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An Intach Pune Chapter Update
Intach Pune Patrika
April 2016 Quarterly I
Message from the Convenor
Dear Friends
It has been a year since we started our
quarterly newsletter. The idea was to
establish communication with members
for reporting activities we are planning.
From the current issue we have
modified the format. There will be
articles on important heritage related
issues by experts, views expressed by
the members, along with the reporting
of various events and activities,
photographic and many more features,
thus creating an interactive platform.
With the year 2016 we have successfully
completed 30 years of journey of Intach
Pune Chapter since its foundation. A lot
of hard work has been put in by a
number of people in creating a
movement and establishing sensitivity
and understanding of natural, built and
cultural heritage of our city. We are
extremely grateful to all those who have
created a strong team of volunteers. I
am happy to share with you that one
such effort, the seeds of which were
sown in the early years has reached
international platform. The copper craft
project, which was initiated at the
beginning of this century, has been
quite successful and has achieved
success in terms of benefitting the craft
and the craftsmen. All of us will be
proud and happy to note that in
recently held Milan Exhibition, this
month, the products produced by these
craftsmen were displayed, and widely
appreciated by visitors. This is in line
with our thinking and understanding of
heritage, which is integrated into
contemporary and future times and not
locked in history. We are also happy to
share that WARSAA shop at Shaniwar
Wada has completed 12 years. On 3rd
April, on its birthday, WARSAA shop was
re-launched with fresh look and design.
Very soon WARSAA products will be
marketed through an on line marketing
platform.
Many of you must also have seen our
documentary 'Haravlela Rasta', of a
successful effort for stopping illegal
road constructed in Mutha River. We
have now made it available in Hindi and
English too. Our journey to fulfil the
mission of INTACH will continue forever.
In the last three decades we have done
a lot, but we still need to reach to a
larger mass. I would thus like to make
an appeal to our members to help by
lending your support to contribute in
whatever capacity you can.
Shrikant Nivasarkar
Sketch of Gokhale Institute by Ar Anand Ukidve
Sketch on 70gsm cream based paper, with water proof ink and micro tip pen (01 and 05 nos.)
Anand is an architect by profession and Principal-in-charge of Aayojan School of Architecture
and Design, Pune.
Message from the Convenor
Dear Friends
It has been a year since we started our
quarterly newsletter. The idea was to
establish communication with members
for reporting activities we are planning.
From the current issue we have
modified the format. There will be
articles on important heritage related
issues by experts, views expressed by
the members, along with the reporting
of various events and activities,
photographic and many more features,
thus creating an interactive platform.
With the year 2016 we have successfully
completed 30 years of journey of Intach
Pune Chapter since its foundation. A lot
of hard work has been put in by a
number of people in creating a
movement and establishing sensitivity
and understanding of natural, built and
cultural heritage of our city. We are
extremely grateful to all those who have
created a strong team of volunteers. I
am happy to share with you that one
such effort, the seeds of which were
sown in the early years has reached
international platform. The copper craft
project, which was initiated at the
beginning of this century, has been
quite successful and has achieved
success in terms of benefitting the craft
and the craftsmen. All of us will be
proud and happy to note that in
recently held Milan Exhibition, this
month, the products produced by these
craftsmen were displayed, and widely
appreciated by visitors. This is in line
with our thinking and understanding of
heritage, which is integrated into
contemporary and future times and not
locked in history. We are also happy to
share that WARSAA shop at Shaniwar
Wada has completed 12 years. On 3rd
April, on its birthday, WARSAA shop was
re-launched with fresh look and design.
Very soon WARSAA products will be
marketed through an on line marketing
platform.
Many of you must also have seen our
documentary 'Haravlela Rasta', of a
successful effort for stopping illegal
road constructed in Mutha River. We
have now made it available in Hindi and
English too. Our journey to fulfil the
mission of INTACH will continue forever.
In the last three decades we have done
a lot, but we still need to reach to a
larger mass. I would thus like to make
an appeal to our members to help by
lending your support to contribute in
whatever capacity you can.
Shrikant Nivasarkar
Sketch of Gokhale Institute by Ar Anand Ukidve
Sketch on 70gsm cream based paper, with water proof ink and micro tip pen (01 and 05 nos.)
Anand is an architect by profession and Principal-in-charge of Aayojan School of Architecture
and Design, Pune.
History of Tin-coating of Metallic Utensils
in India Cover Story
by late Shri Parshuram Gode
Parshuram Gode’s research piece on the history of Tin-plating between
the period AD 1300 and 1900
Copper and brass vessels are subject to
chemical action caused by sour or acid
Side by side with my studies in Indian dietetics I have been trying to study the
history of Indian cooking utensils and other domestic vessels used in Indian
homes. In this connection I was told by many friends that the practice of tin-
coating (kalhai) of copper and brass vessels and plates is now current in many
parts of India.
food placed in them. This action is
lessened, if not prevented, by the tin-
coating applied to the vessels. Persons
who have made tin-coating a profession
are called 'Kalhaiwallas'. Some of these
have regular shops in cities, while others
move about from house to house, doing
the work of tin-coating on the spot with
the help of instruments and material
which they carry with them. The rate for
tinning vessels of ordinary size is
generally quoted for 100 vessels of
assorted size.
I have not come across any Sanskrit
word for kalhai but Prof. K. P. Kulkarni in
his Marathi Etymological Dictionary,
makes the following entry about kalhai:
kalhai = kathilaca mulama, etc.(Tinning,
the wash of tin given to culinary
utensils)
Can any Sanskrit or Prakrit scholar prove
historically the connection of the Arabic
Kalhai with Sanskrit kaladhauta and
Prakrit Kalahoya as suggested by Prof.
Kulkarni?
The Marathi Dictionary 'Sabdakosha' by
Date and Karve derives the word kalhai
from Arabic kalhai = Kathil and records
a usage of the word from Rajwade's
Sources of Maratha History.
In this usage the word Kalhai does not
mean tin-coating but the coating of
mercury (para) applied to mirrors. The
'Sabdakosha' records the words:
Kalhaikar or Kalhaigar for persons who
carry on the profession of tin-coating of
domestic utensils. It also records the
word kathil and connects it with Sanskrit
Kastira and Apabhramsha Katthila.
The 'Rajavyavaharakosha' (C.A.D. 1676)
records the words kathila and kalhaikara
as follows:
-kathilam vangamucyate
-kalhaikarah Sisakaro
I cannot say why kalhaikara is called
sisakara in the above line. Perhaps the
Kalhaivalas of Shivaji's time not only
practiced the art of tin-coating but of
lead-coating also.
The lexicon 'Parasibhashanushasana' (a
lexicon of Persian terms) of
Vikramasimha (Before Samvat 1600, i.e.
A.D. 1544, according to the editor Dr.
Banarasidas Jain) was published in 1945.
In this lexicon I find the word kalaiya
(tin) mentioned in verse 4 of Prakarana
II.
This is the earliest reference to the word
kalaiya traced by me in Indian sources.
However the word means tin and not
tin-coating with the history of which I
am concerned in this paper.
The reference to 'Kalhaikara' (the person
who practiced the art of tin-coating) in
the 'Rajavyavaharakosha' proves clearly
how tin-coating had become current in
India in the 17th century. To support
this conclusion we get the following
additional evidence of Sanskrit and non-
Sanskrit sources:
History of Tin-coating of Metallic Utensils
in India Cover Story
by late Shri Parshuram Gode
Parshuram Gode’s research piece on the history of Tin-plating between
the period AD 1300 and 1900
Copper and brass vessels are subject to
chemical action caused by sour or acid
Side by side with my studies in Indian dietetics I have been trying to study the
history of Indian cooking utensils and other domestic vessels used in Indian
homes. In this connection I was told by many friends that the practice of tin-
coating (kalhai) of copper and brass vessels and plates is now current in many
parts of India.
food placed in them. This action is
lessened, if not prevented, by the tin-
coating applied to the vessels. Persons
who have made tin-coating a profession
are called 'Kalhaiwallas'. Some of these
have regular shops in cities, while others
move about from house to house, doing
the work of tin-coating on the spot with
the help of instruments and material
which they carry with them. The rate for
tinning vessels of ordinary size is
generally quoted for 100 vessels of
assorted size.
