Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

[Bhishma Kukreti]

Political, Social, Religious, Cultural History of Uttarakhand Kushan Period

History of Garhwal, Kumaon (Uttarakhand) - Part 49   

Historical Aspects of Ancient communities of Kumaon-Garhwal (Uttarakhand), Himalayas-46   


(All the History write ups are dedicated to great Historians Hari Krishna Raturi, Badri Datt Pandey and Dr Shiv Prasad Dabral)

                                                       By: Bhishma Kukreti
                                     Origin of Kushan
       Chinese sources describe Kushan, as one of the five aristocratic tribes of the Yuezh.
General Cunningham identified Kushan as 'Gujjar 'as still 'Gujjar 'also called as 'Gusur'. A few scholars state that 'Gusur' means Kulputra or man or woman born in high family.                                               

                                           Arrival of Kushans
                       Before, Kushan established empire; they were well versed with Indian civilization. Scythians destroyed Greece rules, Pahlavi took the rule from Shaka or Scythians and Kushan threw away Pahlavi. Dr Dabral states that Mahabharata describes Kushan as Tushar and Pahlavi as Parad. In Maurya Empire, Kushan were at Khotan near Gandhar/Kandahar. 
There are disagreements among historians for exact dates of Kushan period. For example, John Hill (2009, Through the Jade gate to Rome) describes the  f Kujula the First Kushan King period from 80-95 AD and Dr Dabral takes the dates set by Dr Puri  (1965, India under Kushan) who describes from 25-78AD.
                   The Major Kings of Kushan Empire

                                        Kujula Kadphises the First Kushan King (80-95AD)

                      A few historians state that Kujula Kadphises established his rule over Kabul, Kandahar at started of first century AD and snatched Takshila from Pahlavi King.  Kushan King Kujula Kadphises had his rule in west up to Marva. Some state that Kushan King Kujula Kadphises was great grandfather of Kanishka. The first Kushan King Kujula Kadphises died at the age of eighty. Kushan king Kujula Kadphises fathered at least two sons.
                       Vima Taktu, Sadashkana (in Chinese, Yangaozhen)- 95-127 AD
          Vima Kadphises was son of Kujula.  Vima expanded his empire towards east from Kapisa- Kandahar to Kuru-Panchal to Banaras /Kashi.  The period had many changes but trade was main stream culture. Therefore, Vima distributed or familiarized his coins from Takshsila to Tiruhit.  Vima coins are found in many places in North India abundantly. Many historians state that archeological ruins of Antarjikhed-Aita, Alwar and central India are ruins of Vima period.
                   At this period, Shiva was first time put on or carved on the coins in India.
                                            Vima's Kushan Rule over South Uttarakhand

              It seems that Vima ruled over south part (plains) of Uttarakhand. The fort ruins of king Ben in Hardiwar (Mayapur)  (raja Ben ka Kila) are  said to be the fort ruins of Kushan King Vima (Cunningham).  Vima captured all the commercial roads of India those were connecting to Rome and China. The archeological excavations of Birbhadra show the proof of Kushan rule over Uttarakhand (Uma Prasad Thapliyal, 2005). Vima was first India King to introduce gold coins along with existing custom of silver and copper coins.
                                    Kushan Satrap Rule

                      It also believed that vim did not have sons or heirs and his regional governors took over their own territories and became rulers. The coins suggest following Kushan governors who established their kingdoms after death of Kushan king Vima Kadphises
1-Zeoneses in Taxila
2-Shivsen- in Abhisar
3-Chashtan and Rudradasan in Ujjain (They were governors of Vima in Ujjain)
4-Soter Megas
             The coins of Soter Megas (Mahrakshak /the unknown king) are found from Mathura, Punjab, Kandahar, and Kabul. It shows that the king ruled in all these territories. Soter Megas is a title. Historians as Puri called him a regional governor of Mathura who ruled in the name of Kushan King. The rule of Soter Megas was same over Uttarakhand as of Vima.

                         Kanishka the great among Kushan Kings (127-140AD)
               Kanishka is called fifth Kushan king who ruled over India.  Kanishka rules huge territories virtually complete north India including Kulendians (Kuninda/Kulinda), beyond Patliputra, south to Ujjain. Kanishka established two capitals –Mathura and Purushapura (Peshwar). He also employed strong regional governors at strategic territories.  Maximum coins of Kushan Kingdom are found of Kanishka. The summer capital of Kushan king Kanishka was Kapisa (Begram). Kapisa was also a centre for connecting art and culture of east to west and China. Falk Harry's ground breaking research sates that Kanishka period was from 127 to 140 Ad (2004, Silk Road, Art and Archeology)
                                             Vasishka or Kanishka second (140-160AD)
Kushan king Vasishka rule is supposed to be far south to Vidisha..
                                               Havishka /Ooiski 160-190 AD
                     
       The Kushan King Havishka is supposed be a strong ruler and controller. The Kushan King Havishka did retrenchment and consolidated the Kushan Empire from Mathura. The historians found abundant numbers of coins and inscription of Havishka era.

                                       Vasudeva /Bazodeo (in Chinese –Bodiao) -190-230AD

Vasudeva /Bazodeo (in Chinese –Bodiao) was last great Kushan emperor. Vasudeva was now totally a Hindustani king and was Hindu /Buddhist King.
   His death also coincides with the Sassanid invasion.

Read about Historical Religious, political, administrative, social and cultural aspects of Kushan Era.....in History of Garhwal – Kumaon (Uttarakhand) - Part -50



Copyright@ Bhishma Kukreti 21/05/2013
(The History of Garhwal, Kumaon write up is aimed for general readers)

History of Garhwal – Kumaon (Uttarakhand) to be continued... Part -50
Ancient communities of Kumaon-Garhwal (Uttarakhand), Himalayas- to be continued...47
The chapter contains- Political, Social, Religious, Cultural History of Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Pithoragarh, Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Bageshwar, Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Champawat,  Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Dwarhat, Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Almora, Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Nainital, Political, Social, Religious, Cultural History of Rudraprayag, Garhwal, Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Uttarkashi Garhwal, Uttarakhand in Kushan Period; Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Udham Singh Nagar, Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Haridwar, Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Birbhadra, Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Dehradun, Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Saharanpur of ancient Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Pauri Garhwal, Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Tehri, Garhwal Uttarakhand in Kushan Period; Political, Social, Religious, Cultural History of Chamoli Garhwal, Uttarakhand in Kushan Period;

[Bhishma Kukreti]

  गढ़वाली हास्य -व्यंग्य
सौज सौज मा मजाक मसखरी
   हौंस,चबोड़,चखन्यौ   
    सौज सौज मा गंभीर चर्चा ,छ्वीं 

                         ह्यां ! बथावदि कि क्वा क्रिकेट टीम जीतलि ?

                            चबोड़्या - चखन्यौर्या: भीष्म कुकरेती
(s = आधी अ )

