The idea that worship of Rama or Krishna or that the Vaishnav thought was alien to Kashmir is a unique thought that has taken root in Kashmir in the last few decades. Thus the thrust in Kashmir that Janamastami or Dussehra festival is an alien idea, or the temple of Rama or Krishna is a manifestation of foreign import. These ideas are driven by rather recent politics of Kashmir which is no more than 100 year old.
Krishna-Baldev etched on a rock in Chilas, Gilgit-Baltistan. Dated around 6th century AD. The left figure has a crown on his head but the right one has a crescent-topped headgear. Both of them are holding a club in their right hand. The left figure is holding a plough-topped banner in his left hand and the right figure is having a discus on his left hand. Left one is Balaram and the right figure in Krishna. Kharoshthi inscription in Scythian style accompanying the figures reads: “Of (Bala) Rama (and) Krishna, (erection) of Dhamaputa.’ Source: Chilas: The city of Nanga Parvat. By Ahmad Hasan Dani, Islamabad (1983).
To get a broader perspective these thoughts must be analysed in context of Kashmir history. Ramayan is referenced in Rajatarangini as a narrative tool. The story of Hanuman bringing a goddesses from Lanka to Kashmir itself is told in Rajatarangini. Kalhana tells the tale with the humor usually associated with monkeys and Hanuman tales. We find Rama and Krishna their life stories narrated by 11th century poet Kshmendra. Earlier, King Lalitaditya the builder of Martand commissioned temples that were non-Shaivite. Under his rule only one Shiva temple was repaired (not built), that too because he took a loan from the temple trust for his military campaigns. In Rajatarangini we find a mention of an 8th century Island city built in Kashmir and named after Dwarka. Also, Kalhana tells us during Lalitaditya time two idols of Keshava [Vishnu] were excavated and inscriptions on them mentioned that they were dedicated by Rama and Lakshman. These idols were then installed in new temples at Parihaspora. We have Pradyumna Hill in Srinagar, named after the son of Krishna. The hill we now know as Hari Parbat. Alluding to Pancharatras concept popular in Kashmir back then, and out of which modern Krishna takes centre stage now. Much later in 14th one of the Shah Mir Dynasty King, father of Sultan Sikander, in a Sharda inscription is called “a scion of the house of Pandavas”.
The colonnade of Buniyar Temple, situated along the Baramula-Uri road on way to Mohra, housed something that caught my eye: ancient sculptured stone slabs. In traditional Kashmiri architecture for temples suggests that colonnades surrounding a temple housed images of deities. Now, these empty colonnades at Buniyar house these stone slabs.
I need to find out what they are. These stone slabs are found all over Kashmir. A lot of them now placed in temples and worshipped. As usual, Kashmiris haven’t documented much, the stones are simply called ‘memorial stones’, I know a discovery awaits.
One of the stone slabs at Buniyar depicted a horse man with the upper panel of the slab depicting a woman. It is an iconography associated with ‘Sati-Stones’ of India. In ancient times when a woman burned for her husband had died, at the spot where she died, a stone memorial was put.
Rajatarangini mentions Sati was practiced in Kashmir, yet there is not memory of it in the Pandit community. However, a more modern history tells us ‘Sati’ was almost revived by Pandits in around 1830s. * Still no memory of it.
Kashmir is know as ‘Satidesh’ (County of Sati). The mythical origins of the valley come from the story of Sati, the first wife of Shiva who immolated herself. Yet, no memory of ‘Sati’ practice.
Still, these stone memorial stand testimony to a time when women were burnt alive and then worshipped.
I am not the first person to notice the ‘sati-stones’ of Kashmir. One of the first archaeological reports on ancient monuments of Kashmir did mention the probability that these were ‘sati-stones’.
Rai Sahib Daya Ram during his survey of monuments of Kashmir in around 1915 wrote:
“Another class of antiquities of this late period which are very common everywhere in Kashmir, are a kind of memorial spans which might have been sati stones. […]The face of the slab is divided into two compartments, the upper one containing a standing figure of Bhairava with this usual emblems, and the lower a female figure seated between a bird and a dog, the vehicle of the diety referred to. In some examples, the female is represented as seated by the side of her deceased husband.”