I have not come across any Sanskrit
word for kalhai but Prof. K. P. Kulkarni in
his Marathi Etymological Dictionary,
makes the following entry about kalhai:
kalhai = kathilaca mulama, etc.(Tinning,
the wash of tin given to culinary
utensils)
Can any Sanskrit or Prakrit scholar prove
historically the connection of the Arabic
Kalhai with Sanskrit kaladhauta and
Prakrit Kalahoya as suggested by Prof.
Kulkarni?
The Marathi Dictionary 'Sabdakosha' by
Date and Karve derives the word kalhai
from Arabic kalhai = Kathil and records
a usage of the word from Rajwade's
Sources of Maratha History.
In this usage the word Kalhai does not
mean tin-coating but the coating of
mercury (para) applied to mirrors. The
'Sabdakosha' records the words:
Kalhaikar or Kalhaigar for persons who
carry on the profession of tin-coating of
domestic utensils. It also records the
word kathil and connects it with Sanskrit
Kastira and Apabhramsha Katthila.
The 'Rajavyavaharakosha' (C.A.D. 1676)
records the words kathila and kalhaikara
as follows:
-kathilam vangamucyate
-kalhaikarah Sisakaro
I cannot say why kalhaikara is called
sisakara in the above line. Perhaps the
Kalhaivalas of Shivaji's time not only
practiced the art of tin-coating but of
lead-coating also.
The lexicon 'Parasibhashanushasana' (a
lexicon of Persian terms) of
Vikramasimha (Before Samvat 1600, i.e.
A.D. 1544, according to the editor Dr.
Banarasidas Jain) was published in 1945.
In this lexicon I find the word kalaiya
(tin) mentioned in verse 4 of Prakarana
II.
This is the earliest reference to the word
kalaiya traced by me in Indian sources.
However the word means tin and not
tin-coating with the history of which I
am concerned in this paper.
The reference to 'Kalhaikara' (the person
who practiced the art of tin-coating) in
the 'Rajavyavaharakosha' proves clearly
how tin-coating had become current in
India in the 17th century. To support
this conclusion we get the following
additional evidence of Sanskrit and non-
Sanskrit sources:
The 'Sivatattva Ratnakara', an
encyclopedic cultural Sanskrit metrical
work by Keladi Basava, king of Ikkeri
(A.D. 1698-1715), was published by B.
M. Nath and Co. at Madras in 1927. This
work mentions 'Kalaya-lepa' or tin-
coating in the chapter on supashastra
(cookery)- Kallola VI, Taranga 18, Verse
13:
Kalaya-lepite patre etc.
The use of a utensil with tin-coating for
cooking purposes is clearly laid down in
this verse. The word 'Kalaya' used in the
verse is not a Sanskrit word but it is an
Arabic word for tin slightly Sanskritized
by Keladi Basava.
The Hindi poet Surdas refers to Kalai as I
am informed by my linguist friend Dr.
Siddheswar Varma of Nagpur in his
letter of 26-8-1904, which reads as
follows:
'Regarding Kalhai the only material
immediately available is a line from
Surdas, quoted by Hindi Sabda Sagar,
Vol. I (1916) sub voce kalai. The line
stands as follows:
'Ai udhari priti kalai' etc.
The lexicon renders kalai as ranga which
Bhargava's Standard Illustrated
Dictionary of the Hindee language
renders as 'tin', while it renders kalai as
thin coat of tin on an object.
Abul Fazl makes detailed remarks in his
Ain-i-Akbari (C.A.D. 1590) on the
kitchen of Emperor Akbar. Food was
served at Akbar's table in dishes of
gold, silver, stone, copper and china.
Tin-coating of copper utensils in the
kitchen is referred to in the following
concluding para of the remarks on the
kitchen:
'The copper utensils for His Majesty's
use are tinned twice in a month and
those of the princes and the Harem
only once in that time. Whatever
copper utensils are broken, are given to
the braziers, who make new ones.'
In the seventeenth century the East
India Company carried on regular sale
of tin through their agents in India as
vouched by the following
contemporary reference:
1. John Marshall in India (A.D. 1668-
1672) Oxford, 1927,- "selling of a
consignment of tin.”
2. Supplementary Calendar to India
Office Documents by Sir William Foster
(A.D. 1600-1640), London 1928.
December 1614 - Notes on the trade at
Surat - commodities in demand include
'guns (a few tin)' etc.
In the seventeenth century a vast
quantity of English tin was consumed in
parts of Asia and also Persia and Arabia,
where tin-coating of dishes was current
as vouched by Tavernier in the following
extract:
‘The money of the king of Cheda (a port
upon the Malaya coasts) and Pera.. This
money is of tin…Formerly the English
brought it (tin) out of England and
furnished great part of Asia where they
consumed a vast quantity; they carried it
also into Persia and Arabia ; for all their
dishes are of copper, which they cause
to be tinned every month.’
Tavernier further refers to the use of tin
for tinning cooking utensils, etc., in the
following extract of his Travels:
'Some years ago very rich mines of tin
were discovered it Delegore, Sangore,
Bordelon, and Bata; this has done some
injury to the English, because there is no
longer need of their tin as formerly,
sufficient being now produced in Asia.
Tin is only used in this country to tin
cooking pots, kettles, and other copper
utensils.’
In our search for the history of tin-
coating in India we have gone up to
about A.D. 1500 on the strength of
literary evidence recorded above. This
literary evidence is further corroborated
by archaeological evidence, viz., the
discovery of a copper container with
tin-coating both on its interior and
exterior found at Kolhapur (in the
excavations at Brahmapuri). I am
thankful to my friends Dr. H. D. Sankalia
and Dr. M. G. Dikshit for drawing my
attention to this tinned container.
The foregoing archaeological evidence
is very important for the present inquiry
as it takes the history of tin-coating of
copper utensils in India up to C.A.D.
1300. The practice of giving a tin-
coating to both the interior and exterior
of a copper or a brass vessel is typically
a Muslim practice current even to-day.
Non-Muslims, however, and especially
the Hindus, give tin-coating only to the
interior of a vessel, perhaps on
economic grounds. The use of solid tin-
vessels (instead of tin-coated vessels)
now current in some parts of India
appears to have been current in India
prior to the advent of the practice of
tin-coating picked up from the Muslims.
This presumption is warranted by the
following reference to dining-plates of
gold, silver, copper, bronze, clay, tin and
lead quoted from Bodhayana by
Vidyaranya or Sayana (C.A.D. 1375):
Vidyaranya quotes the following verses
from Bodhayana in his Jivanmuktiviveka
(Vidvatsanyasa prakarana)
‘He (ascetic) should eat on leaves
plucked with his own hands or ones
shed of their own accord, but never use
the leaf of the Banyan or the holy fig or
the karanja. Even when reduced to the
narrowest straits should he never eat off
a bronze plate; for, one eating off a
bronze plate verily eats filth, nor off a
The 'Sivatattva Ratnakara', an
encyclopedic cultural Sanskrit metrical
work by Keladi Basava, king of Ikkeri
(A.D. 1698-1715), was published by B.
M. Nath and Co. at Madras in 1927. This
work mentions 'Kalaya-lepa' or tin-
coating in the chapter on supashastra
(cookery)- Kallola VI, Taranga 18, Verse
13:
Kalaya-lepite patre etc.
The use of a utensil with tin-coating for
cooking purposes is clearly laid down in
this verse. The word 'Kalaya' used in the
verse is not a Sanskrit word but it is an
Arabic word for tin slightly Sanskritized
by Keladi Basava.
The Hindi poet Surdas refers to Kalai as I
am informed by my linguist friend Dr.
Siddheswar Varma of Nagpur in his
letter of 26-8-1904, which reads as
follows:
'Regarding Kalhai the only material
immediately available is a line from
Surdas, quoted by Hindi Sabda Sagar,
Vol. I (1916) sub voce kalai. The line
stands as follows:
'Ai udhari priti kalai' etc.