अचकाल मेखुण आइपीएल क्रिकेट मैच दिखण जरूरी बि ह्वे गे अर औसंद को काम बि ह्वे गे।
नितरसि  मि ऑफिस मा इ छौ कि म्यार गाँ बिटेन सूना बोडिक फोन आयि," हे भीषम ! त्वै क्या लगणु च राजस्थान रॉयल जीतलि कि मुंबई इन्डियन जीतलि?"
मीन जबाब दे, "  सुनील गावास्करौ बुलण च बल हालांकि राजस्थान रॉयल मैच जितणि च तो राजस्थान रॉयल को जितणो  अवसर बि कम नीन  पण मुंबई इंडियन का बैट्समैन टी ट्वेंटी का बेहतरीन बैट्समैन छन जन कि दिनेश कार्तिक की फौर्म , रोहित शर्मा का दमदार शॉट, पोलार्ड की धमाकेदार बैटिंग अर फ़िर मुंबई इंडियन की बौलिंग लाइन तो द्याखो मिसेल जॉनसन  की बम्ब बरखांदी बौलिंग, लसित मलिंगा की अणदिखिं -अणसमझीं यौर्कर, हरभजन लळचांदि पण रिंगदी -घुमदी स्पिन ... से लगद बल मुंबई इन्डियन मैदान मारि ल्योलु। पण महान ओपनर सुनील गावास्करन आखिरैं बोलि बि दे कि यु त टी ट्वेंटी को खेल च इखमा पल माँ माशा अर पल भर मा तोला ह्वे जांदो। तो मेरि बि समझ मा नि आयि कि गावास्कर को हिसाब से क्वा टीम मैच जीतलि। "
सूना बोडिक गुस्सा माँ क्या बडो क्रोध मा जबाब छौ," अरे खाडुंदक !  इथगा पढि लेखि बि तु निर्बुद्धू हि रै गे। सुनील गावास्कर की बात तो मि हर समय टीवी पर सुणणु अर वैक हाव भाव तो दिखणु ही रौंद। सुनील गावास्कर अर शरद पवार बीच (फेसं ) वळि ही बात करदन। गावास्कर की बात गोळ -माळ की होंदन। गावास्कर की मुंजमुंजी बातों  से म्यार क्वी फैदा हूण वाळ नी  च। मि तैं इन राय चयाणि च जो एकदम सच ह्वे जावो। ह्याँ तीमा क्वी इन इन्नर सोर्स नी च जो बिलकुल बथै द्यायो कि मुंबई इंडियन जीतलि कि राजस्थान रॉयल जीतलु?"
मीन ब्वाल," हर्षा भोगले बुलण च बल .."
सूना बोडिन गुस्सा मा बोलि," त्यार भरवस रौल त मि मंगत्या ह्वे जौल। फोकट मा फोन पर म्यार पैसा बरबाद ह्वैन। उख दिल्ली मा जगदीश कक्या ससुर जी से पुछदु कि नक्की कु  जीतल?" अर सूना बोडिन फोन काटि दे।
सोना बोडिंन फोन काट कि सतुरि काकि फोन आइ। सतुरि काकि हमर परिवारौ ल्वारण छे। वीन बोलि," हे भीषम! आज पूना  टीम अर कोलकत्ता टीमौ मैच च . त्यार हिसाब से कु जीतल?"
मीन जबाब दे,"काकि ! कपिल  को हिसाब से त कोलकत्ता टीम तै जितण हि चयेंद।"
सतुरि काकिन डांट फटकार लगाइ," त्वी बि ना! अरे ! कपिल देव क्या बुलद मि नि जाणदो क्या? कपिल देव त बुलद बल पूना को अच्छा खेलना चाहिए और कोलकत्ता को  से जोश से खेलना चाहिए।मि तै इन बथादी कि नक्कि क्वा टीम जीतल? अर सूण क्या नारैन चार विकेट ले ल्यालो ?"
मीन बोलि," चेतन शर्माक  बुलण च बल नारेन चार विकेट जरूर ल्यालो।"
  सतुरि काकिन आग बरसाइ ," शरम नि आन्दि जु तू  हिंदी   कमेंटेटर पर विश्वास करिद हैं?" अर सतुरि काकिन बि गुस्सा मा फोन काटि दे।
इथगा मा गाँ बिटेन माया काकाक फोन आयि," अरे भीषम ! त्यार !  दाउद इब्राहिमक  क्वी ख़ास बुकी से पछ्याणक बि च?"
मीन पूछ," हैं ! काका क्या बुलणु छे ? म्यार अर दाउद इब्राहिम का  क्वी ख़ास बुकी से पछ्याणक?"
मया काकाको करारा जबाब छौ,' इखमा क्या च ? जब बड़ा बड़ा लोगुं दाउद इब्राहिम का   ख़ास बुकियों से बिजिनेस रिलेसन ह्वे सकदन त त्यार किलै नि ह्वै सकदन?"
मीन पूछ," पण काका! त्वै तै दाउद इब्राहिमक  क्वी ख़ास बुकी से क्या काम ?"
माया काकान खुलासा कार,' अरे हम  लोग जु देसि शराब बणान्दा छया ऊँन अचकाल दगड़म  नै धंधा शुरू कौर अर बेटिंग सिंडिकेट बणै  आल। अर गाँ गाँ मा अपण लोगुं सुविधा बान सट्टाबजार खोलि आलिन।"
मीन खौंळेक बोलि," क्या कच्ची शराब   बणाण वाळुन गाँ गाँ मा सट्टा बजार खोलि आल?"
माया काक- हाँ यार भीषम ! लोग बाग़ तीन पत्ति से जुवा खिलण से ऊब गे छ्या। तीन पत्ती जुवा मा उ रोमाच अर साहसिक मजा नी च जो रोमाच,  क्या ह्वालु की गहमागहमी, रिजल्ट माँ ऊँच - नीच या परिवर्तन हूणो भौत सा अवसर हुण से लोग इख बि सट्टा खिलणा छन।" 
मि - ह्याँ पर उख गाँ मा सट्टा क्याँ पर खिले जांद?
माया काका -उख्मा क्या च? फलण स्कुलो मास्टरजी मंगऴबार  कुण स्कूल आल कि बुद्धबारौ कुण स्कूलम खुट धारल, या फलणौ गौड़ी या भैंसी ये मैना बियालि या दुसर मैना बियालि या कोटद्वार -ऋषिकेश की गाड़ी बारा बजि से   पैलि पौंछलि या एक बजी पौंछलि।
मि-अरे वाह ! सट्टा लगाणो कुण अभिनव तरीका अपनाये जाणा छन।
माया काका -हाँ। जन कि ये आम पर कब बौंर आल कि ना?
मि-तो फिर समस्या क्या च जु त्वै तैं दाउद इब्राहिम का बुकियूँ जरूरत क्या पड़णि च?
माया काका -अरे यार , जरा कबि  कबि झगड़ा ह्वे जांद।
मि-झगड़ा ?
माया काका -हाँ भै, जन कि मास्टर पर जैन बुधबार आणो सट्टा लगायुं ह्वावो अर मास्टर मंगळबारो स्कूल ऐ जावो त सट्टा हारण वाळ मास्टर तैं पीटी दींदु अर इनि कथगा दें मार पीट ह्वे जान्दि। 
मि-अच्छा !
माया काका -हाँ!  अर पटवरी जीन हम सौब तैं बिठेक समझाइ कि दाउद  इब्राहिम को सट्टाबजारों  गैंग मा भर्ती होण मा फैदा या च कि गौं माँ आपस माँ झगड़ा -रगड़ा बि रुकि जालो अर दाउद  इब्राहिम का  एजेंटो  दगड़ रैक हम लोग अन्तराष्ट्रीय स्तर का भौं भौं किस्मौ सट्टा लगै सकदवाँ अर यांसे हमर गाँ आधुनिक हूणो  दौड़ माँ बि अगनै रालु।       
मि-क्या सोच च भै?
माया काका -अच्छा सूण तीन नि बथाई कि तेरो दाऊद इब्राहिमो सट्टा एजेंटो द्गड़ पछ्याणक छ कि ना?
मि- ना ये काका! मि जाणदो बि नि छौं कि सट्टा या बेटिंग क्या होंद
माया काकन गुस्सा ह्वैक ब्वाल - अरे चालीस साल मुंबई मा रैक तीन बेटिंग या सट्टा नि सीख  त तीन क्या सीख? मै लग़णु भैजिन त्वै  तै बेकार ही पढाई!
अर माया काकन फोन काटि दे।


Copyright @ Bhishma Kukreti  22/05/2013           
(लेख सर्वथा काल्पनिक  है )

[Bhishma Kukreti]

Administration, Society, Culture, Religion, Dress/Costume, ornaments/Jewelry in Kushan Period



History of Garhwal, Kumaon (Uttarakhand) - Part 50   

Historical Aspects of Ancient communities of Kumaon-Garhwal (Uttarakhand), Himalayas-47   


(All the History write ups are dedicated to great Historians Hari Krishna Raturi, Badri Datt Pandey and Dr Shiv Prasad Dabral)

                                                       By: Bhishma Kukreti



                                     Kushana ways of Administration

           The Kushan Empire was extended from Balkh, Khotan to Patliputra, Punjab, at least south of Uttarakhand and Himachal and till Vidisha region around Vindhyahal.  Kushana Adminsitrative structure stands between the Greek Shaka and Pahlavi and Gupta regime administrative systems.
             The inscriptions and coins suggest that Kushana kings used impressive powerful titles such as Maharaj, Raj, Rajatiraja. The Mahraja title is Indian and Rajatriraj seems to be Parthian. Shahnushai title by Kushan kings on Allahabad Prasasti is taken from Shaka.
          There was great influence of Rome on Kushan, Kanishka adopted title as Kaiser. However, Kushan took clue for governing administration from Indian Kings as Mauryas. Kushana appointed regional governors as Kshatrapal or Strups. The Sarnath Kanishka inscription shows that there was duel governorship system for check and balance. This duel system was also there before. Kushana also proclaimed association of divine element with the ruler. Kushan took the system of Devkulas from Romans and Roman took this custom from Egyptians. Kushan also took idea of King as Devputra from Chinese as 'King the Son of Heaven'.
    The Kshatrap title was limited to relatives of Kushan or from Kushan cult. Same way, Dandnayak, Mahdandnayak or Prachand dandnayak / chancellor/deputy chancellor etc titles were also reserved for Kushan blood. The village councilor titles were left for Indians.

                                  Multicultural Empire and Multicultural Society

               The Kushan kings and their armed forces themselves were of multicultural administrators and people. Kushana adopted elements of Hellenistic culture of Bactria. Kushans adopted Greek alphabets to suit their language.  They used Greek legends and Pali legends on their coins that show inclination of Kushans for multicultural social structure and merging into Indian social composition.
  Kushan Kings were predominantly were Zoroastrians and later they became Buddhist. Vima Kadphises was Shaivya.  That shows that Kushan Kings followed wide varieties of faith.