Daya Ram in ‘Pre-Muhammadan Monuments of Kashmir’ ascribes the stone slabs to 14th century, the late part of Kashmir History, towards the end of Hindu rule when no big shrines were anymore constructed.
To understand these memorial stones (as with understanding the ancient architecture of Kashmir), we have to look at our Hindu neighbours.
Near Kashmir, Mandi in Himachal is famous for ‘Sati-Stones’. They would put up memorials for dead warriors and their burnt wives.
In a paper on tombs at Hinidan in the Las Bela, on right bank of Hab river, about 73 miles from Karachi. The tombs were interesting because they belong to an era when Islam was new to the region and the rituals for the dead were a mix of native belief and Islamic rules. On some of the tombs, there were human figures drawn. Jean Philippe Vogel in Archaeological Survey of India, Annual Report 1902-1903 writes:
“In Kangra and other Himalayan tracts such slabs are commonly found in the courtyards of temples, near tanks and under banyan and pipal trees. That in many instances the stone exhibits more than one figure, is explained by the fact that women, who became Sati, were represented on the same slab with their husband. Curious examples of this kind is the so-called Sati slabs of the Rajas of Mandi. here they are called barselas, because they are worshipped for one year (bars), but the general name by which they are known in the Kangra valley is muhra. Near nagar, the ancient capital of Kullu, there is a collection of muhras, several of which have a figure said to represent either a Rani who died before here husband, or a Raja who became an ascetic. On some of them the effigy of a horse will be seen at the bottom of the slab as is always the case with the Mandi stones. “
It’s interesting that the place called Mohra in Kashmir is not far from Buniyar. Such memorial stones were more common in Lar Pargana of Kashmir.
Rajatarangini tells us 14th century was a turbulent time as the local powers where constantly at war with each other and Islam was introduced in Kashmir. Men were dying in wars and women were getting burnt.
This brings us to the other kind of memorial stones found in Kashmir: the ‘Hero-Stones’
Two more slabs housed at Buniyar
These stone slabs were put up where a great warrior fell in war.
Sati Stone
Some memorial slabs kept at SPS Museum, Srinagar
Hero Stone
These stones are essentially dead men and their dead wives, tales of war and bloodshed, reminders of gruesome ancient customs and traditions. These are episodes from Rajatarangini, our past.
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“During the administration of Dewan Kirpa Ram [(1826-1830)] Kashmiri Pandits resumed the ancient practice of Sati in all likelihood persuaded by the Sikhs and the Punjabi Hindus.” [A History of Sikh Rule in Kashmir, 1819-1846, R. K. Parmu]
Two rare Kashmiri painting collected by David J. F. Newall in 1850s and presented in his book ‘The Highlands of India’ (1882) and Preliminary Sketches in Cashmere; Or, Scenes in “Cuckoo-cloudland.” By (D.J.F. Newall.) [With Illustrations.] (1882).
“Hindoo Picture Emblematic of the Draining of the Cashmere Valley
The Water Demon Juldeva overwhelmed by Suttee (or Siva) below the hill of Harrie Parvat”
The only depiction of the deity that I have seen in which the bird is part of the scene
In the story, the goddess Sharika [Tripursundari] kill the demon Jalodbhava by taking the form of a Myna (Haer in Kashmir, hence the name of the hill. Identifiable in the painting) and dropping a pebble on the head of the demon (hence setting the precedent for stone throwing in Kashmir).
The stone depicting the goddess on Hari Parbat. 2008.
“Hindoo Picture emblematic of the creation of the river Jhelum or Vetasta.”
The only depiction of the river deity that I have seen
The story as collected by Newall and presented in ‘Notes on Pilgrimages in the Country of Cashmere’, Journal of the Asiatic Society of Bengal, Volume XXXV, Issue IV, 1867
I now come to the last pilgrimage of which I Have noted the details, and which may perhaps be almost more properly called a fabulous account of the river Vetusta, as I am not aware that it is at any time undertaken by the Hindus of Cashmere, and as I rather think that some of the places named are under waters of that river. I extract exactly as I find it in my notes.