The lexicon renders kalai as ranga which
Bhargava's Standard Illustrated
Dictionary of the Hindee language
renders as 'tin', while it renders kalai as
thin coat of tin on an object.
Abul Fazl makes detailed remarks in his
Ain-i-Akbari (C.A.D. 1590) on the
kitchen of Emperor Akbar. Food was
served at Akbar's table in dishes of
gold, silver, stone, copper and china.
Tin-coating of copper utensils in the
kitchen is referred to in the following
concluding para of the remarks on the
kitchen:
'The copper utensils for His Majesty's
use are tinned twice in a month and
those of the princes and the Harem
only once in that time. Whatever
copper utensils are broken, are given to
the braziers, who make new ones.'
In the seventeenth century the East
India Company carried on regular sale
of tin through their agents in India as
vouched by the following
contemporary reference:
1. John Marshall in India (A.D. 1668-
1672) Oxford, 1927,- "selling of a
consignment of tin.”
2. Supplementary Calendar to India
Office Documents by Sir William Foster
(A.D. 1600-1640), London 1928.
December 1614 - Notes on the trade at
Surat - commodities in demand include
'guns (a few tin)' etc.
In the seventeenth century a vast
quantity of English tin was consumed in
parts of Asia and also Persia and Arabia,
where tin-coating of dishes was current
as vouched by Tavernier in the following
extract:
‘The money of the king of Cheda (a port
upon the Malaya coasts) and Pera.. This
money is of tin…Formerly the English
brought it (tin) out of England and
furnished great part of Asia where they
consumed a vast quantity; they carried it
also into Persia and Arabia ; for all their
dishes are of copper, which they cause
to be tinned every month.’
Tavernier further refers to the use of tin
for tinning cooking utensils, etc., in the
following extract of his Travels:
'Some years ago very rich mines of tin
were discovered it Delegore, Sangore,
Bordelon, and Bata; this has done some
injury to the English, because there is no
longer need of their tin as formerly,
sufficient being now produced in Asia.
Tin is only used in this country to tin
cooking pots, kettles, and other copper
utensils.’
In our search for the history of tin-
coating in India we have gone up to
about A.D. 1500 on the strength of
literary evidence recorded above. This
literary evidence is further corroborated
by archaeological evidence, viz., the
discovery of a copper container with
tin-coating both on its interior and
exterior found at Kolhapur (in the
excavations at Brahmapuri). I am
thankful to my friends Dr. H. D. Sankalia
and Dr. M. G. Dikshit for drawing my
attention to this tinned container.
The foregoing archaeological evidence
is very important for the present inquiry
as it takes the history of tin-coating of
copper utensils in India up to C.A.D.
1300. The practice of giving a tin-
coating to both the interior and exterior
of a copper or a brass vessel is typically
a Muslim practice current even to-day.
Non-Muslims, however, and especially
the Hindus, give tin-coating only to the
interior of a vessel, perhaps on
economic grounds. The use of solid tin-
vessels (instead of tin-coated vessels)
now current in some parts of India
appears to have been current in India
prior to the advent of the practice of
tin-coating picked up from the Muslims.
This presumption is warranted by the
following reference to dining-plates of
gold, silver, copper, bronze, clay, tin and
lead quoted from Bodhayana by
Vidyaranya or Sayana (C.A.D. 1375):
Vidyaranya quotes the following verses
from Bodhayana in his Jivanmuktiviveka
(Vidvatsanyasa prakarana)
‘He (ascetic) should eat on leaves
plucked with his own hands or ones
shed of their own accord, but never use
the leaf of the Banyan or the holy fig or
the karanja. Even when reduced to the
narrowest straits should he never eat off
a bronze plate; for, one eating off a
bronze plate verily eats filth, nor off a
Editorial
William Jones, the founder of Royal
Asiatic Society wrote to his friend in
1790s that in India he felt like a person
who had stumbled upon Greek classics
for the first time in western history and
met priests who still worshipped Jupiter
and Apollo. Substitute Sanskrit for
Greek and the Brahmins for Priests, he
says, and you will understand my
excitement!
The sense of continuity which Jones
expressed is what makes our culture
unique and exciting. Our cover story on
the humble and almost forgotten craft
of kalhai underlines this sense of
continuity. It also highlights the fact that
this continuity is threatened like never
before in our long history. The idea
behind the conception of an
organization like INTACH is to try and
manage this process of change by
various initiatives. INTACH Pune chapter
has been taking various initiatives in this
direction since its inception which all of
you are familiar with. Of the many
activities that INTACH Pune chapter
does is Patrika, which is one that has
been reporting all the events, activities
and projects that keep taking place. It
has been more of reportage; which in
itself has been more than a handful of a
job to accomplish! However in a recent
meeting our convenor, Shrikant
Nivsarkar put forth an idea of making
the patrika into something more than
reporting of events. The result is what
you will see in this issue. There are a lot
of changes in the contents. There is a
column on sedentary play traditions
which will cover various games in the
coming issues. A series on revisiting
traditional materials of construction
begins with a write-up on laterite stone.
We have also reserved a space for your
feedback which will hopefully get filled
up by the next issue. Of course the
activities do remain a part of the Patrika
as well!
Write to us about these changes,
whether you think they are worth?
Should there be some other content
you would like to read about? Ideas and
suggestions are most welcome! Write
to us at [email protected]
Chetan Sahasrabudhe
plate of gold, silver, copper, clay, tin or
lead.’
If the above quotation is traced in the
works of Bodhayana (C. 2S0 B.C.), the
author of the Dharmasutra which goes
by his name, the antiquity of solid tin-
vessels for more than 2000 years would
be conclusively proved. As the
quotation stands at present it is earlier
than A.D. 1300, i.e. prior to the history of
tin-coating recorded in this paper. A
study of the antiquity of trapu (tin) and
its several uses in Indian cultural history
needs to be undertaken by some
scholar interested in the problem.
In concluding this paper I have to
request my readers to record some
references to tin-coating in Sanskrit and
non-Sanskrit source prior to A.D. 1300.
In this connection I record most
gratefully the remarks of my friend Shri
K. N. Dave of Nagpur communicated to
me on 31-8-1949 through Dr. S. Varma:
'Although tin (trapu) was known to
Atharvaveda, I have not come across its
use for tinning copper or brass pots. On
the other band in the Manasollasa
(C.A.D. 1130), Vol. 2, pp. 116 and 131
refer to grain and meat being cooked in
plain copper pans (Sthali). Evidently the
art of tinning was introduced into India
by the Muslims. I know of no Sanskrit
or Hindi word for the process of tinning
pots and pans. Hindi 'Kalai Karna' is
clearly from Arabic 'Calai'.
Editorial
William Jones, the founder of Royal
Asiatic Society wrote to his friend in
1790s that in India he felt like a person
who had stumbled upon Greek classics
for the first time in western history and
met priests who still worshipped Jupiter
and Apollo. Substitute Sanskrit for
Greek and the Brahmins for Priests, he
says, and you will understand my
excitement!
The sense of continuity which Jones
expressed is what makes our culture
unique and exciting. Our cover story on
the humble and almost forgotten craft
of kalhai underlines this sense of
continuity. It also highlights the fact that
this continuity is threatened like never
before in our long history. The idea
behind the conception of an
organization like INTACH is to try and
manage this process of change by
various initiatives. INTACH Pune chapter
has been taking various initiatives in this
direction since its inception which all of
you are familiar with. Of the many
activities that INTACH Pune chapter
does is Patrika, which is one that has
been reporting all the events, activities
and projects that keep taking place. It
has been more of reportage; which in
itself has been more than a handful of a
job to accomplish! However in a recent
meeting our convenor, Shrikant
Nivsarkar put forth an idea of making
the patrika into something more than
reporting of events. The result is what
you will see in this issue. There are a lot
of changes in the contents. There is a
column on sedentary play traditions
which will cover various games in the
coming issues. A series on revisiting
traditional materials of construction
begins with a write-up on laterite stone.