                            No changes in Indian Caste System
     
                      Indian history is witness that rulers might have adopted their own faith and might have pushed their faith but they were always either failed to abolish caste system from India or the Indian rulers including British never worked hard to abolish caste system.         

               Brahmins were given prime importance in the time of Kushan regime. The Kushan inscriptions indicate that these Kushan kings or Kushan governors used to offer 'Dakshina' or 'food' to Brahmins.
  Joint family system was the social system in Kushan rule. Multiple wives by men was common. There was no 'Parda' or 'Burka' system in the society. Offering 'Pitardan' /Shradh was very common among kings and society.
                                                       
                                                   Kushan Deities

       The Kushan deities were varied as Indian deities as Buddha Bodhitsava, Mahasena, Skand Kumar,Shakyamuni Buddha, Avestyvayu, Shiva , Ganesha,  and Iranian deities as Ashi Vanghui, Asha Vahista, Atar, Khwarenah,  Drvaspa, Vohu Manha, Mah,Mithra, Mazda, Vata, Oxus, Ahura mazda, Tir, Verethranga, Aredvi Sura Anahita.
                             Costumes in Kushan Period
                       There are five major types of Kushan costumes of dresses (taken from Kushan Coins and inscriptions and ruins and other literature)
1-Antariy, Utriya and Kaybandh by indigenous people
2-Red brown 'kanchukiy' by harem of indigenous guardians 
3-dress by foreign Kushan rulers and their entourage
4-Other foreigners as ambassadors, traders
5-Mixture of indigenous and foreign dress or clothing
   The periodical dress and clothing also show the Indian regional influences on foreign invading ruling communities and influence of foreigners on Indian communities. The dressings on coins at different places also show regionalism in dress.
Lanhga and choli by women was common. The women were naked on upper part.
Courty lady used to put on Keybandh, Antriya, Mekhla, hara,Kantha, Keyura, valay,Kundal, Nupur, Angulya, Mukta.
Milkmaid of Mathura put on Ghaghri, kantha, keuyra, valya/chudi, kundal and she had headrest (deelu) for keeping Matki on her head
Female guardian of Gandhar put on Kushan type of Tunic, Keybandh, Antriya, Mekhla, hara,Kantha. The hair is divided into three portions.  He holds spear and shield.
The Gandhar Yakshaior female door keeper put on Antariya, Utriya, Hara, Mekhla, and Tunic.
There are clear differences among the women of different regions and different occupation.
The Gandhara donating Brahmin put on Antariya, uttariya, Kantha, Dhoti and hair style is double knot on head.
King Kanishka put on Chunga, Chalana, tunic,
Gandhara soldier put on Antriya, Armor, tunic, Mauli and equipment (sword, sword belt, chest strap,
                  Ornaments and Headgear of Hairstyle by women in Kushan Period

The women used to be bare headed. The omen used Ratnavli or net. The women used to put foot ornaments, ear ornaments, neck ornaments, hand ornaments but not nose ornaments. Flowers had importance in ornamenting. 
There was greater refinement of jewelry in Kushan period than Mauryan period.



Read about Historical Religious, political, administrative, social and cultural aspects of Kushan Era.....in History of Garhwal – Kumaon (Uttarakhand) - Part -51


Copyright@ Bhishma Kukreti 22/05/2013


(The History of Garhwal, Kumaon write up is aimed for general readers)

History of Garhwal – Kumaon (Uttarakhand) to be continued... Part -51
Ancient communities of Kumaon-Garhwal (Uttarakhand), Himalayas- to be continued...48
Notes on Administration, Society, Culture, Religion, Dress/Costume, ornaments/Jewelry in Kushan Period from  Ayodhya archeological materials; Administration, Society, Culture, Religion, Dress/Costume, ornaments/Jewelry in Kushan Period from Mathura archeological materials; Administration, Society, Culture, Religion, Dress/Costume, ornaments/Jewelry in Kushan Period from inscriptions from Balakh, Batesvra, Bazitkhel, Begram , Bhita, Belvadaga, Bhorgarh Bras, Butkhara archeological materials; Administration, Society, Culture, Religion, Dress/Costume, ornaments/Jewelry in Kushan Period from Chahar Bagh, Charsada, Chhat, Dasti-I Nawur, Dat Nagar, Daulatpur, Dhalewan, Jamalgarhi, Ganwariya, Ganghundar, Harigaon, Harsh ka tila, Hastinapur, Hulashkhera, Jodhpur, Kashmir, Afghanistan, archeological materials; Administration, Society, Culture, Religion, Dress/Costume, ornaments/Jewelry in Kushan Period from  Khokarkot, Kosam, Muhamadnagar, archeological materials; Administration, Society, Culture, Religion, Dress/Costume, ornaments/Jewelry in Kushan Period from Panda, Kila e Shahi, rangmahal, Ranighat, Rohtak, Shari Bahlol, Sanghol,  archeological materials; Administration, Society, Culture, Religion, Dress/Costume, ornaments/Jewelry in Kushan Period from  Sankara, Sarnath, Sahr-i-Banu, Shivaki, Singh Bhagwapur, Siswaniya, Shravasti, Gorakhpur, Shringaverpura, Sunet, Surkh Kotal, archeological materials; Administration, Society, Culture, Religion, Dress/Costume, ornaments/Jewelry in Kushan Period from Taxila, Tulumba, Vaisali, Viratgarh, Wazirabad archeological materials; Administration, Society, Culture, Religion, Dress/Costume, ornaments/Jewelry in Kushan Period from Virbhadra, Dehradun archeological materials; Administration, Society, Culture, Religion, Dress/Costume, ornaments/Jewelry in Kushan Period from Tehri Garhwal archeological materials; Administration, Society, Culture, Religion, Dress/Costume, ornaments/Jewelry in Kushan Period from Kashipur , Kumaon archeological materials...

[Bhishma Kukreti]

Jeetu Bagdwal Jagar Gatha: The Folk Ballad of Arrogance, Romance and Chivalry

Folklore, Folk Legends, Folk Myths, Jagar of Kumaon-Garhwal, Uttarkahnd-32

Chivalry, Gallantry, Graciousness Folklores, Folk Legends, Folk Myths, Ballads of Bravery of Garhwal, Kumaon, Uttarakhand –17 

                                         Bhishma Kukreti
                 Garhwali and Kumaoni people have sung folk narratives from old time. Velle Espelland divided Scandinavian ballads into six groups- Ballads of Supernatural; Legendry Ballads; Historical Ballads; Ballads of Chivalry; Heroic Ballads and Jocular Ballads.
         Malaya literature scholars divide Malaya folk ballads into Mythological, Epic, Historical and Social groups.
Analyzing the folk literature of various Garhwali-Kumaoni scholars, Dr Baluni divided folk ballads of Garhwal-Kumaon into five groups –
1-Dev Gathayen (Folk Ballads of Deities and Goddesses)
2-Pauranik Gathayen (Folk Ballads of Epics)
3-Veer Gathayen (Folk Ballads of Chivalry)
4-Pranay Gathayen (Folk Ballads of Romance)
5- Sfut Gathayen (Miscellaneous Folk ballads) 
      The folk story ballad of great Jeetu Bagdwal is the story of chivalry, bravery, curtsey, courtesy, pride, arrogance, egotism, honor, love, romance, great gallantry towards women.  That is the reasons literature creators created drama, feature films, documentary and wrote modern poetries, wrote novel based on the folk story of Jitu Bagdwal. The ballads of Jitu Bagdwal are called Bagdwali. His time is around 1591- 1610 the period of King Manshah 

जीतू बगड्वाल जागर गाथा: जागर गाथा ,जागर, वीर-वीरंगनाएं  गाथा : भडौ , कटकू, भड़वळि  या पांवड़ा, जागर  (एक गढ़वाली रण भूत लोक  गीत )

स्रोत्र : डा गोविन्द चातक , गढवाली लोक कथाएँ , पृष्ठ १११-११७
सन्दर्भ डा शिवा नन्द नौटियाल , गढवाल के लोकनृत्य गीत 


