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Sunday, 16 September 2012

BHRIGU SAMHITA (part two): COMPILATION OF HOROSCOPES

V.S.Gopalakrishnan

In Part One, we saw how Mahalaxmi cursed Sage Bhrigu which was to the effect that Brahmins would not have wealth given by her. However, it is further said that Laxmi tried to reduce the gravity of the curse by saying that Bhrigu and the Brahmins, his pupils, should compile horoscopes and thus earn some livelihood, and thus also help people to  overcome obstacles in their lives and achieve happiness (ananda) and spiritual upliftment (moksha).

It is said that Maharishi Bhrigu was from the Treta Yuga, the second Yuga. It is not clear to me how a Prajapati would not have belonged to the Satya Yuga, the first of the Yugas, as the human beings followed only after the Prajapatis came into being.  The duration of the Satya-yuga is 1,728,000 years. The duration of the Treta-yuga is 1,296,000 years. The duration of the Dvapara-yuga is 864,000 years. And the last, the Kali-yuga, is 432,000 years in total (Srimad Bhagavatam 3.11.19). These 4 yugas follow a timeline ratio of 4:3:2:1.

It is said that Sage Bhrigu was the only Sage who had the extraordinary powers to look into the past and into the future. He compiled 5 million horoscopes out of which only 5 lakhs have survived. The horoscope of each individual mentioned the past lives and future lives besides the current life. The law of “Karma” was taken into account to essentially guide in the predictions over many janmas. The influence of nine planets, namely Sun, Moon, Mars, Mercury, Jupiter, Venus, Shani, Rahu and Ketu were reckoned while formulating each horoscope. The horoscopes were meant to be revealed to the people so that they could be aware and take precautions and try to overcome obstacles in their lives, and to an extent get around the karma through appropriate spiritual practices.

It is stated that the permutations and combinations make it possible to prepare 45 million types of horoscopes. The art of casting the horoscopes was taught by Maharishi Bhrigu to his son Shukra and other pupils. It is also stated that Bhrigu dictated horoscopes to his son Shukra. This is apart from the fact  that he took Ganesha’s help too early on in this venture.

It is said that the charts were put into a compilation (samhita) and it formed the first astrological predictions in the world. However, the original compilation is not available now. The Muslim invaders and rulers of India, in the 12th and 13th centuries, destroyed a good quantity of the horoscopes, and a large number of brahmins had to flee from the Uttar Pradesh area and got dispersed across India. Bakhtiyar Khilji destroyed the Nalanda University Library in 1193 which resulted in the destruction of thousands of Bhrigu horoscopes maintained therein. I have earlier mentioned in Part One that during the time of Aurangzeb’s rule when he persecuted brahmins, they fled to Hoshiarpur, Punjab, with their horoscopes, and took refuge under the Sikh kings , and thus today we witness  Hoshiarpur as the primary centre in India of the Bhrigu horoscopes. Benaras and Pune are said to be smaller centres for them.

METHOD OF CURRENT BHRIGU PREDICTIONS:

Brahmin families with names like Sharmas and Tewaris practice Bhrigu predictions in Hoshiarpur. Where they are related and live in different houses, they still keep the granthas (charts) in a single central place for common access, usually a part of an elderly relative’s house. The art of prediction has been handed down from one generation to the other and that is the beautiful and useful aspect of the varna system, I believe.
It is amazing that some of the Brahmins bought tons of the granthas in loose papers from scrap dealers ! This happened centuries ago. It is said that such Brahmins came across their own horoscopes from the scraps and they had received even divine instructions to undertake astrology! The divine “leela” is inexplicable! Years of training are required by the Brahmin youngsters to learn the art of prediction from their elders. Whether this art will continue for centuries or will slowly fade like the art of puppetry is a matter of speculation.

Let us assume that you want to know the Bhrigu predictions for you and so you go to a Pandit. The Pandit will ask you for your own horoscope showing the ascendant (lagna) and the planets. The date and time of birth and the place of birth should also be conveyed to the Pandit. The Pandit will then go to his library of collections of horoscopes in very many bundles arranged in some order depending on the ascendant and other aspects. One relevant bundle will be opened and he would compare the chart you gave him with the paper collection of Bhrigu charts with him. When the charts match in the planets and ascendant, he stops the matching and brings over to you the Bhrigu chart predictions. As I stated earlier, the palm leaves and bhoj patras are now replaced by papers.