We have also reserved a space for your
feedback which will hopefully get filled
up by the next issue. Of course the
activities do remain a part of the Patrika
as well!
Write to us about these changes,
whether you think they are worth?
Should there be some other content
you would like to read about? Ideas and
suggestions are most welcome! Write
to us at [email protected]
Chetan Sahasrabudhe
plate of gold, silver, copper, clay, tin or
lead.’
If the above quotation is traced in the
works of Bodhayana (C. 2S0 B.C.), the
author of the Dharmasutra which goes
by his name, the antiquity of solid tin-
vessels for more than 2000 years would
be conclusively proved. As the
quotation stands at present it is earlier
than A.D. 1300, i.e. prior to the history of
tin-coating recorded in this paper. A
study of the antiquity of trapu (tin) and
its several uses in Indian cultural history
needs to be undertaken by some
scholar interested in the problem.
In concluding this paper I have to
request my readers to record some
references to tin-coating in Sanskrit and
non-Sanskrit source prior to A.D. 1300.
In this connection I record most
gratefully the remarks of my friend Shri
K. N. Dave of Nagpur communicated to
me on 31-8-1949 through Dr. S. Varma:
'Although tin (trapu) was known to
Atharvaveda, I have not come across its
use for tinning copper or brass pots. On
the other band in the Manasollasa
(C.A.D. 1130), Vol. 2, pp. 116 and 131
refer to grain and meat being cooked in
plain copper pans (Sthali). Evidently the
art of tinning was introduced into India
by the Muslims. I know of no Sanskrit
or Hindi word for the process of tinning
pots and pans. Hindi 'Kalai Karna' is
clearly from Arabic 'Calai'.
What's up! Event Updates
1. Pune Hertitage Festival
We are glad to share with you updates on the successful fifth Pune Heritage
Festival organized between 5th and 14th of February 2016. The Festival was jointly
organized by Janwani and Intach Pune. There were 31associate organizations and a
spread of fifty-one diverse events that included heritage walks, nature trails,
workshops, exhibition, film screenings, cultural events, bus tour, lectures and
games and quiz.
The Festival reached to over 10,000 people and approximately 3000 people
participated in various activities across six days.This success would not have been
achieved without active involvement of the 31 associate organizations and a team
of dedicated coordinators and volunteers from Intach and Janwani.
The Festival is a celebration of what we love about the city. The Festival aims to
generate civic pride and responsibility through a wider and better appreciation of
our valuable cultural and natural heritage. The Festival showcased Pune's legacy in
different fields such as women's emancipation, education, freedom struggle
movement, sports and games, built heritage, natural heritage, dance, music,
theatre and cinema heritage, history and martial valour, defence legacy, the living
cultural heritage in the form of customs and practices and even the culinary legacy
of the city. Several organizations of heritage value were brought together on a
common platform for a commonly shared cause, thus strengthening their efforts
towards protecting and promoting heritage of Pune and India at large.
It was followed by a celebration and feedback meeting with all partner
organizations on 26 Feb 2016.
Highlights of the Festival
Defence Events: For the first time,
'special visit to Bombay Sappers and
War Museum at Ghorpadi'.
Odissi, Kathak and Tabla ensemble:
Dance, Music, Theatre: For the first
time Chaturshringi Temple Complex
hosted classical dance and music events
Children's activities: Traditional
Games and Science Toy workshops
Sangeet Bari
What's up! Event Updates
1. Pune Hertitage Festival
We are glad to share with you updates on the successful fifth Pune Heritage
Festival organized between 5th and 14th of February 2016. The Festival was jointly
organized by Janwani and Intach Pune. There were 31associate organizations and a
spread of fifty-one diverse events that included heritage walks, nature trails,
workshops, exhibition, film screenings, cultural events, bus tour, lectures and
games and quiz.
The Festival reached to over 10,000 people and approximately 3000 people
participated in various activities across six days.This success would not have been
achieved without active involvement of the 31 associate organizations and a team
of dedicated coordinators and volunteers from Intach and Janwani.
The Festival is a celebration of what we love about the city. The Festival aims to
generate civic pride and responsibility through a wider and better appreciation of
our valuable cultural and natural heritage. The Festival showcased Pune's legacy in
different fields such as women's emancipation, education, freedom struggle
movement, sports and games, built heritage, natural heritage, dance, music,
theatre and cinema heritage, history and martial valour, defence legacy, the living
cultural heritage in the form of customs and practices and even the culinary legacy
of the city. Several organizations of heritage value were brought together on a
common platform for a commonly shared cause, thus strengthening their efforts
towards protecting and promoting heritage of Pune and India at large.
It was followed by a celebration and feedback meeting with all partner
organizations on 26 Feb 2016.
Highlights of the Festival
Defence Events: For the first time,
'special visit to Bombay Sappers and
War Museum at Ghorpadi'.
Odissi, Kathak and Tabla ensemble:
Dance, Music, Theatre: For the first
time Chaturshringi Temple Complex
hosted classical dance and music events
Children's activities: Traditional
Games and Science Toy workshops
Sangeet Bari
Environment: Bat spotting, Insect
Walk, Green lane volunteer workshop,
Bird Watching, Nature film screenings,
Workshop on Recycling
Intach Team Coordinators:
- Supriya Goturkar Mahabaleshwarkar,
- Jui Tawade
- Madhur Barve
- Jayesh Paranjape
Others: Cycle Ride, Handloom Saree Workshop, Manuscript Exhibition, Tata
Archives, Food walk
Campus Walks: University of Pune,
BORI, FTII, College of Agriculture
Banking, RBI, Agriculture College etc.
Treasure Hunt at the Kelkar Museum
History: 'Shivshahi Patra Wachan',
Modi and Persian language introduction
workshop.
Please write to us with your inputs and suggestions and also if you would like to be
part of the organising team for the next Pune heritage Festival.
Intach Volunteers:
- Shobha Bhuwalka
- Varsha Jog
- Nista Dugar
- Vishakha Patil
Environment: Bat spotting, Insect
Walk, Green lane volunteer workshop,
Bird Watching, Nature film screenings,
Workshop on Recycling
Intach Team Coordinators:
- Supriya Goturkar Mahabaleshwarkar,
- Jui Tawade
- Madhur Barve
- Jayesh Paranjape
Others: Cycle Ride, Handloom Saree Workshop, Manuscript Exhibition, Tata
Archives, Food walk
Campus Walks: University of Pune,
BORI, FTII, College of Agriculture
Banking, RBI, Agriculture College etc.
Treasure Hunt at the Kelkar Museum
History: 'Shivshahi Patra Wachan',
Modi and Persian language introduction
workshop.
Please write to us with your inputs and suggestions and also if you would like to be
part of the organising team for the next Pune heritage Festival.
Intach Volunteers:
- Shobha Bhuwalka
- Varsha Jog
- Nista Dugar
- Vishakha Patil
2. Pune Expat Club programme
Co-convenor, Ar Sharvey Dhongde was
invited at the Pune Expat Club to give a
talk 'Pune's Heritage Treasure' at their
'Coffee Connect Mornings' session at Le
Meridian on 12 Feb 2016. It was
followed by a heritage walk conducted
by INTACH member, Ar Jui Tawade on
14 Feb 2016.
3. Sustainability Management
Workshop
INTACH conducted a workshop on
'Sustainability Management' for students
of Symbiosis College of Arts and
Commerce. INTACH members Dr Nitant
Mate and Mr Mukul Mahabaleshwarkar
conducted the workshop.
5. Warsaa Walks and Workshops
Bengal Paintings Workshop and
Exhibition of Patua Artist Suman
Chitrakar was organised jointly with
Heart for Art on 30th January 201.
Venue support: P. N. Gadgil and Sons,
Aundh Gallery, Pune.
Suman Chitrakar is a young Patua Artist
from West Bengal. He started painting
nine years ago at the age of twenty with
his mentor Jagdevji. Suman has been
creatively infusing new themes to the
traditional art form to create a
distinctive style of his own. Suman
carries the lineage of folk artists paint,
long, vertical scrolls and compose
verses.
