:11) attacked Dwaraka, this Salwa king was an ally of Shishupala, Dantavakra and Rukmi. According to the narration in the epic, he possessed an aircraft known as Saubha Vimana and used it for travel and for aerial warfare

Raja (Raja Jagat Singh II, 1694-1752, possibly of Jaipur) and lady watching from a roof-top the Tij,

Physical description
Painting in opaque watercolour on paper depicting the month of Sawan (July-August). A Raja (Raja Jagat Singh II, 1694-1752, possibly of Jaipur) and lady watching from a roof-top the Tij, or Swing Festival, performed at Bundi in the rains. An illustration to a Barahmasa or set of verses describing the ways of lovers in the twelve months.
Place of Origin
Bundi (made)
Date
ca. 1770 (made)
Artist/maker

In this painting, a Rajput nobleman and his companion watch a celebration of the festival of Teej, held to mark the arrival of the monsoon. The coming of the rains signifies fecundity and renewal, as seen in the verdant depiction of the garden and the snake-like lightening in the sky. In fine clothes and with henna-painted hands, women carry an effigy of the female deity Parvati, holding floral fronds aloft, and swing from a mango tree as lightening flashes across the sky.

Matsya

• Object:Painting
• Place of origin:Kolkata (made)
• Date:ca. 1885 (made)
• Artist/Maker:Unknown
• Materials and Techniques:Painted in opaque watercolour on paper
• Museum number:IS.592-1950
• Gallery location:In Storage

As would be expected of an image of Vishnu's first avatar, Matsya, the lower part of the body is a fish. But the breasts look more female than male, there are only two hands and they are in anjali mudra. which is uncommon in a deity. A hooked prong behind would have fitted into a shrine. Brassy colour, little wear.

the capture of Bundi fort in Rajasthan by the Mughal army in 1577

This painting by the Mughal court artist Tulsi the Elder depicts the battle preceding the capture of Bundi fort in Rajasthan by the Mughal army in 1577. It is an illustration to the Akbarnama (Book of Akbar), commissioned in 1589 by the Mughal emperor Akbar (r.1556–1605) as the official chronicle of his reign.
The Akbarnama was written in Persian by Akbar’s court historian and biographer, Abu’l Fazl, between 1590 and 1596, and the V&A’s partial copy of the manuscript is thought to have been illustrated between about 1592 and 1595. This is thought to be the earliest illustrated version of the text, and drew upon the expertise of some of the best royal artists of the time. Many of these are listed by Abu’l Fazl in the third volume of the text, the A’in-i Akbari, and some of these names appear in the V&A illustrations, written in red ink beneath the pictures, showing that this was a royal copy made for Akbar himself. After his death, the manuscript remained in the library of his son Jahangir, from whom it was inherited by Shah Jahan.
The V&A purchased the manuscript in 1896 from Frances Clarke, the widow of Major General John Clarke, who bought it in India while serving as Commissioner of Oudh between 1858 and 1862.

A large portrait-format page showing the story of the salvation (moksha) of the King of the Elephants (Gajendra) who is saved from the demon crocodile by Vishnu who comes to the rescue on Garuda.

Architectural drawing of Tirumala Nayak at Madura,

• Object:Drawing
• Place of origin:Madura (made)
• Date:ca. 1780 (made)
• Artist/Maker:Unknown
• Materials and Techniques:Pen and Ink
• Museum number:AL.7766:34
• Gallery location:In Storage
• Download image

Many of the British were excited by the Great temple at Madura and it was frequently illustrated. This set of 143 drawings is the most extensive series known of the famous pillared hall ('mandapa') to the east of the Great temple, popularly known as Tirumala Nayak's choultry. These drawings provided detailed architectural descriptions of the pillars, showing various elevations, and betray the hand of an artist trained in the conventions of Dravidian architecture. Some of the drawings relate to, and are on the same scale as, a series of bronze models in the Victoria & Albert Museum (Guy 1990), and in the Ashmolean Museum (Harle and Topsfield, 1987 no. 68). The drawings, and the bronze replicas which show every evidence of having been modelled on the basis of these drawings, are in all probability those which Adam Blackader, resident in Madura in the 1780s, described in a letter of 1789 to his friend Sir Joseph Banks. Blackader records that he spent three years preparing these drawings and models. He had eighteen models made, selected to show the various types of richly-carved pillars. 'These', he wrote, 'were not taken regularly from one end of the choultry but different pillars selected from the whole giving all the principal varieties which occurred in the carvings'. These drawings are very similar to a set prepared at Madura under the supervision of Colin Mackenzie and now in the India Office Library (WD1063/1-57; M. Archer, 1969b, vol. II, pp. 531-2).