The most amazing and remarkable thing, I believe, is that the date and time of your approaching the Pandit to know your future from him is already incorporated in the Bhrigu horoscope! This almost sounds like some magic! And the Bhrigu chart contains the name of your forefathers, your grandfather, your father etc! And of course your own name too! And that chart contains details of your past lives and future lives which won’t be part of your own self-owned chart. And all these are written in Sanskrit. Sometimes you would be welcome to take your Bhrigu chart away with you since the Pandit would no longer need it. There can be only one Bhrigu chart for each person. Many people are born at the same place, date and time and although the planetary aspects will be similar for them it is said that their horoscopes will differ in certain aspects and there are separate Bhrigu horoscopes for them carrying their different names etc.

The Bhrigu charts show the ups and downs of the current life which are explained in Karmic terms. The Pandit advises on aspects of mitigating some negative or nuisance aspects in life by appropriate remedies or “parihaaraas”. The remedies are in two ways (1) Daanam (giving charity) (2) Dhyanam (meditation) and spiritual worship. It is here that sometimes the Pandit could fleece the unwary client by asking for huge payments for the rectificatory kriyas. Some clients, dazzled by the magic revelations and contents of the Bhrigu chart fall a prey to this. This is not to deny the general honesty of the overall practice. The Pandit can predict even the precise time of death of the client. It is here that I would hesitate since my own mind refuses to want to know my future in terms of negatives and mortality!

Apart from the Life Chart, there is a Question Chart with the Pandit. The latter is used to answer very specific questions posed by the client. If a group of people approach the Pandit with questions, he could draw out a single Question Chart for them and give answers to the group or the individuals depending on the nature of the questions. It is said that the Pandits could give predictions of a general kind also like a coming natural calamity or death of a leader. There are claims that Lal Bahadur Shastri’s death was predicted and the Babri Masjid demolition in 1992 was predicted. The Pandit could be charging an individual between Rs.300 to Rs.1000 as his prediction fees.

It is said that the contents of revelations on the paper leaf are in the form of a dialogue between Sage Bhrigu and his son Shukracharya.

Apart from Indians, several foreigners coming from abroad and driven by curiosity consult with the Pandits. Their place-origins are not mentioned in the granthas by countries but are indicated as Paataal Desh for the USA, Manu Desh for Europe, Yavan Desh for Middle East etc. I have shown the written and video testimonies of two foreigners in Part One. It is so astonishing that their foreign names and those of their forefathers are correctly written in Sanskrit in the granthas!

Personally I am mesmerized by such paranormal activities and see the divine hand somewhere. I believe that the divine reveals itself to an extent and helps us to an extent.

NAADI JYOTISHA IN THE SOUTH:

In the South, particularly in Vaideeswaran Koil, near Chidambaram, the Jyotishas practice what is called Naadi Jyotisha. Koil in Tamil means temple and Vaideeswaran means “God of healing” which is Shiva here. The jyotishas here are usually not Brahmins and are said to belong to the Valluvar Caste known for spirituality. The Valluvars are often hereditary priests and soothsayers. Tiruvalluvar of the Kural fame belonged to this community. Valluvars were in the Court of Pallavas before the Brahmins replaced them. The Valluvars practise astrology, astronomy and medicine.

Sage Agasthya who crossed the Vindhyas going from North to South where he settled finally is said to be the originator of the Naadi compilations. He existed thousands of years ago and he could, like the more ancient Bhrigu, see the past and future of the world and the inhabitants. His predictions for each person were noted in Sanskrit originally on palm-leaves. During the time of the Maratha rulers in the South, the Sanskrit contents were translated on palm-leaves into Tamil in what is called vattazhethu which is cursory writing. The Tanjore Saraswathi Mahal Library contains loads of Naadi leaves. Over time, many leaves were lost but the siddhars could replace and rewrite many of them. The Britishers in India took interest in palm-leaves that related to our ancient knowledge in Ayurveda, Astromomy, Alchemy etc and took most of them away but were not so much interested in the Naadi leaves which were taken over by the Valluvars.