“Fabulous account of the origin of the river Jhelum or Vetusta.”
“Mahadeo being here engaged in self-contemplation, Raja Bhagerut arrived, and prayed for a Nag or spring in which to bathe and be cleansed from his sins. A stream then issued from the head of the destroyed which, on arriving at Wamoo, was swallowed by a certain demon, rejoicing in the name of Kalneemie Assur. A second spring was in like hammer swallowed by the thirsty demon. Whereupon Raja Bhagerut descended from his place of prayer at Vetusta Khoond, and engaged the demon, whom, after a brisk encounter (described in the graphic language of the Sanskrit ring (sic in MS.) he is stated to have injured, but was unable to destroy or drive away. (Kalneemie Assur probably graduated in the Vedic art of self-defence!) In fact it seems a polite way of stating that the Raja got the worst of it, as the demon is stated to have given chase, and to have come as far as Hurnag (Virnag) in pursuit. At this however, the wrath of the destroyer was aroused. He encountered the demon, and slew him, got his head in chancery and finally grassed him. I have in my possession a picture of this event where Mahadeo is represented as literally sitting on his face! Lion (or Mahdeo) then commanded the spring to follow Bhagirat Raja, who, descending the valley, passed successively.
1. Kanibul
2. Sumbooderi Tirat
3. Deokieyar
4. Bejbeharie
5.Sungum
6. Shriya
7. Mullyar
8. Gunputyar
9. Soomyar
10. Baramoola, the residence of Raja Bhagerur, where the pilgrimage terminates.”
Newall had no knowledge of Sanskrit, in fact the story was narrated to him by his source in Persian reading from a Sanskrit Manuscript.
Kalanemi, a very popular demon from Vaishnav stories, a perennial enemy of Vishnu, even Kansa is said to be a incarnation of Kalanemi. The story of birth of Vitasta seems to draw upon the stories of birth of Ganga (the reference to Raja Bhaghirath) and slaying of Kalanemi by Vishnu/Shiva in multiple puranas.
The imagery of the demon was uniform in Kashmiri style irrespective of story from which culture was being drawn.
An illustration to the Shahnama (“Book of Kings”): Rustam and the White Div,
Kashmir, circa 1800
Verinag.
Feb, 2014
From Newall’s writings it is clear that he had collected a lot more of such paintings but sadly only these two seem to have been published.
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The painters
‘Group of Hindu artist’ from ‘Afoot Through the Kashmir Valleys’ (1901) by Marion Doughty.
There are some photographs in Brian Brake’s 1957 Kashmir collection that I feel deserve individual attention. This one because comparatively Babri and Hydrabad are simple.
The thought occurred to me a few years ago when I showed a few images on this blog to my Nani. Among these images was an old photograph of Mosque of Shah Hamadan and just for the fun of it I quizzed her if she knew which place it was.
Her answer was quick. With hands held in a namaskar she said, ‘ Kali Mandar’.
I knew the history of this place, both the oral and the written one, about the fights, about how this spot stood for both a mosque and a temple and probably a Buddhist shrine too, but this knowledge didn’t make me realize what this place would have meant for people who lived in Srinagar during a particular era. Most of the old western travelogues I read simply referred to it as the Mosque of Shah Hamadan. Discussed it’s architecture and importance is discussed. In one book, ‘Houseboating in Kashmir’ (1934), an angrez woman, Alberta Johnston Denis, probably finding ‘men only’ policy of the shrine incomprehensible wrote:
Shah Hamadan was holy, according to the Mohammedans of Kashmir; but whatever he may actually have been, in their loyalty to him, at least, they were intolerant. To this day, this is evidenced in the inscription, elaborately carved on the verandah over the entrance, which, translated, reads: “This is the tomb of Shah Hamadan, who was a great saint of God. Whoever does not believe this, may his eyes be blinded and if he still does not believe it, may he go to Hell.”
