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May 4, 2009October 12, 2020

Dejhoor, Athoor and Atah

I was in Jammu recently attending the wedding of a dear cousin sister.Taking a detour from usual posts about Kashmir and my visit to Kashmir, I will be doing some posts on Kashmiri pandit wedding ceremony. Here’s the first one…

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Local Goldsmith in Jammu said that this particular design, the rather traditional design for Dejhoor, is not in vogue anymore and few craftsmen can re-create it.

My grandmother gave this Dejhoor to her daughter on the day of her Devegoan and she in turn gave it to her daughter on the morning of her Devegoan.

Devegoan ceremony is usually held a day before the actual wedding ceremony – i.e. Lagan, fire ceremony – and is meant to be an invite for the gods. On this day, the bride-to-be is given Dejhoor for ears by her mother . Dejhoor, cast in gold, is always hexagonal (Shatkon) shaped with a dot (Chunne) in the center. It is believed to be a yantra denoting Shiv and Shakti. This yantra, Dejhoor, is dangled from piercings in the upper ear cartilage, always the left ear first and then the right, and initailly, on the day of Devgoan, only using a red thread, nairwan.

Next day, after the Lagan ceremony, parent- in-laws of the new bride take her to their house, remove the red thread supporting the Dejhoor and replace it with Aath, gold or ordinary gold/silver colored (Sulma/Tilla) threads. The in-laws also add Athoo – Atah tied in a designer knot or a small piece of golden ornament added – to the lower end of the Dejhoor thus completing the yantra in a very symbolic way. So next day, as part of another ritual, when the bride along with her husband visits her mother’s place, she now sports a compete set of Dejhoor, Athoor and Atah.

This tradition of women wearing Dejhoor and its origin in Kashmir goes way back in time. It has survived centuries.

A 10th century stone sculpture of Kashmiri origin called Birth of Buddha, housed at S.P.S. Museum, Srinagar – in which the mother of Buddha, Mayadevi and her sister Prajapati are shown wearing Dejhoor just in the manner in which it is still worn by Kashmiri Pandit woman to this day.

Found the image of stone sculpture in: Arts and Crafts, Jammu and Kashmir: Land, People, Culture by D. N. Saraf (1987) [Google books]

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Dejhoor, Athoor and Atah remain one of the best ways of identifying a Kashimri Pandit women. It either dangles from their ears or they fold the atah and tie it up in their hair using a simple pin. The basic problem today is that one can’t safely go around walking on roads with gold dangling from your ears.

May 3, 2009October 12, 2020

Pundit Manto’s First Letter to Pundit Nehru

Pundit-ji, assalamu alaikum!
This is the first letter I’m sending you. By the grace of God you’re considered very handsome by the Americans. Well, my features are not exactly bad either. If I go to America, perhaps I’ll be accorded the same status. But you’re the Prime Minister of India, and I’m the famed story writer of Pakistan. Quite a deep gulf separating us! However, what is common between us is that we are both Kashmiris. You’re a Nehru, I’m a Manto. To be a Kashmiri is to be handsome, and to be handsome … I don’t know.

Opening lines from Saadat Hassan Manto’s Pundit Manto’s First Letter to Pundit Nehru, dated 27th August 1954. This particular letter was meant as preface to a literary work written like a series of letters from Manto to various people including Uncle Sam.

Manto was just as much Kashmiri as Nehru, their ancestors having left Kashmir long ago, and still both acutely (definitely in case of Nehru) proud of their origin.

Elsewhere in the same letter, Manto writes:

I would like to tell you an interesting anecdote. Whenever my late father—who was, obviously, a Kashmiri—ran into a hato*, he would bring him home, seat him in the vestibule and treat him to some Kashmiri salty tea and kulchas. Then he would tell the hato proudly, “I’m also a kosher.” Pundit-ji, you’re a kosher too. By God, if you want my life, it is yours for the asking. I know and believe that you’ve clung to Kashmir because, being a Kashmiri, you feel a sort of magnetic love for that land. Every Kashmiri, even if he has not seen Kashmir, should feel this way.

