The Ruins of Golkonda

Hyderabad is a bustling city located in the southern part of India. It is where the echoes of the past still make its presence felt as modern buildings dot the skyline with towering apartment complexes, malls and multiplexes. However, west of Hyderabad approximately 11 km away lies ruins of the ancient city of Golkonda  with stoned walls and impressive citadels. Archaeologists believe that the Kingdom of Golkonda dates as far back as the Chalukya dynasty in 731 AD making it one of the oldest surviving historical sites in Hyderabad.

However, the foundation of the famous Golkonda fort itself was not constructed until the 13th century under the Kakatiya dynasty sometime in 1143. The name ‘Golla conda’ itself which literally means ‘Shephard Hill’ in telugu language with an interesting legend behind it. The story goes that a mud fort was built by the Kakatiya King after an idol was discovered by a shepherd boy.  The Kakatiya dynasty ended with the rise of the Bahmani Sultans. But it was only around the 16th century that Golkonda would rise to prominence as the seat of the Qutb Shahi dynasty until its decline in 1590. During which the simple mud walls would be transformed into a formidable granite fortress.  But then in 1687, the Mughal Emperor Aurangzeb laid seize to the fort for nine months before being able to march through its strong walls.

The beauty of Golkonda lies in its intricate planning and architectural marvel beaming even through its ruins. The Golkonda complex is divided into four well-defined forts with several semicircular bastions along the 10 km outer wall. Some of these bastions still have mounted canons overlooking the landscape that it once protected from invading troops. The ruggedness of the structure is heightened by drawbridges and eight large gateways with sharp iron spikes. A few feet away from the entrance of the gate there are large erected walls that would have acted as a shield in a battle preventing marching elephants and armies to infiltrate the fortress with ease.

The main entrance lies on the Eastern side at Bala Hissar Gate with its intricate ornamentation blending both Hindu – Muslim architecture. The "Fateh Darwaza" (Victory Gate) is where the armies of Emperor Aurangzeb marched triumphantly after the fall of the Shahi dynasty. One of the most interesting aspects of the gate is its finely tuned acoustics. As you clap your hands at the entrance under the dome, the sound echoes roughly a kilometre out at the Bala Hisar gate. But it was an effective warning mechanism used to alert an impending attack.

The austere exterior is further complemented by the more architecturally elaborate royal apartments & halls, tombs of the Qutub Shahi Sultans, gardens, temples and mosques located in and around Golkonda Fort. One such monument is the Toli Masjid built in 1671 built by the royal architect Mir Musa Khan Mahaldar and about 2km away at Karwan. The fort also contained a resourceful water supply system and detailed ventilation adding a unique charm to this historical site.  Also, the diamond mines of Golkonda were as famous as the fort itself with the 185 carats Darya-e Nur diamond (Sea of light), the Hope diamond and Kohinoor once kept in its vault chambers.

Through time, the fort has witnessed the rise and fall of kingdoms and fierce battles across its fields. Once the seat of power, its own fate fallen with the diktats of time. In the remnants of broken walls and desolate silence of history, there is much to discover at Golkonda.

Image ©: Sreedhar Vedlapati

 

Stripes of the Desert

The Namib Desert is believed to be one of the oldest and largest deserts in the world, dating back to more than 55 million years. The harsh arid and semi-arid conditions make it a difficult terrain largely inaccessible. However, the Namib Desert is home to a number of wildlife and vegetation unique to the region including the the Mountain Zebra that roams the surroundings of the rugged Naukluft Mountains..

During the summers, the mountain zebra can be seen on the slopes and plateaus of the mountain terrains, but as winter sets in they migrate to the lower areas of the region. There are two sub-species: The Cape Mountain Zebra and Hartmann’s Mountain Zebra. Some researchers argue that both are distinct from the Zebra and therefore should be considered as separate species. However, when one sees the mountain zebra from afar it looks like any zebra with every individual distinct in appearance with noticeable black and white stripes. But on closer observation the subtle differences are evident.

The stripes of the mountain zebra can also be brown and white and does not cover the belly area which remains creamy white. Further, the stripes of the cape mountain zebra are thicker with narrower white interspaces compared to the hartmann’s mountain zebra. As for the height, a typical adult mountain zebra can reach up to 6-8.5 ft weighing between 240-372 kgs and having a lifespan of 25-45 years.  In addition, the mountain zebra has Dewlap, the loose fold of skin below the throat area distinguishing it from the Zebra.

The mountain zebras like the plain zebra do not gather together into herds per se but small family groups of a single stallion (adult male) that is the dominant member, one or several mares (adult females) and young offspring. However, there have been instances of less than 30 mountain zebras coming together to form a temporary herd and bachelor male adults forming separate groups. By the time a mare reaches 3 to 6 years, she would have given birth to her first foal after which till she reaches 24 she would give birth to one foal every 1 to 3 years.