                    जीतू द  शोभनु होला गरीबौ बेटा
                   माता त सुमेरा छई, दादी फ्यूंळी जौसू
                   ददा जी कुजर छ्या , भूलि शोभना छई ,
                    जाति को पंवार छयो जीतू अकली  गंवार
                    बगडू जैका ह्व़े गेन बगड्वाळ
                   राज मान शाही ना दिने कमीण को जामो
                  गौं मुड़े को सेरो दिने , गौं मथे को घेरो
                 जीतू रये दादू भातु उदभातु
                 राणियों को रसिया फूलों को हौसिया
                 अणब्याई बेटियों को ठाकुरमासों खाए
                बांज घटों को वैन भगवाड़ी उगाये
                ऊँ बांजी भैसों को पाळी  दिने परोठो
               जीतू रई गे राजों को मुस्सदी
                 बगुड़ी ऐगे भैजी उल्या मूल्या मॉस
                 तब जितेंसिंग राजा धावडी लगौन्द
                ओड़ू नेडू औंदु मेरा भुला शोभनु
                 सोरा सरीक भुला सब सेर सैक लैन
                 कि मलारी को सेरा हमारो
                 साणो रैगे  त बाणो मेरा दादू
                 तू जयादी भुला जोशी का पास
                गाडिक लऊ सुदिन सवार
                 पातुड़ी की भेंट धरे सेल़ा चौंळ पाथी
                 धूल़ेटी  की भेंट धरे सोवन को टका
                  चलीगी शोभनु बरमा को पास
                  जाइक माथो नवौंदो सेवा लगान्दो
                     पैलागु पैलागु मेरा बरमा
                    चिरंजी जजमान मेरा
                    भैर गाड याले बरमान  धूल़ेटि पातुड़ी
                    देखद देखद बरमा मुंडळी ढगड्योंद
                    तेरी राशि नि जुड़दो जजमान
                   तुमारी बतैन्दी बल वा बैण  शोभनी
                   वा बैण मेरी रैंद कठऐतूं का गाऊं
                   चूला कठुड़ तै बांका बनगढ़
                   सोचदू सोचदू तब घर ऐगे शोभनु
                  पौन्चीगे तब जीतू का पास
                   खरो मानी जौ , मेरा जेठा पाठा भैजी
                 तेरी राशि नी जुड़े दिदा लुंगला को दिन
                 जीतू भिभडैक उठे तब गये माता का पास
                 हे मेरी जिया हमारी राशि नी जुड़े लुंगला को दिन
                  मै तो जांदू माता, शोभनी बैदोण
                   तू छयी जीतू बाबरो बेसुवा
                   भुला शोभनु होलू माता बालो अलबूद
                    मैं जौंलू माता शोभनी बैदोण 
                   न्यूतीको बुलौंलू पूजीक पठौंलु
                  नी जाणो  जीतू त्वे ह्वेगे असगुन
                   तिला बाखरी तेरी ठक छ्युंदी 
                    नी ल़ाणी जिया त्वेन इनि छ्वीं
                    घर बौडी औंलो तिला मारी खौंलो
                    भैर दे तू मेरी गंगाजली जामी
                    मोडूंवां मुंड्यासी  दे दूँ , आलमी इजार
                   धावड्या बाँसुली दे दूँ नौसुर मुरली
                  न जा मेरा जीतू कपडी तेरो झोली ह्वेन मोसी
                  आरस्यो को पाक तेरो ठनठन टूटे
                    त्वेक तईं ह्वेगे जीतू यो असगुन
                    माता को अडैती जीतू एक नी माणदो
                    लैरेंद पैरेंद तब कांठा मा को सि सूरज
                    गाड को सि माछो सर्प को सि बच्चा
                    बांको बीर छयो जीतू नामी भड़
                    राजो को माण्यों  छयो रूप को भर्र
                   पैटी गे तब जीतू बैणी को गऊँ 
                  रानी पटुड्या  तब तैको  गाळी दीन्दी
                  जान्दो ह्वेई मेरा स्वामी , आंदो नि ह्वेई
                  स्याळी का खातिर तू पैटी बैणी बैदोण
                     बिदा लिनी जीतून रस्ता लगे वो
                  चल्दु रै वो ऊँची तौं धऐडियों 
                     ऊंची धऐड़यों चढ़े जीतू गैरी त पाख्युं
                     कलबली कूंल़े छई देव्दार स्वाणा
                     ह्र्याँ डाल़ा छ्या फुलून जन  ढक्याँ
                     पौन्छी गये जीतू रैंथल  की थाती
                     घडाँदी दोफरी छई तडाँदो घाम
                      तडाँदो घाम  मा जीतू सेळ बैठी गे
                     तमाखू पीयाले तैंन साध्यान लीयाले
                      हांस्यारी पराण वैको उलारिया गये
                      हाथ गाडयाले वैन नौसुर मुरली
                      नौसुर मुरली परे घावड्या बांसुळी
                     बावरो छयो जीतू उलारीया ज्वान
                      मुरली को हौंसिया  छौ रूप को रौन्सिया
                       घुराए मुरली वैन डांडी बीजिन कांठी
                       बौण का मिर्गून चरण छोडि दिने
                      पंछियोन  छोडि दिने मुख को त गाल़ो 
                       कू होलू चुचों स्यो घाबड्या मुरल्या
                       तैकी  मुरली मा क्या मोहनी होली
                       बिज़ी गैन बिज़ी गैन खेंट  की आंछरी
                       जीतू कि आंख्युं मा जनी शिशो चमल़ाणी 
                        छम छम घुंघरू बजीन, जीतू की आँखी मुन्जीन
                        क्वी बैणी बैठींन  आन्ख्यों का स्वर
                        क्वी बैणी बैठींन कंदुडों  का घर
                        छालो पिने लोई , आलो खाए मांस पिंड
                         पन्द्र पचीसी जीतू रैन्थल थाती रैगे
                         अल्हर जवानी जीतू भुंचण नी पायी
                         तिन नि माने जीतू माता की अड़ेती
                        फंसी गे कन आन्छ्र्यों का घेरा
                        सुमरिण करदो जीतू बगुडी भैरों
                        कख व्हेली मेरी कुलदेवी भवानी ?
                        आज मै पर ऐ गे बिपता  भारी
                         बीच बाटा मा कनी होए मेरी मोल की मरास
                         दैणो ह्व़े गे तब जीतू की बगूड़ी भैरों
                         नौ बैणी आंछरी तब छूटी गैन
                         आज मै जान्दो बैणी बैदोण
                         छै गते आषाढ़ लुंगला को दिन
                        तै दिन तुम मिली तैं पुंगड़ी ऐन
                        तब मन ह्व़े गे उदास जीतू
                       चित्त ह्व़े गे चंचल
                       तब पौंची गये जीतू बैणी का गौं
                       मिली गे वै बैणी शोभनी
                        तब आये स्याळी वरुणा
                       सेवा मेरी पोंछे वीं स्याळी वरुणा
                      सेवा मैं खरी लांदु भेना बगड्वाळ
                      तेरी खातिर छोडि स्याळी बांकी बगूड़ी
                       बांकी बगूड़ी  छोड़े राणयों कि दगूड़ी
                      छतीस कुटुंब छोड़े बतीस परिवार
                      घिटूडियों जसो रथ छोड़े चकोरू जस टोली
                     तेरा बाना छोड़े मैं भेना
                     दिन को खाणो रात की सेणी
                     तेरी माया न स्याळी जिकुड़ी लपेटी
                    कोरी कोरी खांदो तेरी माया को मुंडारो
                    जिकुड़ी को ल्वे पिलैक अपणी
                    परोसणो छौं तेरी माया की डाळी
                    अब त भरीक ही मिटली स्याळी
                   त्वे भेजे  को हेत
                    यूँ डाळीयूँ  मा तेरा फूल फुलला
                    झपन्याळी होली बुरांस डाळी
                    ऋतू बोडि औली दाईं जसो फेरो
                   पर तेरी मेरी भेंट स्याळी
                    कु जाणी होंदी कि नी होंदी ?
                   बौडिक ऐ गे जीतू तैं बांकी बगूड़ी
                    ओड़ू नेडू ऐगे  लंगुला को दिन
                    घटु की रिंगाई सामळ कि पिसाई 
                    चौखम्भा तिबारी जीतू होए मगलाचार
                   गडायूँ गुंडाखु पैटयो , घुंगरियालि होका
                   पोंछी गे बल्दुं  की जोड़ी मलारी का सेरा
                   तब जोतण लग्या जीतू का धौल़ा त बुल्ला
                   मलारी का सेरा शुरू ह्व़ेगे रोपण
                   सेरु सैक ऐगे  तैं मोंळ पुंगड़ी
                    एक फाट उंडो लीगे जीतू एक फुंडो
                     फीकू ह्व़े गे ज्यू जीतू जी को
                     तबे वीं मोंळ पुंगडी छूटे घेंटुडी रथ
                    मलेऊ सि मिड़को
                    नौ बैणी आंछरी ऐन , बार बैणी  भराडी
                    क्वी बैणी बैठींन कंदुड़यो घर
                    क्वी बैणी बैठींन आंख्युं का स्वर
                    छालो पिने लोई , आलो खाये मॉस पिंड
                   अंगुडी छयो जीतू , पछींडो फरकी
                     स्यूं बल्दुं जोड़ी जीतू डूबी गयो
                     मलारी का सेरा जीतू खोए गये
                    अल्हर जवानी जीतू भुंचण नी पाए
                     लाख्डू सि ताबु होए पिंडाल़ू  सि भाड़
                     बत्तीसु कुटुंब तेरो तै मलारी रै गे
                      बावरो नी होंदो जीतू नी होंदो बिणास