When you go to a Naadi Jyotisha, all you have to give him is your thumb impression (right thumb for male and left thumb for female). It is said that there are 108 general types of thumb impressions. Depending on the nature of your thumb impression, the astrologer will take out a bundle of palm-leaves from inside the sacred room where they are stored. The writings on the leaves are in Tamil. The astrologer will take one leaf after another and ask you questions which you have to simply answer in “yes” or “no”. For example the question could be “Were you born on a Sunday?” or “Do you have two sisters and one brother?”  It is amazing that in a matter of 20 to 30 minutes he would most probably zero in on the correct leaf for you. There are times that the correct leaf is not readily available and he would ask for time to borrow some bundles from other astrologers! Sometimes you could go disappointed too. It is amazing that whether you are an Indian or foreigner, he could find a leaf containing your name, name of your spouse, name of your father and mother etc!  Often the Tamil inscriptions are commentaries and sometimes they could be in the form of a dialogue between Lord Shiva and Goddess Parvathi. The oral reading of the astronomer is in a sing-song poetic Tamil and he gives English meaning too if you will. He can say your past lives and future lives apart from particulars of the present life. Eventually he would give you the predictions that he would write on a note book and he would give an English recording on a cassette too.

I give here links to two Youtube videos showing how two foreigners get to be amazed with the predictions of their names and the names of family members etc.

Again the karma theory governs the misfortunes in this life. The astrologer will tell you the remedies to avert future problems and pitfalls. Often you will be told to visit a group of temples and this perhaps enables the Supreme God to show you leniency!  Nowadays you could send your thumb print by email  if you are far away and get the predictions!

About ten years ago I personally visited a Naadi astrologer in Chennai. By asking me questions, he narrowed my wife’s name on which he was concentrating (which he did not know) to one amongst three. There are thousands of female names in India and I was perfectly amazed that one of the three names he mentioned was my wife’s! Further matching became difficult for him as he ran out of leaves and he wanted more time to get more leaves. I did not go again to him as I had to return to Mumbai.

You will see the Naadi astrologers to be simple persons leading a simple life. Their reception rooms will have huge pictures of any number of Gods. They do the reading only at their place and do not go to others’ or clients’ thouses. Their charges are limited. As they live simply the surpluses they make go to their common welfare measures. If Westerners had had  such astonishing astrological ability, they would have been riding in Mercedes cars.

The Tamil vattazhuthu writings will not be readable for all Tamilians. I have discussed the mystery of the predictions with many persons. To me it appears that there is an outer Force that guides the astrologers’ readings when he correctly tells your name and the names of all your near relatives.

Lastly, when asked, the Bhrigu Pandits aver that the Naadi sastra was also envisioned by Sage Bhrigu given his extraordinary powers of seeing the future.

(end to this Topic).
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Saturday, 15 September 2012

BHRIGU SAMHITA (part one): SAGE BHRIGU

BHRIGU SAMHITA (part one): SAGE BHRIGU

V.S.Gopalakrishnan

This writing is an amateur’s attempt at understanding and presenting to readers the art of astrology as propounded by Maharishi Bhrigu. In this Part One, I shall be touching on the life and work of sage Bhrigu.

Under the Bhrigu system, the horoscope (birth/life chart) of each one of us can be accessed in which one can find mention about past lives and future lives and of course about the current life. The name of the consulting person, of his father and even the date and time of consulting are given already in the leaf. Sage Bhrigu dictated our life charts to Lord Ganesha. The original palm leaf and bark writings are mostly gone, and the life charts are now available in ancient paper, loosely and not in a book form. It is said that the Brahmins of Uttar Pradesh who had the charts ran away to Hoshiarpur, Punjab, during Aurangzeb’s persecution, since the Sikh State of Punjab could not be touched by the Moghuls. Hoshiarpur is the basic centre in India where dozens of Bhrigu astrologers practice their art, and most of them are related to one another, being the descendants of old practitioners.

I have not myself been to Hoshiarpur. The charts are available not only for Indians but for foreigners too with their names and details. Here is a short account of a European’s visit to an astrologer in Hoshiarpur in 1990 and he was awed by his experience: http://www.wandahl.com/Pages/Articles/VisitingBhriguSamhita.htm. A short video testimony of another foreigner about his incredible experience can be found at: http://www.youtube.com/watch?v=Y6gDqxJU5J8.

We may therefore have to at least partially suspend our disbelief in things other than science ! We will go into some details about the charts and predictions later on. But here, in this blog, we shall concentrate on the founder of the astonishing system of prediction.

WHO WAS BHRIGU?