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* Hato: Fetch (They were probably saying Hyato: Buy; but to Indian ears it sounded like Hato): Kashmiri traveling salesmen called so because of the sound they made while calling potential buyers. Like: Shawl Hyato. Or Like: Hato Kawa – Come Crow, fetch.

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Download Pundit Manto’s First Letter to Pundit Nehru here (.pdf) – Translated from the Hindi version of the original Urdu by M. Asaduddin

April 15, 2009October 12, 2020

Oldest drawings of Khir Bhawani (1850s) By William Carpenter Junior

William Carpenter Junior(1818-1899), London born water colorist son of a portrait painter Margaret Sarah Carpenter, came to India in 1850 to draw people and scenery. In 1854, he came to Kashmir, staying for a good enjoyable year till 1855, producing some of his best works. William Carpenter Junior returned to England in 1857 and exhibited his new Indian paintings at the Royal Academy where they stayed on display for the next eight years. Many of these paintings were also reproduced in The Illustrated London News as special supplementary lithographs.

Following are two Kashmir drawings by William Carpenter Junior published in Illustrated London News, June 1858

Caption: A Hindoo fair in Cashmere
[Update 2, Augm 2018: I finally managed to acquire the original image. The accompanying image makes it clear that the above image is of Jwala Ji shrine, Khrew. It is now obvious that the water body depicted is the spring at the bottom of the hill. ]

pandit pilgrim in river at Kheer bhawani kashmir

The caption for the drawing does not mention the location of the fair but without doubt this fair was held at the Khir Bhawani Spring located at Tulmul village in Ganderbal district of Kashmir.

This drawing presents the scene of Pandit pilgrims performing the ritual of purification bath in the ice cold waters of the stream that surrounds the holy island. The stream is called Syen’dh in Kashmiri (and originates in Gangbal-Harmukh ) and is not to be confused with Sindhu (Indus) River. In older days, the pilgrims mostly used to reach the island spot in boats, doongas and wade through swamps and marshy lands. The perspective of the drawing reveals that William Carpenter was looking at the island from across the stream. In the background of the drawing, one can see the camp tents of the pilgrims pitched on the central island under the shade of chinar trees. The fair is still held annually in the month of June with the pilgrims camping out at the wonderful location for days.

Caption: Hindoo Festival, Cashmere – from a photograph by W.J Carpenter, Jun

In this drawing we can see Pandit men and woman sitting, surrounded by chinar trees, around the sacred spring (not visible but its end corner marked by flags and staffs*). The scared spring (naag) is believed to be the manifestation of an ancient goddess, who manifested herself as a serpent (naag) at this location to a Pandit. According to the local legend, one Pandit Govind Joo Gadru had a vision of the serpent goddess who revealed the spot to him in dream. The Brahmin then arranged a boat and rowed through the marshy lands of Tulmul carrying a vessel of milk. Upon discovering the spot revealed by the goddess, he pored out the milk. Soon afterward, Kashmiri Pandit, one Krishna Taplu, had the vision of the same serpent a goddess who led him to the same holy spot. As time passed, the spot, marked in the marshes by flags and staffs, slowly became popular among the Kashmiri Pandits. The goddess became known as Rajni (Empress), Maharajini(The Great Empress), Tripurasundari (the same deity at Hari Parbat), Bhuvaneshwari and most famously as Khir Bhawani. The last name because it became the religious practice for the people to pour into the spring a dessert called Khir made of rice, sugar and milk.

A temple was much later built on the island under the Dogra rule of Ranbir Singh(1830 -1885) and his son Pratap Singh (r. 1885-1924). Also, a goddess idol and a Shiva linga ( both believed to have been found in the waters of the spring) together were installed in a high chamber built inside the spring. A Shiv Linga and an idol of Goddess together cannot be found in any other hindu holy place. The work on temple was completed in the time of Maharaja Pratap Singh in 1920s.