As a part of INTACH's all India campaign
and competition - Clean Monument,
INTACH Pune, jointly with TAA
Sagarmitra, organised a clean up drive
on the Mutha river bank on 28 January
2016. 56 school students of classes 6-9
from 5 schools participated in the
programme. The clean up drive was
followed by poster and write up
competition. The students interacted
with environmentalists Ar Sarang
Yadwadkar, Shri Anil Gaikwad and Mr
Vinod Bodhankar.
Towards the end of the programme, 100
regional and 10 national winners will be
identified who would get an
opportunity to visit Delhi.
6. Clean Monument Programme
Waterman of India Shri Rajendra Singh
visited the Mutha river site and
congratulated Intach team on achieving
success at the National Green Tribunal
with reference to the Mutha river
encroachment cases. The recording of
narration for the Hindi version of the
documentary 'Haravlela Rasta' was also
done in his voice.
4. Visit to Mutha River Site
2. Pune Expat Club programme
Co-convenor, Ar Sharvey Dhongde was
invited at the Pune Expat Club to give a
talk 'Pune's Heritage Treasure' at their
'Coffee Connect Mornings' session at Le
Meridian on 12 Feb 2016. It was
followed by a heritage walk conducted
by INTACH member, Ar Jui Tawade on
14 Feb 2016.
3. Sustainability Management
Workshop
INTACH conducted a workshop on
'Sustainability Management' for students
of Symbiosis College of Arts and
Commerce. INTACH members Dr Nitant
Mate and Mr Mukul Mahabaleshwarkar
conducted the workshop.
5. Warsaa Walks and Workshops
Bengal Paintings Workshop and
Exhibition of Patua Artist Suman
Chitrakar was organised jointly with
Heart for Art on 30th January 201.
Venue support: P. N. Gadgil and Sons,
Aundh Gallery, Pune.
Suman Chitrakar is a young Patua Artist
from West Bengal. He started painting
nine years ago at the age of twenty with
his mentor Jagdevji. Suman has been
creatively infusing new themes to the
traditional art form to create a
distinctive style of his own. Suman
carries the lineage of folk artists paint,
long, vertical scrolls and compose
verses.
As a part of INTACH's all India campaign
and competition - Clean Monument,
INTACH Pune, jointly with TAA
Sagarmitra, organised a clean up drive
on the Mutha river bank on 28 January
2016. 56 school students of classes 6-9
from 5 schools participated in the
programme. The clean up drive was
followed by poster and write up
competition. The students interacted
with environmentalists Ar Sarang
Yadwadkar, Shri Anil Gaikwad and Mr
Vinod Bodhankar.
Towards the end of the programme, 100
regional and 10 national winners will be
identified who would get an
opportunity to visit Delhi.
6. Clean Monument Programme
Waterman of India Shri Rajendra Singh
visited the Mutha river site and
congratulated Intach team on achieving
success at the National Green Tribunal
with reference to the Mutha river
encroachment cases. The recording of
narration for the Hindi version of the
documentary 'Haravlela Rasta' was also
done in his voice.
4. Visit to Mutha River Site
7. Once upon a time in India
Once upon a time in India is a forum
hosted by B N College of Architecture
jointly with INTACH Pune. The recent
sessions included:
- Mutha Riverfront Walk by Mr Mandar
Lawate on 29 Jan 2016
It was a guided walk along the bank of
the river Mutha that has seen the era of
the mighty Maratha Empire and reminds
us of the Golden period of Maharashtra
through its temples and shrines.
- Known…yet Unknown…the Sacred
Landscapes of Varanasi on 26 Feb 2016
It was a presentation based on the third
Site workshop of BN College of
Architecture and University of Illinois,
USA , in which 21 enthusiastic students
accompanied by Prof Shubhada
Kamalapurkar and Prof Sandhya
Nivsarkar participated.
8. Conservation Education
INTACH Pune was invited at MKSSS to
give inputs in formulating the syllabus
on 'Laser Technology in Conservation', a
new course to be introduced at MKSSS.
Team of Intach members including
Convener Shrikant Nivsarkar, co-
convener Sharvey Dhongde, Shubhada
Kamlapurkar and Chetan Sahasrabudhe
gave valuable inputs in deciding focus
and syllabus for the course.
9. Awards
We congratulate INTACH member Shri
Vinod Bodhankar on receiving
'DSK Energy Award' (Environment
Category) by Indian Institution of
Engineers, Pune Chapter and DSK
Group and 'Avani mitra' award by KB
Anna Talwalkar Memorial Trust, Pune
for his contribution in the field of
environment especially through
Sagarmitra Abhiyaan initiative.
ASEF SU Update
The 19th ASEF SU was organized by the
Asia-Europe Foundation (ASEF),
Symbiosis International University (SIU),
INTACH as Knowledge partner and
INSTEDD Lab as tech partner. It was
supported by the Ministry of External
Affairs.
We continue presenting the series of
ASEF SU outcomes with Hack group 4 in
this issue.
Hackgroup 4 Theme: Pune Urban
Biodiversity with focus on the rivers
of Pune.
Hackgroup 4 participants:
Ms Priyanka AGARWAL (India)
Mr Zihao CHENG (China)
Mr Giacomo CRIVELLARI (Italy)
Ms Margrethe Beate HAMMOND
ROSBACH (Norway)
Ms Gabriela KABOTOVA(Czech Republic)
Ms Angelika KOEPF (Austria)
Mr Syed Ahmad NAFISUL ABRAR
(Bangladesh)
Mr Chuck Chuan NG (Malaysia)
The ASEF Summer University (SU) is a two week annual project run by the
Asia Europe Foundation (ASEF). The project fosters cross cultural networks
among youth from Asia Europe Meeting (ASEM) member countries.
Facilitator: Ms Elena Mozgovaya
Mentors: Prof Vijay Paranjpye, Ar
Shubhada Kamalapurkar, Mr Mukul
Mahabaleshwarkar
Background and outcome
Pune's urban biodiversity includes the
natural as well as the human-made
environment with its associated flora,
fauna and also human beings along
with their domestic animals. Its
character changes according to the
character and evolutionary stage of the
Urban Environment. Urban biodiversity
cannot be sustained without a holistic
development approach and appropriate
environmental mitigation of problems.
This is a very complex issue and needs
an integrated approach.
Participants of hack group 4 presented a
model of 'TIMBY' – This is My BackYard -
including online and on-site activities
that connect the citizens of Pune to
nature with focus on the rivers of Pune.
The main discussions of the group
revolved around the river as according
to them the river had so much potential
in and around itself which has not been
7. Once upon a time in India
Once upon a time in India is a forum
hosted by B N College of Architecture
jointly with INTACH Pune. The recent
sessions included:
- Mutha Riverfront Walk by Mr Mandar
Lawate on 29 Jan 2016
It was a guided walk along the bank of
the river Mutha that has seen the era of
the mighty Maratha Empire and reminds
us of the Golden period of Maharashtra
through its temples and shrines.
- Known…yet Unknown…the Sacred
Landscapes of Varanasi on 26 Feb 2016
It was a presentation based on the third
Site workshop of BN College of
Architecture and University of Illinois,
USA , in which 21 enthusiastic students
accompanied by Prof Shubhada
Kamalapurkar and Prof Sandhya
Nivsarkar participated.
8. Conservation Education
INTACH Pune was invited at MKSSS to
give inputs in formulating the syllabus
on 'Laser Technology in Conservation', a
new course to be introduced at MKSSS.
Team of Intach members including
Convener Shrikant Nivsarkar, co-
convener Sharvey Dhongde, Shubhada
Kamlapurkar and Chetan Sahasrabudhe
gave valuable inputs in deciding focus
and syllabus for the course.
9. Awards
We congratulate INTACH member Shri
Vinod Bodhankar on receiving
'DSK Energy Award' (Environment
Category) by Indian Institution of
Engineers, Pune Chapter and DSK
Group and 'Avani mitra' award by KB
Anna Talwalkar Memorial Trust, Pune
for his contribution in the field of
environment especially through
Sagarmitra Abhiyaan initiative.