Once found across the mountainous terrains along the west coast of Southern Africa and South Africa, the mountain zebra is now considered vulnerable as it is sought by hunters and their habitats destroyed by human needs. In the 1930’s, there were about 100 mountain zebras reported. But the population has since rise to an estimated 2700 largely due to conservation and protection within National Parks. Also, the collaborative management of zoo population around the world and the European Zoo’s Endangered Species Programme are aiding in the efforts to save this endangered species.

As the Mountain Zebra roams the rocky slopes and plateaus of its remaining mountainous habitat one is reminded of the words written by “Chief Seattle of the Suquamish Indians: “What is a man without the beasts? If all the beasts were gone, men would die form great loneliness of spirit, for whatever happens to the beasts also happens to man.”

Image ©: Nico Smit

Knowing the Rattle

In the still sands of Nevada’s Mojave Desert the distinct sound of the rattle echoes as an eerie warning to those crossing path with the well known rattlesnake. One of the most fascinating species inhabiting most of the Americas, the rattlesnake is counted as one of the most venomous snakes from the pit viper family. There are approximately 32 identified species of which the United States accounts for 17 of them along with several subspecies. From the prairies to the desert, the rattlers can be found adapting to their unique environment. Although distinct in color, all rattlers have the common characteristic of wide triangular head and the infamous jointed rattle at the end of their tail.

The rattle is a defense mechanism to keep predators at bay and can last almost three hours.  Interestingly, to prevent damage to the rattle it is kept off the ground. But as it glides across the landscape the ending parts of the rattle do tend to break off making it difficult to ascertain the true age of a rattlesnake.  Unlike the female rattlesnake, the male has a broad long tail that gradually begins to taper to the tip.

The average size for an adult rattlesnake is not more than 4 feet in length. But its appearance is terrifying and yet mesmerizing as the mostly intricate geometric designed scales is accentuated by piercing “cat-like" eyes and forked tongue. In captivity, most rattlesnakes are said to have a lifespan of at least 20 years while in the wild it is much shorter one.

The carnivorous diet of a rattlesnake comprises of rodents, lizards, squirrels, rabbits, small birds, mice and rats. The first bite is swift in transmitting potent venom and immobilizing the prey which is then simply swallowed by the reptile. But the rattlesnake also has its own set of predators and hunted by the eagles, hawks and humans. It is a usual prey for another snake species called the Kingsnake  known to be unaffected by venom of pit vipers and rattlesnakes. However, rattlesnakes are most vulnerable at birth as it becomes easy prey for other species such as roadrunners and skunks.

In North America, rattlesnakes are responsible for maximum percent of snakebite injuries but hardly ever bite unless its feels threatened or sense of provocation. If quick medical attention is sought the bite are seldom lethal. However, as poaching and extermination campaigns propelled by panic take grip and habitat spaces shrink with human encroachment, rattlesnakes find their existence at risk.  Species such as canebrake rattlesnake and timber rattler are already on many endangered or threatened lists.

The beauty and enigma of the rattlesnake has spurred many legends. In Aztec and Mayan culture it symbolized divinity adorning the paintings on temple walls and burial mounds. The revered Mesoamerican deity “The Feathered Serpent” is often depicted as a feathered rattlesnake.  However, in Native American legends the rattlesnake is seen as fearsome and powerful seeking revenge on being wronged or meting out heavenly punishment against wrongdoers. In Southeastern United States, Pentecostal churches are known to use rattlesnakes in a religious ritual known as “snake handling.” Following the words from Biblical verses of the Book of Luke and Mark, believers pick up the venomous snakes without any form of protection. Although there have been deaths due to fatal snakebites the practice continues as the faithful remain unshaken. In some places the rattlesnake is simply a delicacy to be relished.

Demonized by some and revered by others, the rattlesnake continues to fascinate us. However, in a precarious world its existence remains threatened by shrinking habitat and environmental imbalances.

Image © John Slawik

The Ancient Art of Thangka

A Thangka is not just a beautiful painting but a religious testament of Buddhist scriptures and teachings. The historic origins of Thangka Paintings can be traced back to as early as 3rd century AD, where Buddhists and Hindu artisans in Nepal not only painted illuminated manuscripts but also began to depict deities and natural scenes in metal works and wall- paintings. The designs of the early Thangka paintings were simple in expression with the deity depicted in the centre surrounded by figures of lesser importance set in subtle colours. Around 621 CE, the beauty of Thangka painting spread to Tibet when Princess Bhrikuti, daughter of King Lichchavi of Nepal married Songtsän Gampo, founder of the Tibetan empire. Being a devout Buddhist, she also brought with her the images of Aryawalokirteshwar and other Nepalese deities. By the 7th century under the reign of King Angshuvarma of Nepal, Mahayana Buddhism spread into Tibet.

