Kangri Connections and a bit about its origins

Summer retreat of Kangri

“The natives of Kashmir are in the habit during the cold weather of carrying about a small pot covered with basket-work called a kangri ; when in use it is filled with hot embers. On preparing to go to sleep these people very frequently put their kangri with its ignited contents inside the breast part of their upper garment, a practice which very often results in their being severely burnt about the chest, as it would seem they are very heavy sleepers.
The kangri appears to have found a home in one part of Italy only. In Florence, during the winters, which are very severe, no Florentine woman of the lower classes walks abroad without carrying her Scaldino, a reproduction of the kangri of Kashmir. Dr [Eugen] Hultzsch has shown that the use of portable fireplaces or braziers was known in India — in Kashmir — as early as the twelfth century a.d., and here we have their use in Persia (and if [Pietro] Della Valle‘s word tennor be right, in Arabia also), as well as in Spain and Italy, in a manner implying a long previous history.”

~ ‘The Symbolism of the East and West’ (1900) by Mrs Murray Aynsley.
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A bit about Kangri, its possible origins and place among similar apparatus from around the world. Its closest relative probably comes from China.

“Many varieties of the hot-water containers have been developed. As novelties in the English potters’ exhibition at the Philadelphia Centennial in 1876 were foot-shaped vessels for hot water intended for placing in boots for drying them, and concavo-convex vessels for applying heat to the abdominal region. the Museum has a rare pottery hot-water bottle (pl.3, fig.1) with formed depressions for the feet of a lady. This vessel is of glazed Binghamton earthenware and dates about 1840. Several varieties of hand stove are found in easter Asia. they are usually of brass or copper, and consist of a small rectangular box with pertorated lid like an incense burner, and have a handle. They are often quite artistic pieces of workmanship (pl4.1). Sven Hedin found this variety of heating device at Lan Chow, western China, and says: “Among other things I bought shakos, or hand stoves, shaped like teapots but with grated lids. You fill them with ashes and put two or three pieces of red-hot charcoal in the middle of the ashes. the sha-lo will then keep warm for a good 24 hours.”

The Japanese pocket stove, or belly stove, as it is called, is much in advance of the examples previously described in that it employs a specially prepared fuel whose origin is probably in ancient experiments to produce a slow match for preserving fire for a long time. The pocket stove is a box of copper or tin slightly curved to fit the wearer, and with perforated sliding lid. paper cartridges filled with powdered charcoal of a specified kind are placed in the box, lighted at one end, and the lid closed. One charge gives out a gentle heat for four hours. Such stove are cheap, useful, and efficient. Another form widely spread is a small vessel with handle, in which a charcoal fire is carried about and used to warm the feet and hands. Perhaps the more familiar example of this personal stove is the scaldino of Italy, possibly of quite ancient origin (pl.3. fig. 2). These little stoves are made of bronze and terrra cotta, vase shape, with lid. Sometimes they are real works of art, designed for use by the elite. In China such stoves consist of a pottery bowl neatly incased in bamboo basketry. The Chinese bamboo portable stove has a base of sufficient diameter to prevent tipping over and is carried by a handle. (pl.3.figs.3,4). A similar vessel, called Kangri, is used during cold weather at Srinagar, Kashmir. the fire bowl is incased in elaborately woven osier over plates of mica. On top is a yoke-shape frame with a loop for carrying without getting the fingers burnt. Collected by Dr. W.L. Abbott (pl.3. fig 5).

~ Based on notes on specimen found by Dr. William Louis Abbot (1860-1936) in Kashmir in between 1891 and 1894 and presented in ‘Fire as an agent in Human Culture’ (1926) by Walter Hough for Smithsonian Institution United States National Museum.

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And Then There Was T’song



Modes of lighting in Kashmir and evolution of lamp around late 19th century and early 20th century. Based on notes on specimen found by  Dr. William Louis Abbot (1860-1936) in Kashmir in between 1891 and 1894 and presented in ‘Fire as an agent in Human Culture’ (1926) by Walter Hough for Smithsonian Institution United States National Museum.

About the kind of torch used in Kashmir: “Mass of fat formed upon a stick, around which is wound a wick of fiber.” [Torches of Birch bark are still widely remembered]

No. 10 Stone Lamp with pointed spout. Cashmere, India.