Sage Bhrigu is not mentioned in the Vedas but is mentioned in the Puranas (Shiva Purana and Vayu Purana). He was not amongst the early Saptarishis (seven sages) who are mentioned in the Vedas (rather particularly in Brahmanas and Upanishad). However, Bhrigu was later given a place amongst the Saptarishis. In astronomy Bhrigu in the name of “Alkaid” is one of the seven stars of Ursa Major. He is mentioned in Bhagavad Gita where Krishna says “among the Rishis, I am Bhrigu”.

Bhrigu was surely one of the manasa-putras (mind-born-sons) born to Brahma. The Creator Brahma felt he was not fully competent to visualize and carry out the entire creation, and he felt the need for Assistants. He created those Assistants from his mind and they are called manasa-putras. Bhrigu, one of the ten manasa-putras, aided Brahma in the Creation process. The manasa-putras were also called Prajapatis.
Bhrigu married Khyati, the daughter of Daksha. He had two sons by her named Data and Vidhata. Another son was Shukra (Venus) who became more famous than his father Bhrigu. The sage Chyavana is also said to be Bhrigu’s son.

STORY OF SAGE BHRIGU AND THE DIVINE TRINITY:

There was a Maha Yagna to be performed on the bank of Saraswathi river for the welfare of the people and Rishis were assembled for the purpose. Sage Narada spoke to Maharishi Bhrigu and raised the issue of whom to invite as the Chief Guest for the Maha Yagna, amongst the Divine Trinity, namely Brahma, Vishnu and Shiva. Bhrigu took upon himself the task of finding out who among the Trinity was the best.

Sage Bhrigu went to Brahmalok to meet Lord Brahma. Lord Brahma was too busy to pay attention to him as he was  chanting the Vedas, saying prayers and looking at his wife Saraswathi (Brahma had more than one face). Angered by this, the short-tempered Sage Bhrigu cast a curse on Brahma by which no temples would be raised for him during the Kaliyug.

Bhrigu then went to Kailasa to meet Shiva but the latter was busy by being in dalliance with Parvathi. The angry Bhrigu cursed Shiva by stating that he would not be worshipped in figure but only worshipped as lingam.

At last, Sage Bhrigu went to Vaikuntam to meet Vishnu. Lord Vishnu was resting and slumbering on the Seshnag with wife Mahalaxmi close by. Finding no response or recognition by Vishnu, Bhrigu put a foot on Vishnu’s chest (and that sacred impression is called “Shri Vatsa”). Vishnu who got up, and totally unoffended, told Bhrigu that his chest was very strong and enquired if the tender foot of Sage Bhrigu was hurt . Sage Bhrigu was very impressed by Lord Vishnu’s humility and decided that he was the one to be invited for the Maha Yagna.

However, Mahalaxmi was very displeased by the insult meted out to her husband by Sage Bhrigu. She cursed him to the effect that her “anugraham” (blessings) would never be with the Brahmins and that the Brahmins would not have wealth. This was a defining moment for Sage Bhrigu who undertakes his mammoth project of compiling horoscopes of all mankind. (to be continued in next Part).

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Friday, 14 September 2012

THE BRITISH TRIUMVIRATE OF GREAT INDOLOGISTS

THE BRITISH TRIUMVIRATE OF GREAT INDOLOGISTS

V.S.Gopalakrishnan
Quite often India does not recognize itself, and when foreigners discover it we obtain our own recognition! This has been particularly so in respect of our ancient heritage!  The ancient Sanskrit texts lay beyond the ken of the common man for whom Sanskrit had become a dead language, and some of our English ruling lords were responsible for sensitizing us to the glory of this heritage.

Many Britishers have been responsible for researching into our ancient Sanskrit texts and also translating them. But I consider that special praise belongs to three British Indologists who played a critical role in our reawakening. They are Sir Charles Wilkins (1749-1836), Sir William Jones (1746-1794) and Sir James Prinsep (1799-1840). These were men of extraordinary intellect and extraordinary vision blessed with remarkable talent and capacity for diligence. The three men came to India during the age of the East India Company which the Victorian Government superseded after the Mutiny of 1857. A few other great Indologists such as Henry Thomas Colebrooke (1765-1837) who was really an Orientalist more than an Indologist, and Horace Hayman Wilson (1786-1860) and Max Muller (1823-1900), who never visited India, were also essentially products of the East India Company period. I am not sure if I will be wrong to say that such a high level of Indological scholarship was sustained after the British Government got replaced as our masters.