However, it was during the reign of Songtsän Gampo many new monasteries began to be constructed across Tibet including the sacred Jokang in Lhasa. As Buddhism spread so did the need for religious icons and Buddhist manuscripts. Artisans along with monks and traders from Nepal soon began to bring metal sculptures and Buddhist manuscripts into Tibet. The King even invited artist from Nepal to paint the murals in the Tsuglagkhang temple, Lhasa. However, by the 9th or 10th Century, Nepali artists to be able to transport the Thangkas from one monastery to another more efficiently began to create the art on cloth. It was a new school of Thangka painting that evolved to as we know it today and greatly popular as it was easy to roll up and carry around.

The colours in the 14th and 15th Century Thangka paintings begin to appear brighter and largely influenced by element from Chinese paintings. The Tibetan artisans were also inspired by the growing significance of the Tantric cult in society which was reflected in the Thangkas through the traditional poses of Shiva and Shakti, Mahakala, Manjushri and other equally popular deities. But given that Tantrism also exemplifies the notion of mysterious power and an assortment of symbols, the female element and sexuality found prominence in the paintings of that period.

Thangka paintings can be divided into two categories:  the illustrative paintings of the deities known as Palas and mystic diagrams paintings of complex text, circles and square each having specific significance known as Mandala. The illustrations in a Thangka are either painted, appliquéd or embroidered on a textile which is usually of silk as well as cotton duct. A Thangka is usually small and around 18 and 30 inches tall or wide. However, the Thangka’s used in religious ceremonies, festivals and monasteries are designed for walls and are as much as 60 feet wide and more than 20 feet long.

The scroll paintings describe scenes from history and retell the legends of the deities within the Buddhist scriptures. But as the ancient art passes from one generation to another, the beauty and religious relevance of the Thangka continues to be preserved through time.

Image © : Pawel Kowalczyk

Etchings from the Past

It is hard to imagine graveyards as being a source of inspiration for any artist. Dark moss laden tombstones standing in stony silence as the sense of loss and grief resonates everywhere. But for artist Fauzia Aziz Minallah, the graveyard in her ancestral village Sirikot in the Gangar mountain region of Pakistan’s Northwest Frontier was a place of fascination. For centuries, the villages here have practiced the ancient craft of ‘Chitarkari’ or slate engravings to decorate tombs.

Fauzia remembers spending hours in graveyards watching slate engravers using a chisel, hammer and purkar (divider) to intricately engrave symbols and geometric patterns on tombstones with meticulous precision. The slate for the tombstones was excavated from the quarries in the mountains and then sold to craftsman in the villages. The difficult and laborious process yielded only a few good slabs with the right leaden tones and surface texture for chiseling. By the 1960s, demand for smoother slabs of slate gave way to newer and less expensive materials such as cement and marble. The engravers that once chiseled timeless pieces of art soon began to turn to other professions as Chitarkari found itself floundering at the edge of extinction.

The delicate slate engraving seemed almost confined to the solitude of the graveyards in the region to be forgotten with time. In 1990, Fauzia sought inspiration for her art by returning to her roots to work with craftsman in the Gangar area and reviving the ancient craft of slate engraving that she had grown up admiring. Initially, she started with simply photographing the tombstones outside the village and gradually took her initiative a step further by making rubbings of the images engraved in order to be able to preserve it. This was just the beginning as Fauzia enthusiastically searched out three engravers and began learning the craft herself. It was not long before Fauzia started commissioning work and building a market for these unique engravings by designing different interior décor pieces including table tops and wall-hangings.

However, Fauzia has been working hard in transforming the ancient craft of Chitarkari into a more contemporary art form. At times, this has led to her artistic endeavors being deemed as craft. But Fauzia remains resolute to bring ‘Chitarkari’ craftsmen to prominence and in turn be inspired to experiment with her own creativity to express her thoughts, feelings and anxieties. Her interpretation of this ancient craft blends the tradition of the past with contemporary art to create works that are both artistic and innovative.

The initiative made by Fauzia to popularize slate engraving and bring it into the realm of art has been complemented with the efforts of other artisans such as late Said Rehman, and Late Feroz din to successfully revive the traditions of Chitarkari. It is no longer significant whether one sees it as an art or craft, for this century old tradition has begun to be appreciated beyond the graveyards of villages to be admired in homes as interior design elements from tables to wall hangings.

Images©: Fauzia Aziz Minallah