“Doctor Abbott also got pottery lamps from Kashmir. They are saucers of thin terra cotta pressed in on opposite sides to form a handle by which the lamp may be grasped. Another lamp from Srinagar, is napiform of red terra cotta with spout. The wick channel is cut through the rim and the reservoir is open above, as in the Turkestan lamps. This specimen is decorated with incises triangles and the border is scalloped. the native name is song [should be T’song].”
“Modification of the saucer lamp are plentiful for the purpose of placing the wick. Examples are shallow groves pounded in the Cashemere copper lamps and the bending in of the edge of the pottery saucers from ancient sites in Syria, North Africa, and other localities, modifying features suggesting the beginning of the wick spout. […]
The next step is in the measures taken to install the wick. By this step the lamp assumed the shape which it retained for thousands of years, This shape is familiar in the classic lamp, which has a circular reservoir and projecting beak for the wick.

The beak also arises in another manner that is germane to the construction of the lamp. The acute triangle form lamp cut from soapstone by the Kashmir and secured by Dr. W. L. About has the trough contained from the reservoir to the apex of the triangle and related to the shape of the excavation in the vessel. This introduced the pottery lamp in the form of a foot with open wick trough extended as a clumsy spout or beak. The reservoir is closed over, and through the top as through the next of a bottle oil was poured in. This form is ancient, being sculpted on a stone zodiacal slab of Nazi Maradah, son of Kurigalzar II, about the middle of the fourteenth century B.C. It is also shown on the cap of a kudurru or boundary stone bearing the star emblems representing Babylonian deities. Identical lamps are still in use in Turkestan and Kashmir, and have been found in Mohammedan stations in Egypt, Asiatic Turkey, and Spain.”
“In Cashmere, India, walnut oil and oil expressed from apricot seeds were used in lamps.”*
* A decade later, Sir Francis Younghusband noticed Kashmiris were mostly using rapeseed oil for lighting. 
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Pandit ritual involving T’song for 15th day of Shivratri.
Jammu. 2013.
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An  illustration of Kashmiri boat lamp
 found in ‘Aus dem westlichen Himalaya: Erlebnisse und Forschungen’ by Károly Jenö Ujfalvy (1884)

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Song for Durbarmove

Jammu. Spring.2013.
Angan phuli chamba mala
Jamuan di karni pyari a
Chitthian bhejda koi na hin
ti khat nal ue chhori bas a
chakri Kashmir an di pai ma him
a on da tera sukh a sand
Jasmine is blooming in my courtyard and wafts its scent across my bed!
O Beloved, thy service in Jammu, but perforce thou must go to Kashmir:
I send thee letters, but none come back to tell of thy welfare – 

Jasmine is blooming in my courtyard and wafts its scent across my bed!
~ A dogri folksong dating back to early 20th century Jammu about a woman’s lament about separation from lover caused by ‘durbar move’.
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Vikatanitamba

Nayikas in Rasamanjari.
Basohli Painting (~18th Century).

At the side of the bed
the knot came undone by itself,
and barely held by the sash
the robe slipped to my waist.
My friend, it’s all I know: I was in his arms
and I can’t remember who was who
or what we did or how


~ verses of 9th century Kashmiri poetess named Vikatanitamba ( literally ‘Horrible Hind’), translated by Mexican poet Octavio Paz. Not much is known about the woman except that (like a lot of later Kashmiri poetesses) she had a sad marriage. She was married to a man with much lesser language skills than her (in fact, the guy had (like a lot of Kashmiris) pronunciation troubles).

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music dies in Kashmir

“It is said that music is born in bengal, grows up in Outh, grows old in the Panjab and dies in Kashmir…”
~ Ananda Coomaraswamy

Shalimar Gardens.
William Simpson. 1823. About the performance he wrote,it was “the sweet delusion of a never to be forgotten night.”
Newsclip about Ratan Devi’s performance in New York
Vassar Miscellany News, Volume X, Number 18, 25 November 1925
Interesting note by Willain Buttler Yearts.