ASEF SU Update
The 19th ASEF SU was organized by the
Asia-Europe Foundation (ASEF),
Symbiosis International University (SIU),
INTACH as Knowledge partner and
INSTEDD Lab as tech partner. It was
supported by the Ministry of External
Affairs.
We continue presenting the series of
ASEF SU outcomes with Hack group 4 in
this issue.
Hackgroup 4 Theme: Pune Urban
Biodiversity with focus on the rivers
of Pune.
Hackgroup 4 participants:
Ms Priyanka AGARWAL (India)
Mr Zihao CHENG (China)
Mr Giacomo CRIVELLARI (Italy)
Ms Margrethe Beate HAMMOND
ROSBACH (Norway)
Ms Gabriela KABOTOVA(Czech Republic)
Ms Angelika KOEPF (Austria)
Mr Syed Ahmad NAFISUL ABRAR
(Bangladesh)
Mr Chuck Chuan NG (Malaysia)
The ASEF Summer University (SU) is a two week annual project run by the
Asia Europe Foundation (ASEF). The project fosters cross cultural networks
among youth from Asia Europe Meeting (ASEM) member countries.
Facilitator: Ms Elena Mozgovaya
Mentors: Prof Vijay Paranjpye, Ar
Shubhada Kamalapurkar, Mr Mukul
Mahabaleshwarkar
Background and outcome
Pune's urban biodiversity includes the
natural as well as the human-made
environment with its associated flora,
fauna and also human beings along
with their domestic animals. Its
character changes according to the
character and evolutionary stage of the
Urban Environment. Urban biodiversity
cannot be sustained without a holistic
development approach and appropriate
environmental mitigation of problems.
This is a very complex issue and needs
an integrated approach.
Participants of hack group 4 presented a
model of 'TIMBY' – This is My BackYard -
including online and on-site activities
that connect the citizens of Pune to
nature with focus on the rivers of Pune.
The main discussions of the group
revolved around the river as according
to them the river had so much potential
in and around itself which has not been
realised by its stakeholders. Thus, their solution headed towards utilising the river
and the area around by incorporating technology. The idea of this model was
transforming the concept NIMBY (not in my backyard) to TIMBY (this is my
backyard). Basically, it focused on making the Punekars realise that the river
belongs to them and they should take care of it. The main business proposal was
to create three ecological social hubs near Mutha riverside by introducing a game.
The participants of the game could be anybody; individuals, educational institutes,
NGOs and all citizens of Pune. The levels of the game will be based upon different
stages of revival of the areas like weeding, waste management, planting of trees,
installing benches, etc. Recognition and rewards through coupons and vouchers
will be provided to participants.
realised by its stakeholders. Thus, their solution headed towards utilising the river
and the area around by incorporating technology. The idea of this model was
transforming the concept NIMBY (not in my backyard) to TIMBY (this is my
backyard). Basically, it focused on making the Punekars realise that the river
belongs to them and they should take care of it. The main business proposal was
to create three ecological social hubs near Mutha riverside by introducing a game.
The participants of the game could be anybody; individuals, educational institutes,
NGOs and all citizens of Pune. The levels of the game will be based upon different
stages of revival of the areas like weeding, waste management, planting of trees,
installing benches, etc. Recognition and rewards through coupons and vouchers
will be provided to participants.
by Amit Deshmukh
Amit is a product designer presently teaching at the MIT Institute of Design.
Playing of sedentary games has been one of the fundamental human activities
across different societies. Gaming with dice and playing board games have had a
major role in Indian culture since at least 3000 BCE. This is shown by archeological
sites and early literary references in Rig-Veda, Mahabharata and other texts. Some
of these games have survived in the form of boards, game pieces, dice and cards.
Most of them though are from the post Mughal and British era (1700-1950) and
were made for wealthy patrons. We find many such game boards and pieces
predominantly coming from southern India (Mysore) and princely states of
Rajasthan and are thus finely carved, inlayed or painted. The few examples
available from Maharashtra are from the Peshva period.
Culture of Sedentary Play in Maharashtra
Column
Sh
iva a
nd
Parv
ati
pla
yin
g C
hau
par,
Pu
nja
b H
ills
- 1694 C
E.
Th
e M
etr
op
olit
an
Mu
seu
m o
f A
rt, N
ew
Yo
rk
Apart from actual sets, the traces of board games can also be found in cave
temples of western Maharashtra, where scenes of Shiva Parvati playing dice appear
in prominent position in Hindu rock cut temples. These sculptures and paintings
appearing at Elora, Elephanta, and Jogeshwari caves, demonstrate a board for a
backgammon type game. Even the Chalukyan composition “Manasollasa” gives
detailed description of backgammon game. (Backgammon in ancient India –
Micalea Soar)
Snakes and Ladders was also conceived in India several centuries ago. Known
across India as Gyan-Choupar, it had an edifying instructive purpose. According to
a Maharashtrian tradition, a local form of Gyan choupar was designed by Saint
Jnaneshwar called “Mokshapat”. (Instant karma – the meaning of snakes and
ladders – Andrew Topsfield)
The game of Ganjifa (pack of cards) originated in Persia, but flourished in different
card forms in India. The earliest known design for Ganjifa cards is attributed to
Ahmednagar and dates around 1580. (India's contribution to the world of playing
cards - James Hopwell)
Pachisi or Chaupar also shows its presence in Maharashtra. It is known by the name
of “Saripat”. The folk legends describe lord Khandoba playing Saripat with Mhalsa
to loose and to go in exile to marry Banubai. Cowrie shells often find their place
replacing dice when saripat or pachisi is played by common people. The throwing
skill of cowries however also developed as an independent game. A variation of
choupar, 'chouka bara' is known as “pat songtya” in Maharashtra which is also
played with cowries.
Sagaragote, another sedentary game, girls are much fond of playing at, in which
round pebbles or stones are tossed up and are caught back after doing various
movements of hands. Sagargote finds its presence in many prose and poetic
references across Maharashtra.
The list is exhaustive; many games are becoming obsolete and are not yet
documented. The inquiry of research should be finding its roots in Maharashtra.
Characteristically it shows influence from Karnataka as well as Gujarat and
Rajasthan. One of the interesting aspects of culture of play though remains in its
social acceptance. The game play also finds its presence on numerous temple
floorings carved or inscribed by, may be the craftsmen or laborers, as a mode of
by Amit Deshmukh
Amit is a product designer presently teaching at the MIT Institute of Design.
Playing of sedentary games has been one of the fundamental human activities
across different societies. Gaming with dice and playing board games have had a
major role in Indian culture since at least 3000 BCE. This is shown by archeological
sites and early literary references in Rig-Veda, Mahabharata and other texts. Some
of these games have survived in the form of boards, game pieces, dice and cards.
Most of them though are from the post Mughal and British era (1700-1950) and
were made for wealthy patrons. We find many such game boards and pieces
predominantly coming from southern India (Mysore) and princely states of
Rajasthan and are thus finely carved, inlayed or painted. The few examples
available from Maharashtra are from the Peshva period.
Culture of Sedentary Play in Maharashtra
Column
Sh
iva a
nd
Parv
ati
pla
yin
g C
hau
par,
Pu
nja
b H
ills
- 1694 C
E.
Th
e M
etr
op
olit
an
Mu
seu
m o
f A
rt, N
ew
Yo
rk
Apart from actual sets, the traces of board games can also be found in cave
temples of western Maharashtra, where scenes of Shiva Parvati playing dice appear
in prominent position in Hindu rock cut temples. These sculptures and paintings
appearing at Elora, Elephanta, and Jogeshwari caves, demonstrate a board for a
backgammon type game. Even the Chalukyan composition “Manasollasa” gives
detailed description of backgammon game. (Backgammon in ancient India –
Micalea Soar)
Snakes and Ladders was also conceived in India several centuries ago. Known
across India as Gyan-Choupar, it had an edifying instructive purpose. According to
a Maharashtrian tradition, a local form of Gyan choupar was designed by Saint
Jnaneshwar called “Mokshapat”. (Instant karma – the meaning of snakes and
ladders – Andrew Topsfield)
The game of Ganjifa (pack of cards) originated in Persia, but flourished in different
card forms in India. The earliest known design for Ganjifa cards is attributed to
Ahmednagar and dates around 1580. (India's contribution to the world of playing
cards - James Hopwell)
Pachisi or Chaupar also shows its presence in Maharashtra. It is known by the name
of “Saripat”. The folk legends describe lord Khandoba playing Saripat with Mhalsa
to loose and to go in exile to marry Banubai. Cowrie shells often find their place
replacing dice when saripat or pachisi is played by common people. The throwing
skill of cowries however also developed as an independent game. A variation of
choupar, 'chouka bara' is known as “pat songtya” in Maharashtra which is also
played with cowries.