               Garibu had two sons –Jeetu and Shobhanu. Jeetu belonged to Bagudi. King Manshah offered them fertile paddy fields. Jeetu became arrogant. He liked the company of beautiful girls.  He was busy with his queens. He forgot his paddy fields. When rain started he remembers the paddy plantation. 
Jeetu sent his brother Shobhanu yo astrologer for knowing auspicious date for paddy plantation start. The astrologer told that the paddy plantation had to be started by hands of his sister Shobhani.
                  Jeetu went to call his sister Shobhani for starting paddy plantation. His mother became worried for un-auspice happening. His wife also stopped him for going to Shobhani's in law house.  Jeetu went with dress and his flute.
            In noon, Jeetu reached at Raithul. Jeetu rested for a while and started playing flute. There was liveliness in the forest and shrines. The sleeping fairies of Khait hill arose by flute music. The fairies started dancing before him. Fairies played foot ornaments (Payal). Jeetu started becoming unconsciousness. Fairies entered into his eyes, ears, and hands and started sucking his blood. Jeetu remembered his family deity- Bhairav. Bhairav protected Jeetu. However, Jitu promised fairies for meeting at Mal Khyat.
Jeetu reached his sister's in law house. There, Jitu met sister in law of his sister. Jitu fell in love with his Jeeja's sister.   
  Jeetu had to leave his sister's in law village for starting paddy plantation at his village. Jeetu and his sister Shobhani reached Bagudi. On the auspicious date –sixth of Ashadh month, at beginning of the paddy plantation there were drum and other music instrument playing ceremony. After ceremonial rituals, Jeetu started plough the paddy field. He completed half field plough. The fairies came there on chariots. There was huge division of field. All the family members of Jeetu and Jeetu sink into huge land slid. This way, Jeetu and his family were no more in this world.   


Copyright (Interpretation) @ Bhishma Kukreti, 21/5/2013
Folklore, Folk Legends, Folk Myths of Kumaon-Garhwal, Uttarakhand to be continued...33 

Chivalry, Gallantry, gracious Folklores, Folk Legends, Folk Myths of Garhwal, Kumaon, Uttarakhand to be continued...18   
Curtsey and references:
Dr. Krishna Nand Joshi, Kumaon ka Lok Sahitya (Folklore texts of Kumaon)
Dr Trilochan Pandey, Kumaoni Bhasha aur Uska Sahity(Folklore literature of Kumaon )
Dr Siva Nand Nautiyal, Garhwal ke Lok Nrityageet  (Folk Songs and dances of Garhwal )
Dr Govind Chatak, Garhwali Lokgathayen (Folklore of Garhwali)
Dr. Govind Chatak, Kumaoni Lokgathayen (Folklore of Kumaoni)
Dr Urvi Datt Upadhyaya, Kumaon ki Lokgathaon ka Sahityik Adhyayan (Literary review of Folklore of Kumaon)
Dr. Dip Chand Chaudhri, 1995, Askot ka Palvansh , Gumani Shodhkendra, Uprada, Gangalighat
Dr. Prayag Joshi, Kumaon Garhwal ki Lokgathaon ka Vivechnatmak Adhyayan (Critical Review of Folklore of Kumaon and Garhwal)
Dr Dinesh Chandra Baluni, Uttarakhand ki Lokgathayen (Folklore of Uttarakhand)
Dr Jagdish (Jaggu) Naudiyal, Uttarakhand ki Sanskritik Dharohar, (Partially Folklore of Ravain) 
Ramesh Matiyani 'Shailesh' 1959, Kumaun ki Lok Gathayen
Abodh Bandhu Bahuguna, Dhunyal (Folklore and Folk Songs of Garhwal)
Shambhu Prasad Bahuguna, Virat Hriday
Kusum Budhwar, 2010, Where Gods Dwell: Central Himalayan Folktales and Legends 
C.M. Agarwal , Golu Devta, 1992, The God of Justice of Kumaon Himalayas
N.D .Paliwal, 1987, Kumaoni Lok Geet
E.S. Oakley and Tara Datt Gairola 1935, Himalayan Folklore
M.R.Anand, 2009, Understanding the Socio Cultural experiences of Pahadi folks: Jagar Gathas of Kumaon and Garhwal
Dr. Pradeep Saklani, 2008, Ethno archeology of Yamuna Valley
Shiv Narayan Singh Bisht, 1928, Gadhu Sumyal, Banghat , Pauri Garhwal
Kumaon: Kala, Shilp,aur Sanskriti         www.himvan.com/webpages/dana.htm
Anjali Kapila (2004), Traditional health Practices of Kumaoni women
Bhishma Kukreti, Garhwali Lok Natkon ke Mukhy Tatva va Vivechana
Helle Primdahi, 1994, Central Himalayan Folklore: folk Songs in Rituals of the Life Cycle
Hemant Kumar Shukla, D.R. Purohit, 2012, Theories and Practices of Hurkiya Theater in Uttarakhand, Language in India Vol.12:5: 2012 Page 143- 150
Dev Singh Pokhariya, 1996, Kumauni Jagar Kathayen aur Lokgathayen
Madan Chand Bhatt, 2002, Kumaun ki Jagar Kathayen 
Notes on the Folk Ballad of Romance and Chivalry from Uttarakhand; the Folk Ballad of Romance and Chivalry from Pithoragarh, Uttarakhand; the Folk Ballad of Romance and Chivalry from Dwarhat, Uttarakhand; the Folk Ballad of Romance and Chivalry from Bageshwar, Uttarakhand; the Folk Ballad of Romance and Chivalry from Champawat, Uttarakhand; the Folk Ballad of Romance and Chivalry from Almora, Uttarakhand; the Folk Ballad of Romance and Chivalry from Nainital, Uttarakhand; the Folk Ballad of Romance and Chivalry from Udham Singh Nagar, Uttarakhand; the Folk Ballad of Romance and Chivalry from Uttarkashi, Uttarakhand; the Folk Ballad of Romance and Chivalry from Tehri Garhwal, Uttarakhand; the Folk Ballad of Romance and Chivalry from Chamoli Garhwal, Uttarakhand; the Folk Ballad of Romance and Chivalry from Rudraprayag Garhwal, Uttarakhand; the Folk Ballad of Romance and Chivalry from Dehradun, Uttarakhand; the Folk Ballad of Romance and Chivalry from  Pauri Garhwal, Uttarakhand; the Folk Ballad of Romance and Chivalry from  Haridwar, Uttarakhand to be continued...

[Bhishma Kukreti]

गढ़वाली हास्य -व्यंग्य
सौज सौज मा मजाक मसखरी
   हौंस,चबोड़,चखन्यौ   
    सौज सौज मा गंभीर चर्चा ,छ्वीं 

                               यूपीए सरकारौ  रिपोर्ट कार्ड याने दाग अच्छे लगते हैं'

                                     चबोड़्या - चखन्यौर्या: भीष्म कुकरेती
(s = आधी अ )


