Winter arrives in Srinagar Hasantika of many blazing holes is seen flashing in women’s quarters like a row of lovelorn eyes on fire out to conquer Siva
~ lines from 12th century Kashmiri poet Mankha in his work Srikanthacharitam. This is the earliest reference to use of ‘hasantika’ in Kashmir, the early form of beloved Kangar.
-0-
Eugen Hultzsch gives the original line in 1886 article on Kashmiri Kangri published in IA. His article was in response to 1884 article by Knowles on trying to locate the origin of Kangri in Europe.
If I were to live my life based on the old Pandit code, I would have to spend most of my time bathing. The world is just too impure.
Photo: River bank, Srinagar. 1970s. Albert Robillard.
Karmakandakramavali by Sri Somashambhu of 11th century A.D. South India, the Shaivite work lays down rules and regulations pertaining to the daily practices of an orthodox Hindu, who is a rigid follower of the Tantric system.
From Kashmir Sanskrit Series (1947) edited by J.D. Zadoo, Karmakandakramavali tells us following about Snana (Bath):
There are five kinds of Snanas, namely – Mala, Vidhi Varuna, Agneya, Mahendra, Pavana, Mantra and Manasa.
Mala consists in employing earth, like soap, to remove all dirt that may have accumulated on the body. It is kind of preparatory bath taken before the principal one i.e. Vidhi Snana (obligatory bath). The Varuna is the bath with water (as Varuna is the lord of water) which is to be taken if one touches a pigeon, fowl, murderer, crow, heron, ass, horse, cat, pig, vulture, camel, cremation ground, an out-caste, a corpse, and a woman who has recently delivered. The Agneya, which consists in smearing the body with ashes, is ordained to be taken when one comes in contact with dirty women, eunuchs, Shudras, cats and mice. The Mahendra consists in wetting one’s body with the rain accompanied with sunshine. Pavana, in taking on the body the dust raised by the hoofs of cows. Mantra in sprinkling water with mantra and Manasa, in reflecting on God Shiva, prior to taking breathing exercises.
A few pages from some rare old books in Persian, Sanskrit, Sharda, Urdu and Kashmiri. Shared with SearchKashmir by Anupama Tiku Dhar from personal family collection belonging to her grandfather. Some of them are handwritten. Offers a peek into reading habits of Kashmiris about hundred years ago. Interestingly, a bunch of these books were published in Lahore which was back then an educational hub for Kashmiris. This was a period when Sharda script was well past its prime, Persian was in decline, Urdu was on the rise, Sanskrit was getting revived under State patronage and their were signs English was going to be the language of future.
Anupama writes:
In 2003 when my late maternal grandfather Pandit Jia Lal Khushoo’s ancestral home at Exchange Road, Srinagar was sold, his vast collection of books also had to be appropriately disposed. The books included discourses in English on History, Literature, Indian Philosophy, Religion, bound copies of periodicals as well as some printed books in Persian/Urdu and hand-bound manuscripts in Persian, Urdu and Sharda. The Urdu and Persian manuscripts were rendered in beautiful calligraphy by Pandit Shridhar Khushoo, who was Pandit Jia Lal Khushoo’s grandfather. My grandfather himself was an avid reader proficient in English, Hindi, Kashmiri, Urdu and Sharda. He retired as the Chief Conservator of Forests, J&K.
The books in English were donated to the Jammu University Library as per the family’s decision. Those in Persian, Urdu and Sharda were retained to be gifted to a more suitable recipient. They were kept in storage with my mother in Pune, on behalf of the Khushoo clan. When I learnt about the existence of these rare works recently, I inspected them. I am not literate in Persian, Urdu or Sharda but my grandfather had fortunately annotated each of them in English. This led me to realize that these books were most suited for an institution like the Bhandarkar Oriental Research Institute, Pune. They are now in the process of being formally handed over to the Institute.
Information about the books was provided by various readers of FB: SearchKashmir, particularly Ayaz Rasool Nazki and Ovais Ahmad.
All the info. is compiled below:
Dewan-i-Hafiz published by Munshi Nawal Kishore Press Nawal Kishore was based in Lucknow.
Published books in Persian/Urdu including those by Chakbast/Sarshar etc.
Shivalagan and Valmiki Ramayan in Kashmiri ( in Urdu/Persian) from a copy by calligrapher Pandit Shridhar Khushoo.
Srimad Bhagwat Gita in Urdu , (Ganpat Karit ? ) Doesnt give the name of translator.
A Bhagwat Geeta by a Kashmiri gentleman, Madan, done in early 20th century, was praised by likes of Allama Iqbal and Tej Bahadur Sapru.
Back of the same book
It was published at ‘Gulzar-e-Hind’ Press in Lahore under the supervision of Munshi Gulzar Muhammad, Manager of the press. Published as desired by Haji Chiragudin, Sirajudin, Booksellers , Lahore, Bazar Kashmiri.
Sikandarnama in Persian, handwritten by Pandit Shridhar Khushoo
Top of the front cover has “Om Shri Ganesha Nama” while the lower half glorifies Allah and offers supplication to Prophet Muhammad.