Sagaragote, another sedentary game, girls are much fond of playing at, in which
round pebbles or stones are tossed up and are caught back after doing various
movements of hands. Sagargote finds its presence in many prose and poetic
references across Maharashtra.
The list is exhaustive; many games are becoming obsolete and are not yet
documented. The inquiry of research should be finding its roots in Maharashtra.
Characteristically it shows influence from Karnataka as well as Gujarat and
Rajasthan. One of the interesting aspects of culture of play though remains in its
social acceptance. The game play also finds its presence on numerous temple
floorings carved or inscribed by, may be the craftsmen or laborers, as a mode of
entertainment beyond their work.
What should be done to document these games? How can we stop this play
culture from becoming obsolete? This series of articles intends to look in to each of
these games separately - their past, their present, how they are played and what a
design intervention should do to revive these magnificent board games and retain
the culture of play in Maharashtra.
Parshuram Gode (1891 -1961 CE) was
born in Devrukh, Konkan in a
middleclass family. He did his schooling
in Ratnagiri and completed his college
education from Fergusson college, Pune
in 1918. It was here that he came in
contact with people like Dr. Gune, Pt
On the Shoulders of Giants
Column
by Chetan Sahasrabuddhe
Oak and Prof Ranade. These teachers
also introduced him to research. His
entire research was a part time activity
along with the main job of being a
curator at the Bhandarkar oriental
Research Institute from 1916 to 1946.
Most of us experience culture of Maharashtra as members who are embedded in it.
This has its advantages as well as disadvantages. Being a member gives us access
to the inner working of culture but it offers us only a narrow field of view which is
decided by our family and the immediate social group to which we belong.
Another way of knowing about our own culture is through researchers - Cultural
Historians, Anthropologists, Archaeologists, Art and Architectural historians,
Linguists and so on.
This column is dedicated to such giants of cultural studies who spent their careers
piecing together the cultural history of our nation, especially of Maharashtra. They
offer us both etic and emic approaches into our past. The scholars we introduce
belong mostly to the early 20th century. Their work has been out of print and
inaccessible to all except researchers. Thanks to internet and rise of Knowledge
repositories such as archive.org, archnet.org, digital library of India project
(dli.ernet.in) and many others; accessing this knowledge is just a few clicks away for
anybody with internet access.
In this issue we have introduced Prof. Parshuram Gode, a pioneering historian of
Indian Culture.
entertainment beyond their work.
What should be done to document these games? How can we stop this play
culture from becoming obsolete? This series of articles intends to look in to each of
these games separately - their past, their present, how they are played and what a
design intervention should do to revive these magnificent board games and retain
the culture of play in Maharashtra.
Parshuram Gode (1891 -1961 CE) was
born in Devrukh, Konkan in a
middleclass family. He did his schooling
in Ratnagiri and completed his college
education from Fergusson college, Pune
in 1918. It was here that he came in
contact with people like Dr. Gune, Pt
On the Shoulders of Giants
Column
by Chetan Sahasrabuddhe
Oak and Prof Ranade. These teachers
also introduced him to research. His
entire research was a part time activity
along with the main job of being a
curator at the Bhandarkar oriental
Research Institute from 1916 to 1946.
Most of us experience culture of Maharashtra as members who are embedded in it.
This has its advantages as well as disadvantages. Being a member gives us access
to the inner working of culture but it offers us only a narrow field of view which is
decided by our family and the immediate social group to which we belong.
Another way of knowing about our own culture is through researchers - Cultural
Historians, Anthropologists, Archaeologists, Art and Architectural historians,
Linguists and so on.
This column is dedicated to such giants of cultural studies who spent their careers
piecing together the cultural history of our nation, especially of Maharashtra. They
offer us both etic and emic approaches into our past. The scholars we introduce
belong mostly to the early 20th century. Their work has been out of print and
inaccessible to all except researchers. Thanks to internet and rise of Knowledge
repositories such as archive.org, archnet.org, digital library of India project
(dli.ernet.in) and many others; accessing this knowledge is just a few clicks away for
anybody with internet access.
In this issue we have introduced Prof. Parshuram Gode, a pioneering historian of
Indian Culture.
The red mottled stone has always fascinated me. Many have built with it and it has
reached a level of desire for farmhouse construction, as, to many it brings back the
nostalgia of childhood and summer holidays at “Ajji's” house in the village in
Konkan.
In search of Chira – the Red Laterite
Column
by Mayuresh Shirolkar
Mayuresh is a practicing architect and academic with an interest is exploring
traditional materials through his work.
I have an opportunity to build in this stone at the client's insistence,. But I am at a
loss when it came to knowledge of this material. I ask around to friends who I think
have or must have known hows and wheres and whats of Chira. I get mixed
responses – “it's a very sturdy material and strengthens with time”, “I don't think
there are any good hands left to build in this material” or “I think its 12” to 15”wide
and 18” long but height could vary” and “If you want to use it for load-bearing
then use 18” thick or just construct an RCC frame!” Now I had to get the touch and
The scholastic trend of those years was
of research in literary traditions,
focusing on philosophy and religion.
People like Mahamahopadhyaya Kane
were doing extensive work in that area.
Gode chose to focus on what the French
call as 'longue durée' which is total
history. It is the history of culture that
does not distinguish between the great
and the small, classical and the
vernacular, king and the people. It is an
all encompassing idea of history.
In the 30 years that he worked there he
published a staggering 471 research
papers on varied subjects. To have an
idea of the kind of subjects he touched
as sample, these titles; History of
Gophan (Sling), The Indian Bullock Cart,
Hindoo nose ornaments, Indian paper
industry, History of Rangoli, History of
the practice of massage……..
Any current research on material culture
or cultural history will generally cite
Gode in one context or the other. James
McHugh in introduction to his work on
'smell' in Indian religion calls Gode's
work 'the delight of the mind'. Through
his research Gode did not provide
theoretical framework or methods but
the originality and the exploration of
sources found in his work is simply
staggering.
In the last decades of his life his friends
and colleagues from across the country
got together and published his work in
3 volumes titled 'Studies in Indian
Cultural history'.
Thanks to the internet these volumes
along with Gode's other work are
available on www.archive.org. The
article we have printed in this issue of
our Patrika is taken from one of these
volumes. We hope you find it an
interesting read!
The red mottled stone has always fascinated me. Many have built with it and it has
reached a level of desire for farmhouse construction, as, to many it brings back the
nostalgia of childhood and summer holidays at “Ajji's” house in the village in
Konkan.
In search of Chira – the Red Laterite
Column
by Mayuresh Shirolkar
Mayuresh is a practicing architect and academic with an interest is exploring
traditional materials through his work.
I have an opportunity to build in this stone at the client's insistence,. But I am at a
loss when it came to knowledge of this material. I ask around to friends who I think
have or must have known hows and wheres and whats of Chira. I get mixed
responses – “it's a very sturdy material and strengthens with time”, “I don't think
there are any good hands left to build in this material” or “I think its 12” to 15”wide
and 18” long but height could vary” and “If you want to use it for load-bearing
then use 18” thick or just construct an RCC frame!” Now I had to get the touch and
The scholastic trend of those years was
of research in literary traditions,
focusing on philosophy and religion.
People like Mahamahopadhyaya Kane
were doing extensive work in that area.