In one of these books, I did read about Pandits who while going about their daily business, would pass along this place, stop at a particular spot where water could be seen oozing out and bow down and wash their hands and face. The pull of a hidden holy spring. A spring of strange stories, stories of Kali Nag, an ancient spring, that apparently sprang up just at the moment when Ram killed Ravan, a spring that kids are told holds broken bits of ancient sculptures, a dark spring they say turns you blind if you look into it. Stories of flying chappals and falling gods.
An interesting account on birth and survival of the spot is given by Pandit Anand Koul in his book ‘Archaeological Remains In Kashmir’ (1935):
Going up by boat, one’s attention is arrested farther on by a large building on the right bank between the 3rd and the 4th Bridges, which is called Shah-i-Hamamdan.
There is on this spot a spring, sacred to Kali. There was a Hindu temple over it which was built by Pravarasena II (110-70 A.D.) and was called Kali-Shri. The Mahall, in which it was situated, is still called Kalashpur, a corruption of Kali-Shri-pur. This temple was destroyed by Sultan Qutb-ud-Din (1373-94 A.D.) and, with its materials, he built a khanaqah. The later got burnt down twice and was rebuilt.
Soon after the conquest of Kashmir by Sikhs (1819) the Sikh Governor, Sardar Hari Singh, ordered the demolition of the mosque, saying that as it was a Hindu shrine, the Muhammadans should give up their possession of it. He deputed a military officer, named Phula Singh, with guns which were levelled towards the mosque from the Pathar Masjid Ghat, and everything was ready to blow it away. The Muhammadans then went to Pandit Bir Bal Dhar [a hero, a villian based on which Kashmir narrative you hold dear] who, having brought the Sikhs into Kashmir, was in great power, and requested him to intervene and save the mosque. He at once went to the Governor and told him that the Hindu shrine, though in the Muhammadans, was in a most protected condition and the removal of the mosque would be undersirable as it would simply lay it open to constant pollution by all sorts of people. There upon Sardar Hari Singh desisted from knocking it down.
On the wall fronting the river the Hindus have put a large ochre mark, and worship the goddess Kali there.
The spot captured by Brian Brake in around 1957. A spot that is now claimed and hidden by a tree gone wild. Claimed by a grayness that now fills the recent photographs of Kashmir. A place very simply once claimed in speeches made in Indian parliament floor as proof of syncretic culture of Kashmir.
“Inside the sacred cave of Amernath
In this rocky recess the devout pilgrims strip off their cloths and throw themselves naked on the blocks of ice which here form lingams, phallic emblems symbolic of Siva, the re-creator. The ice mound to the right is covered with the clothing of the pilgrims.”
From National Geographic Magazine, Vol 40, 1921.
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People have been trashing the place historically for a long time. Trashing is like some kind of tantric ritual there. So, people be allowed to do so in future too. Case dismissed.
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A painting of Guru Nanak and his followers done in Kashmiri style.
Early 19th century. [Kashmiri Painting by Karuna Goswamy, 1998]
A couple of months back I found my Bua singing these lines to herself. We were preparing for my sister’s wedding, it was late at night, we were having a group singing session, like Kashmiris do, striking a spoon on metal platse and kids beating an odd tumbakhnaer out of beat, everyone singing a song of their choice, often all at the same time. Hindi songs. Kashmiri songs. General fun. In this happy melee, I found my Bua singing some very odd lines. It was obvious she didn’t know the entire song as she kept repeating the same line over and over.
The lines went like this:
Guru Nanak yelli pyau thannay
Zool kari’tyav Heri’tay Bon’yay
A Kashmiri song referring to birth celebration of Guru Nanak. Roughly translated the lines mean:
The day Guru Nanak
was born
We light up our
houses
from top
to bottom
Intrigued, much later I asked her more about the song. She said she danced to it when she was in Matric. Back in 1976 a bunch of girls of Katleshwar School danced Roff, traditional Kashmiri dance, to these lines.