कोंग्रेस पार्टी मा एक भौत हि बढ़िया गुण च बल  आत्महत्या करण लैक अपमानजनक  स्थिति मा बि कौंग्रेस बदतमीजी से खित खित हँसणि रौन्दि। जख मुक लुकाण छौ उख सरकारौ  रिपोर्ट प्रसारित करणा छन।
कौंग्रेस को कुर्सी प्रेम देखिक  गोंद बि शरमाणु रौंद।
कौंग्रेस त भ्रष्टाचार मिटाण चाणि च पण विचारि तैं मनमोहन छोडि क्वी हौर इमानदार नेता इ नि मिलणा छन। म्यरो आकलन च बल जैदिन  कौंग्रेस तैं दसेक बि इमानदार नेता मिलि गे वैदिन ही देश से भ्रष्टाचार की डंडेलि सज्याण (चिता सजना ) शुरू ह्वे जालि। यद्यपि राहुल गांधी इमानदार अर कर्मठ नेताओं की खोज माँ गे छैं छया पण सबि नेताओंन बोलि बल जब इमानदार ही रौण तो बाम पंथी पार्टी क्या बुरा छन?
बिचरा राहुल गांधी क इथगा भटकणो बाद बि इन नेता नि मिलणा छन जो लोक सभा या विधान सभा को चुनाव लड़णो तैयार ह्वावन सबि राहुल गांधी का आस पास इलै छन कि राज्य सभा या विधान परिषद को टिकेट मिल जावो।
यूँ चार सालोंम सरकार हमेशा निम्न से  निम्न  स्तर को लक्ष्य समणि धरदी अर मि  घमंड से , गर्व से . जंगड़ ठोकिक, कंटर बजै बोलि सकुद बल या  सरकार हर बार छ्वटो से छ्वटो लक्ष्य प्राप्ति मा नाकामयाब , असफल राइ। हर बार असफल हूण माँ सरकार तैं पूरा सौ नम्बर दियी जाणा छन। 
गरीबी उन्मूलन जन काम मा त ना पण गरीबी रेखा को मापतोल की इकाइ तै  ही कम करणो मामला मा योजना आयोग को उपाध्यक्ष  भारत को वित्त मंत्री बणन  लैक ह्वै गेन।
सरकार मा पसलियों अर हडकों कमि नी च जैदिन कौंग्रेस तैं रीढ़ की हड्डी मील जालि वैदिन कौंग्रेस ही ना भारत का बि भाग जागि जाला। उन कॉंग्रेसी ल्हतमोड्याँ फौंट याने राहुल गांधी तैं रीढ़ की हड्डी बणाण मा लग्याँ त छैं  छन पण कुज्याण भैरों कुज्याण .....
राबर्ट बड्रा पर जब भ्रष्टाचार अभियोग, ,लांछन  दाग, काळो धब्बा लग तब बचाव मा जै हिसाब से केन्द्रीय मंत्री अग्वाड़ि ऐन तो यूपीए सरकार का सबि कॉंग्रेसी मंत्र्युं तैं 'धृतराष्ट्र' की उपाधि दिये जांद। धृतराष्ट्र अर दुर्योधनन अपण जंवै जयद्रथ को अनाचारी काम , करतबों इनि बचाव करी छौ।   
स्कैम का मामला मा  यूपीए सरकार तैं नोबल पुरुष्कार से सम्मानित  करण चयेंद।  कॉंग्रेसी नेता जन कि दिग्विजय सिंघ द्वारा भ्रष्ट  नेताओंक बचाण वळ  बयानुं से त इन लगद कि कौंग्रेस को 'दाग अच्छे लगते हैं'। इलै यूपीए सरकार तैं एक काजल की कोठड़ि  इनाम मा दिये जांद अर अगला पन्द्रह अगस्त कुण 'दाग अच्छे  लगते हैं ' स्लोगन /नारा तैं  राष्ट्रीय स्लोगन/नारा घोषित करे जालो।
आत्मचिंतन की जगा कौंग्रेस अचकाल 'बीजीपी चिंतन' माँ जादा समय लगाणि च।
संसद माँ बिल पास नि कराणम  यूपीए सरकार तै डिसटिंकसन दिए जांदो।
सीबीआई को दुरप्रयोग मामला मा यूपीए सरकार का नया तकनीक , अभिनव व रचनात्मक प्रयोग का वास्ता पूरा सौ नम्बर दिए जांदन।
विदेशों से काळोधन  वापसी को मामला माँ यूपीए सरकार को स्वांग देखिक, घड़ियाली आंसू देखिक यूपीए सरकार तैं 'नट सम्राट' की उपाधि दिए जांद।
अन्ना हजारे पकड़िक जेल लिजाण पर यूपीए सरकार तैं 'मूर्खाधिराज 'की पदवी दियी जाणि च।
बाबा रामदेव को आन्दोलन तै ध्वस्त करणों बान रात मा पुलिस फ़ोर्स को इस्तेमाल को पारितोषिक का रूप मा यूपीए सरकार का  हरेक मंत्री तैं हिटलर की मूर्ति प्रदान करे जाँद।
श्री  लंका मामला मा   लचर विदेश नीति का मामला मा यूपीए सरकार तैं 'केंचुवा' को तगमा दिये जाणु च।
मंहगाई रुकणम नाकामयाबी बान यूपीए सरकार तै 'द्वी खाली गैस सिलिंडर' की महानतम पदवी प्रदान करे जांदो।
आतंकवाद नि रुकणो बान यूपीए सरकार तैं 'खिलौना रूपी पिस्तौल' इनाम दियाणु च।
बुरी साख , विश्वासहीनता , प्रतिष्ठाहीनता  का मामला मा यूपीए सरकार का वास्ता  सौ नम्बर बि   कम छन।
आज कौंग्रेस इथगा तौळ चलिगे कि अब कौंग्रेसम अपण खाड अफिक खणनो अलावा क्वी हौर दुसर पर्याय नि बच्युं  च।
मि नि चांदो इन सरकार दुबर कबि जनम ल्यावो। इन कोख पर बज्जर पोड़ी जैन ज्वा इन सरकार पैदा करदी
     


Copyright @ Bhishma Kukreti  23/05/2013           
(लेख सर्वथा काल्पनिक  है )

[Bhishma Kukreti]

Characteristics of Kushan Art

History of Garhwal, Kumaon (Uttarakhand) - Part 51   

Historical Aspects of Ancient communities of Kumaon-Garhwal (Uttarakhand), Himalayas-48   
Historical Religious, political, administrative, social and cultural aspects of Kushan Era Part- III


(All the History write ups are dedicated to great Historians Hari Krishna Raturi, Badri Datt Pandey and Dr Shiv Prasad Dabra,S.K.Kalal)

                                                       By: Bhishma Kukreti
     

                                        Two Distinct Schools of Kushan Art

                        Kushans were great patrons of Art. The sculpture making principles were formed at the Kushan period. Kushan Art principles had been influences the Indian art for many centuries. Before, Kushan period, the artists used to show Buddha by symbols of lotus and footsteps. However, it was first time that the Kushan period artists showed Buddha in human form. The Jain and Hindu artist of Kushan (definitely, Kushan Kings did patron) Age also started showing their deities and legends in human forms.
  The Kushan era artists and sculptors created two distinct schools of Art- Gandhara School of art and Mathura School of art.

                                       Gandhara School of Kushan Art

                There was enormous influence of Greek art and other western art on the artists and sculptors in making Gandhara art coins, and sculptures, architecture and paintings.
             The subject was Indian but artist were foreigners. The deities were Indians but the shape, style and their dressings were totally Greek. The Gandhara images of Buddha of Kushan time are in Greco-Roman style. The Buddha images resembled with Greek Apollo.
                                  The Gandhara textiles are witness of local crafts with western connection. There are effects of Iran, Greek and Rome on Gandhara art of Kushana period. Chinese effect is also not barred. Textiles on sculpture are definitely northern-western innovation.
The cities were constructed on Hippodamian pattern with Greek, Persian influences.
            The Gandhara sculptors used grayish schist stone and stucco.
  The Gandhara School of art had centers as Kapisa (modern Begram), Gandhara region, Nagarhara (Modern Hadda), Bamiyan, Fondukistan and Kashmir.
 
                            Mathura School of Kushan Art

  Mathura artist of Kushan period took influence from indigenous images, folk culture, folk legends, folk deities and folk goddesses. Mathura Art of Kushan period is famous for representing female beauty. The females are beautiful, sensuous and voluptuous. The Mathura artists and sculptors created ideal Indian beauty with females have oval face, ample breasts, slender waist and broad hips. The men in Mathura school of Art of Kushan period are sophisticated and urbane.  There are daily life acts.  Hindu deities and goddesses, folk legends are sculptured in story telling styles. The artists and sculptors also illustrated Jain deities and legends with fish, flag, and jewel box. Mathura school of art sculptors used mottled red sand stone of Agra region.  The paintings of Brahminical art are also specific in nature.
  There are definitely Greek effects on Mathura art, sculpture and architects.
  The Hindu art started from Mathura School of Art of Kushan period.
Mathura School of art and Gandhara School of art of Kushan period influenced each other too.       
                          Effects of Mathura Art in Himalayan Hills
       The writings of Cunningham, Coomarswamy, Vogel, S. Konow state that under Kushan period, the Indian plains art started penetrating Himalayan hills. The structure found in Panduwala, (Laldhang, Kotdwara),  Veerbhadra of Dehradun district  are proof that Mathura art of School influenced Himalayan Art at Kushan period and at later ages too. 

               
Copyright@ Bhishma Kukreti 23/05/2013


(The History of Garhwal, Kumaon write up is aimed for general readers)

History of Garhwal – Kumaon (Uttarakhand) to be continued... Part -52
Ancient communities of Kumaon-Garhwal (Uttarakhand), Himalayas- to be continued...49
Historical Religious, political, administrative, social and cultural aspects of Kushan Era to be continued in ... Part-4

[Bhishma Kukreti]

Shakram Karki Jagar Gatha: a folk Story of Fearless, Daring, Brave Legend from Kumaoni Folk Songs

Folklore, Folk Legends, Folk Myths, Jagar of Kumaon-Garhwal, Uttarkahnd-33

Chivalry, Gallantry, Graciousness Folklores, Folk Legends, Folk Myths, Ballads of Bravery of Garhwal, Kumaon, Uttarakhand –18 

                                         Bhishma Kukreti

                There are folk songs in Garhwal, Kumaon including Haridwar those are purely for entertaining and sometime passing the time too. There are folktales in poetic version those are religious-Jagar reserved for rituals and folktales in song version those are religious but also act for entertaining and joy as Pandav Nritya. 
                  The Jagar also have information value and the importance of protecting history orally. In some Jagar, folktales contain mostly historical legends. The audience finds the history in the Jagar of Sakram Karki.   
  Shakram Karki had been minister in King Vijay Chand life (1924-25) when the king was at his teen age. There are folktales about Sakram Karki.  King Vijay Chand ruled Kumaon from 1624-1638. Vijay Chand was lover of * pleasure and handed over all powers to Shakram Karki and Piru Gusain.