Gode chose to focus on what the French
call as 'longue durée' which is total
history. It is the history of culture that
does not distinguish between the great
and the small, classical and the
vernacular, king and the people. It is an
all encompassing idea of history.
In the 30 years that he worked there he
published a staggering 471 research
papers on varied subjects. To have an
idea of the kind of subjects he touched
as sample, these titles; History of
Gophan (Sling), The Indian Bullock Cart,
Hindoo nose ornaments, Indian paper
industry, History of Rangoli, History of
the practice of massage……..
Any current research on material culture
or cultural history will generally cite
Gode in one context or the other. James
McHugh in introduction to his work on
'smell' in Indian religion calls Gode's
work 'the delight of the mind'. Through
his research Gode did not provide
theoretical framework or methods but
the originality and the exploration of
sources found in his work is simply
staggering.
In the last decades of his life his friends
and colleagues from across the country
got together and published his work in
3 volumes titled 'Studies in Indian
Cultural history'.
Thanks to the internet these volumes
along with Gode's other work are
available on www.archive.org. The
article we have printed in this issue of
our Patrika is taken from one of these
volumes. We hope you find it an
interesting read!
and the layer slicer is mounted on
guides to keep it aligned. The depth is
modulated to the next lower level once
the top layer is over, thus giving neatly
cut perfectly sized blocks. What is left of
the land is like an archeological site
where the remains of a “kund” have
been dug out, irregularly stepped edges
framing a vast expanse within. It also
throws up a lot of red dust and all
workers are always drenched in this
redness. They are ready to load the
truck with 300 units for dispatch. The
size generally available is 10”X14”X8” or
in some quarries 10”X14”X7”. When I
spoke to various contractors / owners of
the quarries they assured that they can
give me a 6”X12” block as well if that is
my construction module. Earlier the size
was limited to 12”X18”X9” as it was dug
out manually. Hence two edges were
not always perfect unlike now, where
everything is worked on with help of
slicers and saws. This quarry having a
deep red colour emphasized the high
content of iron oxide, which compared
to the other location having a slight hint
of yellow, proved much superior and
dense. The owner, with pride, showed us
a temple built with his blocks. They can
be carved into a cornice for the arched
openings and balustrades for the railing
etc. They use grey cement mortar and,
deep pointing with red oxide and
finished with coating of varnish. I come
back impressed with the many
possibilities circling in my mind for an
interesting project design.
feel of it to be able to confidently start
my design implementation. Since my
client is inherently from the southern
part of Maharashtra, theKonkan
coastline, his contacts locate a few areas
which have quarries for us to visit.
We take the route via Kolhapur through
the scenic Gaganbawda ghats to reach
Talere, a village near Kankavli which I
hear is one of the few areas where
quarrying of the laterite block is
permitted by the state government.
Early morning is a good time according
to me to check out the material, before
the sun blazed – but early in Talere
turned out to be 11.30am! As the
Innova picks up our contact at a chai
stall and drives in the direction of
Vijaydurg, I am very excited. We take a
left turn off the main road and I see that
the kuccha road keeps going with its
twists and turns towards a small hillock.
I am not sure what I am going to see as
we take the bend which opens out into
a vast land. What I witness amazes me!
This barren piece of land, sloping gently
and eventually flattening, is a large
uneven red mass having many pores
like a home to insects but quite dense in
its composition. In between is a cut out
of roughly 800m X 1200m with
extensive chunks of the blocks stacked
and strewn all over. The markings of the
grid that the blocks are sized into, go
deeper than the horizontal slices cut
out. They are made with vertical cutters
and the layer slicer is mounted on
guides to keep it aligned. The depth is
modulated to the next lower level once
the top layer is over, thus giving neatly
cut perfectly sized blocks. What is left of
the land is like an archeological site
where the remains of a “kund” have
been dug out, irregularly stepped edges
framing a vast expanse within. It also
throws up a lot of red dust and all
workers are always drenched in this
redness. They are ready to load the
truck with 300 units for dispatch. The
size generally available is 10”X14”X8” or
in some quarries 10”X14”X7”. When I
spoke to various contractors / owners of
the quarries they assured that they can
give me a 6”X12” block as well if that is
my construction module. Earlier the size
was limited to 12”X18”X9” as it was dug
out manually. Hence two edges were
not always perfect unlike now, where
everything is worked on with help of
slicers and saws. This quarry having a
deep red colour emphasized the high
content of iron oxide, which compared
to the other location having a slight hint
of yellow, proved much superior and
dense. The owner, with pride, showed us
a temple built with his blocks. They can
be carved into a cornice for the arched
openings and balustrades for the railing
etc. They use grey cement mortar and,
deep pointing with red oxide and
finished with coating of varnish. I come
back impressed with the many
possibilities circling in my mind for an
interesting project design.
feel of it to be able to confidently start
my design implementation. Since my
client is inherently from the southern
part of Maharashtra, theKonkan
coastline, his contacts locate a few areas
which have quarries for us to visit.
We take the route via Kolhapur through
the scenic Gaganbawda ghats to reach
Talere, a village near Kankavli which I
hear is one of the few areas where
quarrying of the laterite block is
permitted by the state government.
Early morning is a good time according
to me to check out the material, before
the sun blazed – but early in Talere
turned out to be 11.30am! As the
Innova picks up our contact at a chai
stall and drives in the direction of
Vijaydurg, I am very excited. We take a
left turn off the main road and I see that
the kuccha road keeps going with its
twists and turns towards a small hillock.
I am not sure what I am going to see as
we take the bend which opens out into
a vast land. What I witness amazes me!
This barren piece of land, sloping gently
and eventually flattening, is a large
uneven red mass having many pores
like a home to insects but quite dense in
its composition. In between is a cut out
of roughly 800m X 1200m with
extensive chunks of the blocks stacked
and strewn all over. The markings of the
grid that the blocks are sized into, go
deeper than the horizontal slices cut
out. They are made with vertical cutters
Intach Pune Chapter
+91 20 25459971, +91 9881434410www.intach.org www.intach-pune.org Tu
rtle
in
a L
otu
s-sh
ap
ed
Po
ol.
18th
cen
tury
Nara
sim
ha T
em
ple
at
Dh
om
(n
ear
Wai)
Each individual possesses a personal heritage which he or she cherishes: it could
be a photograph of your great grandfather, a unique recipe from your dear aunt, a
beloved music record, a tree in your back yard, a family wada, or your
grandmother's 'paithani' saree. We would like to request our readers to share such
cherished heritage through articles, photographs, sketches, etc. and we could
feature them in the newsletter.
Share your Heritage
Editorial team:
Chetan Sahasrabuddhe
Manjusha Ukidve
Supriya Goturkar Mahabaleshwarkar
Photo credits:
Cover: Sandesh Bhandare Event photos: Jui Tawade, Supriya Goturkar Mahabaleshwarkar
Back cover: Chetan Sahasrabuddhe Inside cover sketch: Anand Ukidve
Design: Rashmi Ranade Linguistic support: Mrinal Dhongde
Pune Patrika Credits
Intach Pune Chapter
+91 20 25459971, +91 9881434410www.intach.org www.intach-pune.org
Turt
le in
a L
otu
s-sh
ap
ed
Po
ol.
18th
cen
tury
Nara
sim
ha T
em
ple
at
Dh
om
(n
ear
Wai)
Each individual possesses a personal heritage which he or she cherishes: it could
be a photograph of your great grandfather, a unique recipe from your dear aunt, a
beloved music record, a tree in your back yard, a family wada, or your
grandmother's 'paithani' saree. We would like to request our readers to share such
cherished heritage through articles, photographs, sketches, etc. and we could
feature them in the newsletter.
Share your Heritage
Editorial team:
Chetan Sahasrabuddhe
Manjusha Ukidve
Supriya Goturkar Mahabaleshwarkar
Photo credits:
Cover: Sandesh Bhandare Event photos: Jui Tawade, Supriya Goturkar Mahabaleshwarkar
Back cover: Chetan Sahasrabuddhe Inside cover sketch: Anand Ukidve
Design: Rashmi Ranade Linguistic support: Mrinal Dhongde
Pune Patrika Credits