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Finally tracked down Kashmiri songs documented by the couple in 1911.
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Fire on the Mountain, Anita Desai, 1977

An old woman living in a colonial house on a hill in Kasauli would let no one enter her little paradise – a hard won lonely life after a ages spent serving a husband, many children and many grand-children. She is a recluse. She wants no one. Not even her great-grand child. But then the child arrives. A sickly young girl who turns out to be just as much of recluse. The child doesn’t want anyone to enter she little paradise, a child’s world half lived in fantasies. A mind that seeks little adventures like looking for berries, snakes, jackals and ghosts in the peaceful loneliness offered by the hills. The old woman realizes while they are similar, there is a difference too, while her reclusiveness in self-imposed, the child was just born into it.  The old woman starts changing, she now wants to enter the child’s world and share her own world with her. She tries, but fails. The child wants no one. The old woman falls back to the age old stratagem of ‘Nani Ki Kahani‘ to try and reach out. She weaves stories of her life by taking snippets of inspirations from travelogue of Marco Polo, in desperation she makes her own father a reflection of Marco Polo who travelled far into the mysterious lands of East. The child’s mind is stirred and old woman senses a relation blossoming. She tries harder. Nanda Kaul tells her great-grand daughter Raka about the paradise where she was born, she tells her grand exaggerated stories about Kashmir.  Strange stories about a house with a private zoo and backdoors that opened into flooded rivers. The child listens. But…

Raka’s words did not reflect the poetry of this vision. They were blunt and straight. ‘Why did you come here then,’ she asked, ‘instead of going back to Kashmir?’
Nanda Kaul simply shook her head and seem to wander in a field of grey thoughts, alone. ‘One does not go back,’ she said eventually. ‘No, one doesn’t go back. One might just as well try to become young again.’

The child soon catches on to the tricks and again retreats back into her world while Nanda Kaul’s world suffers another intrusion. Ila Das, a childhood friend whose shrill voice even sends birds into frenzy, arrives at the house, this paradise of recluses. She is a recluse of another kind, she has no choice, she has no one. And the friend she has doesn’t find it in her to offer her company, even though in moment of lapse Nanda Kaul does almost end up inviting Ila Das to stay with her. The moment passes. Ila Das leaves the house. It is with her leaving that the world of this little reclusive paradise, its neatness, its sweet lies and deceptions, its inhabitants, and the fableistic preambles of the story itself, get violently swallowed by the real world. Like by fire, like by life. And the mountains go up in flames.

The book won Anita Desai Sahitya Akademi Award and Winifred Holtby Memorial Prize in 1978. This was the first time Anita Desai visited Kashmir. Just a year ago, she had written a book called ‘Cat on a Houseboat’ (1976) for children. That one was about a cat (again a reclusive animal) that goes to Kashmir for a holiday.

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Buy Fire on the Mountain from Flipkart.com

video: ‘Bumbro, Bumbro’, 1964

Came across this mesmerising bit in A Bhaskar Rao’s “The Dancing Feet” (1964), a Shantaram Production about folk dance forms of India. [link for full movie at NFDC channel, where they had trouble dating the film]

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Notice the same place on the

 Bank of Jhelum, Srinagar, 1906

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Got names of some of the people in the video from readers via Facebook page of the blog

The woman in red: Raj Dulari, was a teacher at Lal Ded school

Zia Durrani and Nancy Gwash Lal, who were members of the original opera too.

One of the singers is Raj Begum.

Otto Lang’s ‘Search For Paradise’, 1957

At SearchKashmir not only are some old dreams of ‘Earthly Paradise Kashmir’ catalogued, but not so strangely it is also helping re-create some old dreams. Here is someone’s visual interpretation of Dimitri Tiomkin’s score for Otto Lang’s ‘Search For Paradise’ (1957). The film was about two WW-II pilots, two Marco-Polos searching for paradise in East and of course visit Kashmir. It is about the adventures they have, there are high flying planes (new Jet planes meant new age of science ), fast flowing rivers (there was US presence in the region) and invincible mountains (Nanga Parbat was conquered only in 1953).


Also this was probably the last time word ‘Shalimar’ was weaved into western classical music, a long tradition starting from Amy Woodforde-Finden setting Adela Florence Nicolson/Laurence Hope’s ‘Kashmiri Song’ to music in 1902.

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A NYT review from 1957

A news report about the film from year 1963.

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