Earlier in 1888 , British Land Settlement Commissioner to Kashmir, Walter Lawrence wrote about this place:

Khir Bhawani is their favourite goddess, and perhaps the most sacred place in Kashmir is the Khir Bhawani; spring of Khir Bhawani at the mouth of the Sind valley. There are other springs sacred to this goddess, whose cult is said to have been introduced from Ceylon. At each there is the same curious superstition that the water of the springs changes colour. When I saw the great spring of Khir Bhawani at Tula Mula, the water had a violet tinge, but when famine or cholera is imminent the water assumes a black hue. The peculiarity of Khir Bhawani, the milk goddess, is that the Hindus must abstain from meat on the days when they visit her. and their offerings are sugar, milk-rice, and flowers. At Sharka Devi on Hari Parbat and at Jawala Mukhi in Krihu the livers and hearts of sheep are offered. There is hardly a river, spring, or hill-side in Kashmir that is not holy’ to the Hindus,and it would require endless space if I were to attempt to give a list of places famous and dear to all Hindus. Generally speaking, and excluding the Tula Mula spring, which is badly situated in a swamp, it may be said that the Hindu in choosing his holy places had an eye for scenery, since most of the sacred Asthans and Tiraths are surrounded by lovely objects.

Interestingly, just around the start of the 20th century, Maharaja Pratab Singh, weary of curious European visitors who insisted on walking on the island with their shoes on and who fished in the sacred river waters surrounding the island, issued government decrees putting a check on their movement to this shrine.

Today, there is no historical account to inform us whether William Carpenter Junior had his shoes on or off while he visited the spring of Khir Bhawani and worked on those beautiful drawings.

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Found these old images (albeit no mention of Khir Bhawani there) at the great resource columbia.edu

Rest of the photographs were taken by me in June 2008.

Photograph 1: A Hindu pilgrim, silently reciting some scripture, standing on one leg (with a little support) in water of the stream surrounding the island. I came back two hours later and he was still there.

Photograph 2: The view of the holy spring, flags, chinar trees and recently tiled ground of the island.

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*Flags and Staffs: Walter Lawrence, in the aftermath of great flood of 1893 in Kashmir, recorded a curious practice prevalent among Kashmiri people. He wrote, ‘Marvellous tales were told of the efficacy of the flags of saints which had been set up to arrest the floods, and the people believe that the rice-fields of Tulamula and the bridge of Sumbal were saved by the presence of these flags, which were taken from the shrines as a last resort.’

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For more about Kheer Bhawani, you can read the book ‘A Goddess is Born: The Emergence of Khir Bhavani in Kashmir’ By Dr. Madhu Bazaz

April 15, 2009October 12, 2020

Khir Bhawani Gate

The inner gate to the island of Khir Bhawani.

April 14, 2009October 12, 2020

Headdress, Ear rings, Hair Braids

The song was playing on the T.V and my nani breathed out the names.

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Image: Sharmila Tagore in Shakti Samanta’s Kashmir Ki Kali (1964). Religion unknown.

Tchand’re Taa’che – Moon Headgear. Kashmiri Pandit woman also used to wear it.

Kan’waaj’e – Ear Rings

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The women are sometimes very handsome. The parda-nashins are, of course, very rarely seen. The men wear a long shirt called firan, which in the case of Hindus has long, narrow sleeves, and Muhammadans short, full ones. The Hindu woman or Punditani wears a girdle and has a white cap, whereas the Mussulman! wears a red head-dress. The black hair of young girls is braided in many thin strands, covering the back and forming a semi-circle, with a knot of hair hanging down the back, and stretching sometimes nearly to the feet.

– John Collett, A Guide for Visitors to Kashmir (1984)

It was a somewhat wistful face, with great, shy, light- brown eyes. Her hair, too, was light brown, braided in many small braids, all caught together at the ends,reaching below her waist, and finished off with a large tassel of black wool, according to the decree of fashion in these parts. All round her forehead, soft, light-brown curls, blown by the wind, escaped from under her little cap. Her skin was very fair, and showed a delicate colour in her cheeks. There was a rebellious air about the pretty mouth. Dzunia was going to keep watch in her father’s fields, to sit in a quaint little erection of straw and dried branches, like a huge nest, to scare away the birds and keep a look out for other pilferers. Her brother would not come to relieve her till late in the evening, and she had at least three hours of lonely vigil. She would break it by running home presently for a bowl of tea, but it was dull work.