SIR CHARLES WILKINS (1749-1836)

We must remember that the East India Company headed by Robert Clive got to rule firmly from Calcutta only from 1757 although the Company had got trading license at Calcutta in 1690. How soon the British scholars arrived in Calcutta is a matter of great wonder and amazement! Charles Wilkins was born in 1749 in Somerset, and was trained in youth as a printer. He arrived in India (Calcutta) in 1770 to work as a printer and writer in the Company. He quickly learnt Bengali and Persian and became so fluent in them that he later was appointed as a translator of Bengali and Persian (to English) in the Office of the Commissioner of Revenue. He also became the Superintendent of the Company’s Press.
 Sir Charles Wilkins
Wilkins spent some years in Benaras where he learnt Sanskrit from a Brahmin Pandit named Kalinatha. He obtained sufficient proficiency in it as to be able to translate Mahabharata from Sanskrit to English, but thanks to the huge volume it remained an unfinished task. It is remarkable that Warren Hastings, the Governor, fully lent his support to Wilkins in such activity. However, in 1785, Wilkins at the age of only 36 attained a remarkable achievement by translating Bhagwat Gita from Sanskrit into English. As a typographer, Wilkins set up the first print type for Bengali and came to be known as “Caxton of India”. He also designed the Persian type for bringing out printed books in Persian.

Wilkins left India for good, back to his homeland, in 1786, in the very next year after he had translated the Gita, as his patron Warren Hastings had also left India. Back in England, he translated the Hitopadesa. He became the Director of the India House Library (which later was known as India Office Library and presently as “British Library-Oriental Collections”). In 1808, he published “The Grammar of the Sanskrita Language”. He was knighted in 1833 and he died in London in 1836 when he was 86.

SIR WILLIAM JONES (1746-1794)

Jones had a much shorter life than Wilkins but achieved much more than Wilkins. Born in London in 1846, three years before Wilkins, he was a “linguistic prodigy” and his youth went in learning Greek, Latin, French, Persian, Arabic and Hebrew. It is said that by the end of his life he knew 13 languages thoroughly and  15 more languages reasonably well! After graduating from Oxford, he did law from Middle Temple, London. Initially he worked as a Circuit Judge in Wales. He worked with Benjamin Franklin in untangling the issues of the American Revolution with which his sympathies lay. He arrived in India (Calcutta) in Sep 1783 to take up his appointment as a Judge of the Supreme Court of Bengal at the young age of 37.
 Sir William Jones
The linguistic scholar in Jones overtook his reputation as a Judge. He began to learn Sanskrit. He realized that India had a wealth of heritage to be unraveled to the world. Most astonishingly, within a year of arrival in India, he founded the Asiatic Society of Bengal in 1784 to encourage Indological studies.  In this work he was assisted by Wilkins and Colebrooke.  Jones himself came out with various studied works on Sanskrit, Law, Music, botany, geography etc. Jones was the first to conceive and propose that Sanskrit, Greek and Latin have common roots. He declared that the Sanskrit language is more perfect than Greek and more copious than  Latin. He translated “Manusmriti” into English. He translated Kalidasa’s “Sakuntalam” and “Ritu Samhara”, and Jayadeva’s “Gita Govinda” into English.

Sadly Jones passed away in Calcutta from inflammation of liver, when he was only 48 and he lays buried South Park Street Cemetary.

SIR JAMES PRINSEP (1799-1840)

James Prinsep was the son of John Prinsep who came to India as an indigo farmer, made a lot of money and returned to London. James was very good at drawing, engineering, architecture and chemistry. For some time he was an assistant to the assay master at the Royal Mint in London. Assaying is the art of assessing the extent of gold and silver in coins.

He arrived in India (Calcutta) in 1819 and worked as assay master at the Calcutta mint and at the Benaras mint. He was a great numismatist . He deciphered Bactrian and Kushan coins. By studying the post-Alexander coins of the North West which contained Greek on one side and Kharoshti on the other side, he deciphered the Kharoshti script itself. He deciphered the Asokan rock edicts in Brahmi script.
 Sir James Prinsep
Prinsep was a great scholar in a variety of subjects. He was adept at and wrote extensively on metallurgy, meteorology, astronomy, architecture, mineralogy and chemistry. He was an artist of great merit and produced a large number of lithographs and water colours. He has an established name amongst the galaxy of Colonial painters.
 a lithograph (drawing) made by Prinsep.

In 1832, he succeeded H.H.Wilson as the Secretary of the Asiatic Society of Bengal and became the founder-editor of the “Journal of the Asiatic Society”.