           The present folktale in poetic form praises the acts of Shakram Kargi.
       कुमाऊं और गढ़वाल की लोक गाथाएँ/जागर  -33 


शकराम कार्की जागर गाथा ,जागर, वीर-वीरंगनाएं  गाथा : भडौ , कटकू, भड़वळि  या पांवड़ा, जागर 

(सन्दर्भ: डा .कृष्णा नन्द जोशी, रुपहले शिखरों के स्वर )

द हो पाखड़ बाधन छ कार्की सकराम
गात मा पैरिछ झिलमिल वाको हो
माथा मा बाँधन छ मखमली साही हो
पीठी मा बाधन छ चन्दन वाली दाल हो
राती मा हिटंछ बाघ रातों जसो हो
दबूसों मा हिटंछ मानिख को जसो हो
        Due to old age of King Bahadur Chand, there was announcement for declaring coronation ceremony date for his son Trimal Chand as Champawat King. One thousand seven hundred Kumaoni Samants young brave youth, the subject of Chandpur, Bijapur, Dhaulgarh, elite men came at the occasion of coronation ceremony.
       After coronation ceremony, all started offering gifts to new king in the atmosphere of music and dances. The King Trimal Chand asked his advisors to let him know those Samants did not attend the ceremony. Karkyunda Bunga Samant Singh Karki was absent for attending the coronation ceremony.
     The King messenger reached to Samant Singh Karki for knowing his absence in the coronation ceremony. The old aged Samant Singh Karki informed about thread ceremony of his son on the same day. 
   In the mean time, Shakram Karki the son of Samant Singh Karki just reached there returning from his hunting. Shakram Karki (Sakram Karki) informed the messenger that if the king was fresh he was also new brave man (Bhad). Shakram told that he would reach the palace next day.
                          Next day, Samant Singh Karki, in soldier dress reached to palace by horse. Brave man Shakram Karki, bowing before the king, offered gifts to new king and told the reason for his father not attending coronation ceremony. The King angrily said that Samant Singh is arrogant. The King declared the punishment of Samant Singh Karki by firing from his Samanti post. The king declared that Samant Singh Karki had to pay fine for Rs four thousand. The King declared that Samant Singh Karki should be put into wall. Samant Singh told that his son would come with fined money and the king could put his son into the wall.
  Samant Singh Karki came to his place and told the story to his son Shakram Karki. Shakram told that they had money and not to be worried.
                 Next day, Shakram Karki in soldier dress went to the court. Shakram Karki bowed before the king and offered fine. The king ignored Sakram Karki. Sakram Karki asked the reason to the king. When king saw the strong man. The body of Shakram Karki was the body of twelve brave men, widest back, neck as of bore and thick moustaches.
The King became happy to see so strong man. However, the king wanted to test.
Two birds were flying up and down on trees and on garden. The king asked his court men to kill two birds by an arrow. No court man was ready to do so. Shakram Karki killed two birds by an arrow.   
  The king ordered his court men to offer gifts to Shakram Karki. The court men felt insulted but offered gifts to Karki. Then court men demanded some money from Karki for going to Bhabahr plains. The King ordered Shakram Karki to return money to court men. Shakram Karki told that the king should order him for winning new territories instead of returning money. By the ill advice from court men, the King ordered to put Shakram Karki into wall. However, Shakram Karki broke all walls. The craftsmen showed their inability for building new walls due to not having appliances.  Sakram Karki advised the king to send his princes to his father at Karkyoda Bungi for  such appliances.
  The princes went to Karkyoda Bungi where Samant Singh Karki welcomed them warmly. Samant Singh Karki arranged entertain the princess by wine and dancers. The princes forgot returning their palace. After many days, the king sent his men to take princes from Karkyoda Bungi. When the princes returned to the court they freed Shakram Karki.
    Once, Shakram Karki attacked Maneshahi of Athalgarh with the help of Kingarmy.Shakram karki and his father won the territories came back the wealth from Athalgarh. However they did not share the wealth with the King.
           The king asked Shakram Karki to share from loot. However, Shakram Karki refused to do so.   
  The King asked Shakram Karki to re attack on Athalgarh alone. Shakram Karki reached to Athalgarh and fought with many brave men of Maneshahi. Shakram Karki defeated brave men as Paig Uday Singh and Kalika Pathan.
  However, Maneshah beheaded Shakram Karki. A faithful folk poet (Bhat or Jagari)  of Shakram Karki took the beheaded head of brave Shakram Karki to all pilgrim places and showed Karki the pilgrim places.     
     

Copyright (Interpretation) @ Bhishma Kukreti, 23/5/2013
Folklore, Folk Legends, Folk Myths of Kumaon-Garhwal, Uttarakhand to be continued...34 

Chivalry, Gallantry, gracious Folklores, Folk Legends, Folk Myths of Garhwal, Kumaon, Uttarakhand to be continued...19   
Curtsey and references:
Dr. Krishna Nand Joshi, Kumaon ka Lok Sahitya (Folklore texts of Kumaon)
Dr Trilochan Pandey, Kumaoni Bhasha aur Uska Sahity(Folklore literature of Kumaon )
Dr Siva Nand Nautiyal, Garhwal ke Lok Nrityageet  (Folk Songs and dances of Garhwal )
Dr Govind Chatak, Garhwali Lokgathayen (Folklore of Garhwali)
Dr. Govind Chatak, Kumaoni Lokgathayen (Folklore of Kumaoni)
Dr Urvi Datt Upadhyaya, Kumaon ki Lokgathaon ka Sahityik Adhyayan (Literary review of Folklore of Kumaon)
Dr. Dip Chand Chaudhri, 1995, Askot ka Palvansh , Gumani Shodhkendra, Uprada, Gangalighat
Dr. Prayag Joshi, Kumaon Garhwal ki Lokgathaon ka Vivechnatmak Adhyayan (Critical Review of Folklore of Kumaon and Garhwal)
Dr Dinesh Chandra Baluni, Uttarakhand ki Lokgathayen (Folklore of Uttarakhand)
Dr Jagdish (Jaggu) Naudiyal, Uttarakhand ki Sanskritik Dharohar, (Partially Folklore of Ravain) 
Ramesh Matiyani 'Shailesh' 1959, Kumaun ki Lok Gathayen
Abodh Bandhu Bahuguna, Dhunyal (Folklore and Folk Songs of Garhwal)
Shambhu Prasad Bahuguna, Virat Hriday
Kusum Budhwar, 2010, Where Gods Dwell: Central Himalayan Folktales and Legends 
C.M. Agarwal , Golu Devta, 1992, The God of Justice of Kumaon Himalayas
N.D .Paliwal, 1987, Kumaoni Lok Geet
E.S. Oakley and Tara Datt Gairola 1935, Himalayan Folklore
M.R.Anand, 2009, Understanding the Socio Cultural experiences of Pahadi folks: Jagar Gathas of Kumaon and Garhwal
Dr. Pradeep Saklani, 2008, Ethno archeology of Yamuna Valley
Shiv Narayan Singh Bisht, 1928, Gadhu Sumyal, Banghat , Pauri Garhwal
Kumaon: Kala, Shilp,aur Sanskriti         www.himvan.com/webpages/dana.htm
Anjali Kapila (2004), Traditional health Practices of Kumaoni women
Bhishma Kukreti, Garhwali Lok Natkon ke Mukhy Tatva va Vivechana
Helle Primdahi, 1994, Central Himalayan Folklore: folk Songs in Rituals of the Life Cycle
Hemant Kumar Shukla, D.R. Purohit, 2012, Theories and Practices of Hurkiya Theater in Uttarakhand, Language in India Vol.12:5: 2012 Page 143- 150
Dev Singh Pokhariya, 1996, Kumauni Jagar Kathayen aur Lokgathayen
Madan Chand Bhatt, 2002, Kumaun ki Jagar Kathayen 
Notes on folk Story of Fearless, Daring, Brave Legend from Kumaoni Folk Songs; folk Story of Fearless, Daring, and Brave Legend from Pithoragarh, Kumaoni Folk Songs; folk Story of Fearless, Daring, and Brave Legend from Champawat, Kumaoni Folk Songs; folk Story of Fearless, Daring, Brave Legend from Bageshwar, Kumaoni Folk Songs; folk Story of Fearless, Daring, Brave Legend from Dwarhat, Kumaoni Folk Songs; folk Story of Fearless, Daring, Brave Legend from Almora, Kumaoni Folk Songs; folk Story of Fearless, Daring, Brave Legend from Nainital Kumaoni Folk Songs; folk Story of Fearless, Daring, Brave Legend from Udham Singh Nagar, Kumaoni Folk Songs to be continued...