Architectural drawing of Tirumala Nayak at Madura,

• Object:Drawing
• Place of origin:Madura (made)
• Date:ca. 1780 (made)
• Artist/Maker:Unknown
• Materials and Techniques:Pen and Ink
• Museum number:AL.7766:139
• Gallery location:In Storage

Tantiya MAMA Bhil

Tantia Bhil, a legendary robber in Central India

: Tantia (c.1844-1890) was a member of the Bhil tribe and a renowned robber. He was tried and hanged in December 1890. 1 January 1906 363 Tantia Bhil, a legendary robber in Central India
- Image ID: P80WDF

Tantia Bhil, a legendary robber in Central India Contributor: History and Art Collection / Alamy Stock Photo Image ID: P9KT99

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Tantia Bhīl (or Tantya Bheel, Tantya Mama) (d. 1890) was a dacoit (bandit) active in British India between 1878 and 1889. He is described very negatively as a criminal in period British accounts, but is recognized by Indians as a heroic figure. Accounts of both eras have described him as an Indian "Robin Hood".

Career

Tantia was a member of the Bhil tribe, of the indigenous Adivasi community, and born in Nimad, Madhya Pradesh around 1844. Per one modern account he embarked on his career after the harsh measures taken by the British following the Indian Rebellion of 1857.^[1] Tantia was first arrested around 1874 for "bad livelihood" and after a year's sentence turned to more serious crimes of theft and kidnapping, he was arrested in 1878 by Haji Nasrullah Khan Yousufzai and jailed in Khandwa, escaping after only three days, and from there took up his career as a dacoit.^[2]

Tantia was lured to a parley by an officer of the Indore army who promised him a pardon, but was ambushed and taken to Jubbulpore where he was tried and hanged in December 1890.^[2]

History

It is an indisputable fact that freedom fighters have all along been termed as rebels by the powers that be it the Mughal Empire of Aurangzeb or the British rule. Tantya Bhil was one of the greatest revolutionaries who waged an armed struggle against the British rule for twelve years and endeared himself to the masses by virtue of his indomitable courage and passion to uproot the foreign rule. Political parties and educated class launched forceful movement for ending the British Rule, but much before these movements, tribal communities and revolutionary like Tantya Bhil raised a banner of revolt against the British rule. Tantya Bhil became a symbol of the feelings of tribals and general people.^{[citation needed]}

About one hundred twenty years ago Tantya Bhil emerged as a great hero of the masses and became since then a long cherished pride of Bhil tribe, he epitomized the indomitable courage, exceptional agility and organizing skill.^{[citation needed]}

Tantya Bhil used to plunder the government treasuries of the British government and wealth of their sycophants used to distribute it among the poor and needy. In fact, he was the Messiah of the have-nots, he was popularly called Mama by people of all age groups. This address of Tantya became so popular that the Bhills still feel proud in being addressed as "Mama", he used to reach out to those who were in need of financial help in a miraculous manner.^{[citation needed]}

The news of the arrest of Tantya Bhil was prominently published in the 10 November 1889 issue of the New York Times. In this news he was described as the "Robin Hood of India".

Tantya Bhil was born at village Badada in Pandhana tahasil of East Nimar (Khandwa) of erstwhile Central Provinces which currently lies in the Indian state of Madhya Pradesh, he wanted to teach a lesson to the British and to realize Bhils’ dream of socialist society. He was fired with a passion to free India from British subjugation, he broke the jail many times.

He was skillful in Guerilla warfare, he was also a great shooter and proficient in traditional archery. "Dava" or Falia was his main weapon. He had also learnt to handle gun.

Right from his young age he lived in dense forests, valleys, ravines and mountains all his life measuring swords with the British and Holkar State's armies, he inflected reverses on the police of mighty British Empire and eluded them for many years. Thousands of people were arrested and hundreds of them were thrown behind bars on the charge of helping Tantya.

Ultimately, Tantya was arrested due to treachery of Ganpat, the husband of his formal sister, he was kept in the Central India Agency jail in the British Residency area at Indore. Later, he was taken to Jabalpur under strict police guard, he was heavily chained and kept in Jabalpur jail where the British officers tortured him inhumanly. All types of atrocities were perpetrated on him; the Sessions Court, Jabalpur sentenced him to be hanged till death on 19 October 1889. The British government was so scared that even today it is not known as to when and on which date he was hanged, it is generally believed that after hanging him his body was thrown near Patalpani railway station on Khandwa rail route near Indore. The spot where his wooden effigies were placed is considered to be the Samadhi of Tantya Mama. Even today all the train drivers stop the train for a moment as a mark of respect to Tantya Mama.

Filmography

• Do Waqt Ki Roti (1988)
• Tantya Bheel (2012)
• "Tatti bheel" (2020)

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Cut back with sharp knife

Description	English: "Scarification pattern among the Great Andamanese in the late 19th century. Nothing is known of the origins or antiquity of this custom among the Andamanese." Citation from Clothes, Clay and Beautycare (of Great Andamanese people), by George Weber.
Date	1901
Source	Pitt Rivers Museum, Oxford - reproduced on http://www.andaman.org/BOOK/chapter13/text13.htm
Author	Edward Horace Man (1846-1929)