It is said that the over-exercise he gave to his brain to the neglect of his body led to his early death. He suffered from headaches. He left for England in a poor physical condition in 1838 and died there in 1840.
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Saturday, 8 September 2012

VIOLIN AND INDIAN CLASSICAL MUSIC

VIOLIN AND INDIAN CLASSICAL MUSIC
V.S.Gopalakrishnan
Today I came across an observation on a music page on internet that credited a very famous Mumbai gynaecologist with having introduced violin in Hindustani music! I was astounded by such extraordinary insight! And I searched and searched on google only to find no connection between the famous gynaecologist and violin! Anyway, that put me on a new track. I wanted to write on how violin came into Indian music.

Violin came into Carnatic music around 1800 and later into Hindustani music around 1930 after a gap of many generations. In Carnatic music it replaced essentially veena and flute as the accompanying instrument. In Hindustani music it replaced sarangi as the accompanying instrument but later harmonium came to replace violin. However, in both systems, violin attained a solo status in due course.

I remember that in my young age if any musician was made fun of, it was the violinist and not so much the singer or mridangist! We used to say, “Why can’t he use a cutting-saw instead of the bow?”! Quite often the violinist seemed to get into making “whining” noises that the uninformed youngsters could not take in!  

Often, in those old days and not nowadays, violin was called “fiddle” in common parlance. Luckily the player was not called a fiddler but a violinist! In actual fact, fiddle and violin is the same instrument. One calls it fiddle when used in traditional folk music in the West, and violin when used in Western classical ensemble. You might have heard the quiz, “What is the difference between fiddle and violin?” The answer is “You cannot spill beer on violin”. Got it?

If violin made inroads into Carnatic music, we must thank the East India Company for it. It was part of British “bands”, and the word “band” was used by Tamilians even to refer to Western Classical Music Ensemble! But the clever Tamilians adopted only violin but not its relatives namely viola, cello and bass. You can put it into a small box and scoot fast unlike when you have a cumbersome veena or tanpura.

CARNATIC MUSIC:
Writings on the subject sometimes refer to three or four musicians as responsible for introducing violin into Carnatic music. But I will refer to the two most credible names here. One was Baluswami Dikshitar and the other was Vadivelu of the famous Tanjore Quartet.
Baluswami Dikshitar (1786-1858):
Baluswami was the younger brother of Muthuswami Dikshitar, one of the Carnatic music trinity. Baluswami was multi-faceted and he could play the veena, sitar and mridangam. Baluswami and his brothers received immense patronage from Muthuswamy Mudaliar of Manali. The latter introduced Baluswami to a visiting European violinist from whom Baluswami picked up the instrument and adapted playing it to Carnatic music. Baluswami became the asthana vidwan of Ettayapuram Raja in 1825. He received many accolades from several patrons of music.

Vadivelu (1810-1848):
The young musical genius Vadivelu and his brothers Chinniah, Ponniah and Sivanandam formed the famous Tanjore Quartet. The Quartet had initial music training under Muthuswami Dikshitar. After this training they were appointed asthana vidwans in the Tanjore Court. From there, later on, they shifted to the Court of the Travancore Maharaja, Swathi Thirunal. Vadivelu learnt violin at Tanjore from a European missionary. He popularized it considerably. Vadivelu excelled as a violinist, vocalist, composer and bharatanatyam dancer. The famous saint Tyagarajar personally visited his house and honoured him.

Many others followed these two musicians and violin got recognition as an accompanying instrument in concerts. The way it was held by the seated violinist was different from the way the standing Western violinist held it. The manner of playing and the kinds of notes used were also changed to suit Indian music. It had three octaves to exactly follow the vocalist’s range of three octaves. The sound was very pleasing and close to the human sound. The sound was continuous and the possibilities of gamakas added to its beauty. Thus the stringed fretted instrument Veena lost its place as an accompanying instrument, and so was the case with flute also. Later on, both Veena and Violin became solo concert instruments on their own merit.

M.S.Gopalakrishnan and Smt N.Rajam are the two well recognized violinist names in the recent decades. Their expertise covered both Carnatic and Hindustani. Chowdiah was a big name to reckon with before them. In fact, Lalgudi Jayaraman and TN Krishnan  too deserve a mention as modern giants.
HINDUSTANI MUSIC:
Hindustani music has had very many bowed instruments for accompaniment such as sarangi, dilruba and esraj before the advent of the new bowed instrument, violin. Sarangi means hundred colours (sau rang) which denoted the versatility of the instrument which is hard to learn and hard to play.