Translation of Mahabharata in Urdu by Malik-u-sho’arā (Poet Laureate) Munshi Dwarka Prashad (Nom de plume – Ufaq Lakhnavi). Published posthumously by M/S Lala Ram Dutta Mal and sons from Kashi Ram Press Lahore. 1926.
A page from ‘Kashmiri (?) Mousiqui’ (Soofiana Kalaam) in Persian.
Handwritten by Pt. Shridhar Khushoo.
[Input by Amir Hosein Pourjavady on FB]:
Left page is about the right time of performing each ragas and raginies.
The right page also contains the famous poem by Zahuri Torshizi [?], written by a Shi’i Muslim since the author is talking about Shi’i ritual of Muharram. The books is probably a 19th century Nawabi musical treatise written in Lucknow.
A page from ‘Dashmas Kandas’ (90 Adhayas) of Bhagwat Gita in Persian handwritten by Pandit Shridhar Khushoo.
Probably one of the 5 from Nizami’s ‘Khamsa of Nizami’, probably the story of Sassanian Prince Bahram Gore titled “Haft Paikar”
‘Bhagwat Gita’ in Sharda script[?]
Vishnu Pooja’ in Sharda script
A page from ‘Shiv Pooja’, tantrik text.
‘Brihat Shiva Pooja’, tantrik text.
-0-
Interesting that while comments on Persian and Urdu texts arrived within hours of posting them to Facebook, Sharda and Sanskrit texts remained without comment and details.
Based on the 11th and 12th sarga of Kāśmīrakamahākaviśrījayānakaviracitaṃ Pr̥thvīrājavijayamahākāvyam.
Prithviraja Vijaya Mahakavya was written by Kashmiri poet Jayanaka between 1193-1200 A.D in Ajmer at the royal court of Prithviraj Chauhan III. It was an epic eulogy to the Chauhan, and along with Rajput history, it gives the description of early battles between forces of Prithviraj and Muhammad Ghori.
The only known manuscript of the poem (missing some sections) was found in around 1875 in Kashmir in Sarda script by Georg Bühler. It was a commentary on the work by Jonaraja, who is famous for having written Dvitiya Rajatarangini (second Rajatarangini), covering the period from 1150 A.D. to 1459 A.D.
In 11th sarga, Prithviraj is told the story of destruction of asuras Sunda and Upasunda. He hears about defeat of Ghori’s forces in Gujarat. He retires to his picture gallery, browses through his illustrated books and is aroused by image of apsaraTilotamma, the one made from the ‘finest bits’, the cause of destruction of Sunda and Upasunda. He over hears someone recite a verse, ‘…everything comes to him who strives to get it.’
In 12 sarga, the reciter is introduced: Jayanaka, from the fine land of Sharda – Kashmira Mandala. A man knowing six languages, great-grandson of a brother of Sivaratha, a minister of King Uchchala of Kashmir (1101-1111 A.D.).
Although Edward Powys Mathers is more famous for ‘Bilhana: Black Marigolds’ (1919), which was later used by John Steinbeck for dramatic purposes in his American novel ‘Cannery Row’ (1945), Edward Powys Mathers was also one of the first translators of Kshemendra’s Smayamatrika.
His english version came out as ‘Harlot’s Breviary’ in volume 2 of book ‘Easter Love’ (1927).
-0-
The book was available at Digital library of India but the reading method provided there is not too easy. So I have recompiled and uploaded the book to archive.org
A lovely little girl, she became a thief quite soon:
Honored by the townsfolk during the changes of the moon,
She was invited to their homes where the little dear
Made all their sacred vessels completely disappear.
When she was only seven, her voice already bold,
Her mother started teaching her how she could be sold;
Out of greed mom tutored her to play the harlot’s game,
And at the market gate, Deathtrap soon became her name.
She wore a pair of falsies and shells upon a string;
Hugs and kisses pleased her lovers – she’d do most anything.
One day a merchant’s son, Master Fullofit Esquire,
Shopping for some saffron, just happened to pass by her;
He was young and handsome – he wore fourteen carat gold.
Later in a gambling joint, where drinks were also sold,
She winked her eye, raised her brow, did all that she could do
To rouse his eagerness for a nighttime rendezvous.
While clinging to his neck that night as he lay fast asleep,
(since he had had a lot t drink his snooze was very deep),
She stole his golden earrings – he still did not awaken –
And the rings from off his fingers quietly were taken.
“Help! Help!” the girl then shouted, “Oh! Oh! I have been robbed!”
As if to stop a thief, “Help! Help!” she loudly sobbed.
Robbed and awakened, to avoid a family disgrace,
The salesman ran away, using his clothes to hide his face.
All decked out in dazzling duds, looking young and pretty,
She changed her name and moved along to another city.
~ ‘Samayamatrika’ of Kshemendra written during the reign of King Ananta, around A.D. 1050. Starting with a hymn in praise of Goddess Kali, it narrates the comic exploits of a harlot named Kankali (Skeleton) as her narration travels around Kashmir, from childhood to old age, from one heroine to another, from one adventure to another. The (improvised) translation given above is from Lee Siegel in his book ‘Laughing Matters: Comic Tradition in India’ (1987 ). These particular lines are about a girl named Arghagharghatika (Gurgling Little Pot).