P. Pirie, writing about a young Kashmiri village girl in Kashmir: The Land of Streams and Solitudes (1909)

Owing to hard work they soon lose their good looks. They are married at an early age, soon after ten. Little girls wear small skull-caps, and may have their hair beautifully done in a large number of plaits spread out over the back and gracefully braided together. After marriage, however, a thicker turban-like red cap, studded with pins, is worn, and over it a square of country cloth to act as a veil and cover the whole back. The rest of the usual dress of the village women is an ample pheran of dark blue cotton print, with a red pattein stamped on it; or the gown may be of grey striped cotton or wool, with wide sleeves turned back and showing a dirty lining. Round the neck a collar of silver or brass, enamelled in red or blue, or a coral and silver bead necklace, is usually worn; and large metal ear-rings are common. Glass bangles or massive silver bracelets and finger rings, with agate or cornelian, complete the list of ordinary jewellery worn by Kashmiri women. The feet are bare, or leather shoes, often green, are worn. The houses are without chimneys, so the inmates become smoke-begrimed. There are fewer Mohammedan women than men. The ratio is about nine to ten. Perhaps for this reason polygamy is comparatively uncommon.

More females are born than males, but baby girls do not receive so much care as the boys, and the mortality from smallpox and infantine diseases is higher. The girls are often mothers at the age of fourteen.

Kashmiri women vary very much. A very large number of the peasant women are dirty, degraded and debased. But there are not a few who are very different and who are capable and manage their houses and children and even their husbands.

– Ernest Frederic Neve, Beyond the Pir Panjal: Life and Missionary Enterprise in Kashmir (1915)

The little girls of 6 — 9 are very pretty but their beauty must soon go, for though the women are mostly pleasant-looking, very few indeed can be called pretty. The little children wear bright-coloured tight-fitting caps, heavily ornamented with showy ” jewels ” and with very heavy flat triangular ornaments hanging at either side of their head with short chains of beads or pearls attached to them : they also wear heavy necklaces and anklets. The women wear long ear-rings with a great number of objects dangling from them which rather resemble a well-filled key-ring.

The little girls have their hair done in rather a peculiar manner : numerous little plaits lengthened by the addition of some foreign black material are joined behind the neck to the two outside plaits which meet in a knot with a tassel or cord hanging from it.

– Ambrose Petrocokino, CASHMERE: Three Weeks in a Houseboat (1920)

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Image: A Kashmiri woman in Hijab and Pink slipper. June 2008.

April 14, 2009October 12, 2020

Vegetables of Noorbagh

Sabziwol, Vegetable Seller at Hazratbal

The sellers kept insisting all the vegetable are from Noorbagh. We had stopped here to buy vegetables for the overnight stay at Tulmul.

The marshy grounds of Noorbagh on is the source of the finest greens in the valley. The city’s manure also keeps that area fertile.

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To continue, however, our progress down the river and through the city. Immediately below the Alii Kadal, or fifth bridge, stands an old stone building, with an inscription, supposed to be Buddhist, in the Nagri character; and some few yards below again is an evidence of another faith. This is an old wooden mosque, said to be the oldest in the Valley, called the Biilbul Lankar, containing the grave of that fakir who, as before stated, is held by the inhabitants to have been the first and prime agent in their conversion to the faith of Mohammed. The Naya Kadal, or sixth bridge, comes next, and a little further down is the Sufifa Kadal, the seventh and last of the city bridges, below which, on the right bank, is a green open flat, called the ‘Eedgah,’ which reminds one of home, so like an English common does it appear. A fine old mosque, the Ali Musjid,stands at one extremity, shaded by some of the noblest trees in the Valley; and nearly opposite, on the left bank of the stream, is a spot of an ill-omened character, the Noor Bagh, or place of execution. In former days it was rare not to see the gallows at this place graced by some malefactor, but capital punishment is now seldom carried out; the Sikh religion discouraging the taking of human life; and the present Maharajah, a devout follower of this belief, acting so strictly up to its tenets that for many years the hangman’s office has been literally a perfect sinecure, his services having never been required.

– W. Wakefield, The Happy Valley: Sketches of Kashmir and the Kashmiris (1879)

April 13, 2009October 12, 2020