The credit for adaptation of violin in Hindustani music is generally ascribed to the initiatives of Alauddin Khan,  Vishnu Digambar Paluskar, SN Ratanjankar and Gajananrao Joshi.  Pandit DK Datar and Pandit VG Jog came to be outstanding violinists in the Hindustani shaili.
India is known for re-exports too! We have the famous brothers L.Shankar and Dr.L.Subramaniam making international waves with their varied violin skills.
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Saturday, 1 September 2012

WHY DO COINS GIVE ME A HEADACHE?

WHY DO COINS GIVE ME A HEADACHE?

V.S.Gopalakrishnan

From the time we are nearly 5 years old, we handle coins. We handle them every day of our life, the way we handle tooth brush, tooth paste, comb, hair oil etc every day. In the recent years, coins have become a source of headache for me!

I am unable to differentiate between coins. They all look alike despite different denominations. The size is very similar. The bright silvery colour is uniform since perhaps no brass or bronze is used nowadays and I guess they are all made of stainless steel.  In olden times, colour variations were there due to the use of brass and bronze, apart from the size variations. Often, I am in no mood to go searching for my reading glasses. It is then that when paying out some changes, I grope like a blind beggar. The coins confuse me and I go into a headache! I congratulate the Marxist mentality of the present day RBI coin-minters who believe in near-perfect equality in the colour and the sizes of coins!

To avoid hassles in selecting the right coins to pay, I usually have been paying in rupee notes. That way, I take the change from the vendor, rather blindly without verification! And over a period of time, I have now made a huge collection of change weighing half a kilo! So, I am now compelled to think of letting the half-kilo load of my coins vanish! For that, I have to make payments in coins. I am at square one again! I hate to invite headache by having to select from the confusing coins!

When I was a youngster I loved coins. Not just for their purchasing power in buying “kamarkat” ( a kind of sweet) but for their lovely variety too. The quarter anna had a fascinating hole in it! Sixteen annas made one rupee. The one anna was strong  and had a wavy circumference. Blindly touching the quarter anna or one anna coin, you can tell the denomination. The two annas were square in shape. I suppose the designers and minters had a much higher IQ in those years than now. A sightless person now would find it hard to differentiate between the denominations.


  above:one pice coin (a quarter anna)


  one anna coin


 two anna coin

I must have started handling coins from 1945 or so. I clearly remember the size, colour  and shape of those coins. But the minters used to change the metal composition and the sizes once in a few years. Nothing was static.

I remember I was most upset when India went into metric system of coinage in 1955. One ”naya paisa” became the basic unit and a hundred naya paisas made a rupee. I considered the use of the Hindi word “naya” as a needless infliction of Hindi on the South! The “naya” was dropped in 1964. The two rupee coin was introduced in 1982. Now we have five rupee coins too. There was a time when 5 paise, 10 paise and 25 paise coins came in handy for us but nowadays I don’t see even 50 paise coins. The basic denomination of exchange has become the one rupee coin! So much for inflation and devaluation!

Today, in a bit of a research mind, I segregated firstly the two rupee current coins from my half-kilo coin collection. I examined them closely. Some years ago, a cross-mark appeared in the coins as shown below.
 2-rupee coin with a cross

Some people said that it was Sonia Gandhi’s idea of spreading Christianity. Then, I find that a hand appears in the 2-rupee coins of 2007 to 2011, with two fingers raised! Some people saw the hand-emblem of the Congress party there! Art-wise the quality is absurd! It is a female hand with bangles showing  a dance mudra without taste! The fingers are stiff and the owner of the hand is perhaps asking by gesture permission to go to the toilet! (please see below)
  2-rupee coin with dance mudra

The latest 2012 two-rupee coin bearing the new “rupee emblem”  has shrunk in size, resembling the size of the common one rupee coin.

The design pattern of one-rupee coins has been similar. Half-a- decade ago, you saw the cross. Then the dance mudra with just the thumb raised, looking unaesthetic! (please see below). The size of one-rupee coin has shrunk in the last one year, to that of 50 paise! The 50-paise coin shows a closed fist and I wonder if there is any such dance mudra at all or it could be the fist of a woman boxer!
  one rupee coin with just one thumb up!
  closed-fist dance mudra? Or boxing?


So, now, you realize my confusion that leads on to headache when I handle our coins!

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