[Bhishma Kukreti]

गढ़वाली हास्य -व्यंग्य
सौज सौज मा मजाक मसखरी
   हौंस,चबोड़,चखन्यौ   
    सौज सौज मा गंभीर चर्चा ,छ्वीं 

                         अपण कमजोरि  तैं तागतम बदलणो कुछ टुटब्याग/ब्यूंत 

                              चबोड़्या - चखन्यौर्या: भीष्म कुकरेती
(s = आधी अ )

कमजोरी हरेक मा होंदी अर हरेक चाँद बल वैकि कमजोरि तागत मा बदली जा। टुटबग्या खटरागी  ब्यूँताचार्य न कुछ ब्यूंत बतायाँ छन जाँ से कमजोरि तागत मा बदले जै सक्याँदन।
जन कि जडू मा तुमम कोट- स्वेटर नि ह्वावो तो अपण कमीजो बटन खोलि रौब से हिटो अर हठ योग पर भाषण द्यायो बल मनुष्य तैं अपण शरीर तैं जलवायु सहन करण लैक बणावो।
मोडर्न जुत  खरीदण लैक पैसा नि ह्वावन तो 'आधुनिकता हमारी परम्परा अर संस्कृति को छत्यानाश  करणी  च' को आन्दोलन चलाओ।
ज  तुमम हापूस आम खरीदणो पैसा नि छन तो दुनिया तैं बिगुल बजैs बथाओ कि आम खाण से क्या क्या नुकसान ह्वे सकद। ह्वै साको तो अंटी मैंगो कंजंम्पसन संस्था बणावो अर चंदा लेकि हापूस खावो।
यदि तुम छुट कद का छवां तो विष्णु को वामनावतार का जागर गावो अर लम्बा छंवा तो अमिताभ बच्चन को फोटो गौळम लटकिक लम्बू दादा का गीत गावो।
जब काळ बेटों ब्वायो टैम आवो तो भगवान कृष्ण अर भगवान राम का सांवला रंगों वन्दना करण लाजमी च।
बेटीन अंतरजातीय विवाह करि द्यायि त आधुनिकता का गुण गावो अर बेटी घरबैठि हो तो परम्परा की दुहाई द्यावो
जु तुम कॉंग्रेसी छंवा अर उत्तराखंड का छंवां तो नरेंद्र मोदी तैं  उत्तराखंड माँ विकास नि हूणों जुमेवार ठहरावो।
हां जु तुम उत्तराखंड का भारतीय जनता पार्टी का नेता छंवां अर क्वी डा रमेश  निशंक पर  भ्रष्टाचार का आरोप लगावो तो प्रधान मंत्री मनमोहन सिंह से इस्तीफा मांगो।
यदि तुम भारतीय जनता पार्टी का लो सभा या राज्य सभा को सदस्य छंवां अर कै बि छुटभया  भाजापाई नेता पर लांछन लग तो लोक सभा की कारवाई रुकवै द्यावो।
यदि तुम बोर्ड ऑफ क्रिकेट कंट्रोल ऑफ इंडिया का अध्यक्ष छंवाँ अर कै क्रिकेट खिलाड़ी  पर सट्टा खेलणो खबर बि आवो तो वै खिलाड़ी तैं त बगैर असलियत जण्या बर्खास्त कारो अर यदि बीसीसीअई को सदस्य या तुमर जंवाई सट्टा खिलदा पकड़े ग्यायी तो ब्वालो न्यायिक जांच को आखरी  परिणाम से पैल हम क्वी कार्यवाही नि करी सकदवां।
जु तुमर नौनु इमतान मा फेल ह्वै ग्यायि तो दुनिया मा परीक्षा पद्धति का विरुद्ध गाळी गलौज कारो।
यदि तुम अपण नौनु तैं अंग्रेजी स्कूलम भिजण लैक नि छंवाँ तो राष्ट्र भाषा अर स्थानीय भाषा का गुण गावो।
जु तुमर ट्रांसफर मन मुताबिक़ ह्वे जावो त चुप रावो अर यदि ट्रांसफर मन मुताबिक़ नि ह्वावो तो ट्रांसफरम भाई भतीजावाद अर भ्रष्टाचार पर भाषण भीषण करो।
पड़ोसी तैं बेलो पौवर्टी लाइन को कार्ड मीलि जावो पटवरि पर घूसखोरी क अभियोग लगावो .
जु तुमर भितर जुत रखणो जगा नी च तो द्वार पर पट्टी लगावो जख मा लिख्युं ह्वावो -कृपया अपना घमंड-गुस्सा  और अपने जूते बाहर ही उतारें .
जु तुम प्रवासी गढ़वाळी कवि या लिख्वार छंवाँ अर भौत दिनों से कुछ समज मा नि आणु कि क्या लिखे जावो तो पलायन पर ल्याखो या तू ह्वेलि बीरा घसियार्युं का भेष माँ की नकल करी क्वी करुण रस की कविता लिखण शुरू कौर द्यावो
 



Copyright @ Bhishma Kukreti  24/05/2013           
(लेख सर्वथा काल्पनिक  है )

[Bhishma Kukreti]

Herbs and Ayurvedic Medicines Exports from Uttarakhand in Kushana Period
                                                      &
Charaka Samhita and other Sanskrit Literature Development in Kushan Age in Context with Uttarakhand


History of Garhwal, Kumaon (Uttarakhand) - Part 52   

Historical Aspects of Ancient communities of Kumaon-Garhwal (Uttarakhand), Himalayas-49   
Historical Religious, political, administrative, social and cultural aspects of Kushan Era Part-IV


(All the History write ups are dedicated to great Historians Hari Krishna Raturi, Badri Datt Pandey and Dr Shiv Prasad Dabral, S.K. Kalal, K.P. Nautiyal)

                                                       By: Bhishma Kukreti

                      Charaka Samhita Enhanced Ayurvedic medicines and medicinal herbs Export from Garhwal –Kumaon

       The Kushan period is famous for mixing of Indian Vedic Botany knowledge and Greek science.
          Though, historian don't have record for birth of Charaka the father of Ayurvedik medicines but it is sure that Charaka was there around Kushan period (Atridev, Ayurved ka Itihas) . A few historians state that Charaka Samhita was created in Gupta period.
  Charaka Samhita has eight sections and one hundred twenty two chapters (120). The eight sections of Charak Samhita are-Sutra Sthana, Nidan Sthana, Vimana Sthana, Sanra Sthana, Indriy Stahan,Chikitsa Sthana, kalpa Sthana, Sidhi Sthana.


            Herbs and Herbal Medicines Exports from Uttarakhand at Kushana Period
                  Uttarakhand was famous for medicinal herbs (roots, stems, leaves, flowers, buds, bark etc). The Ayurvedic scholars as Charak used to recognize the Himalayan herbs and used to collect with the help of Kirats of Garhwal-Kumaon- Himachal.  The Ayurved medical scholars used to come and roam village to village; shrine to shrine. The Ayurved medical scholars used to extract many herbal medicines in Garhwal and Kumaon. That means the Kirats or other local inhabitants of Kushan Age were also experts for extracting Ayurved medicines from plants, packing and selling. The local people of Kumaon and Garhwal were versed with the technique of dehydrating certain medicinal plants or roots.
  There was demand for certain plant spikes, animal horns for using surgery.
  The Uttarakhandi inhabitants used to export animal parts used for certain Ayurved medicinal uses. The bones, dehydrated intestinal parts of stages or deer was one the major Ayurved medicinal raw materials for export from Uttarakhand in Kushan age.

Export of Jatamasni or Spikenard (Nardostachys jatamasni) from Uttarakhand - There was huge demand for Spikenard in Jeruselam,Israel; Egypt; Greece and Rome. The plant was a luxery plant for the cited region. The plant was a manufacturing ingredient for high priced perfume 'nardinum' in Rome.
The Egyptians and Greeks used the plant or extract for perfume and other uses.  The Greek and roman elites used Spikenard as spices or aromatic for food.
Israel people used Spikenard for religious purpose.   

Export of Bach, Sweet Flag (Acorus calamus) from Uttarakhand –Dried rhizomes were used in Ayurvedic medicines for epilepsy, ailments, mental diseases, chronicle diarrhea and dysentery.   There was a regular demand for dehydrated rhizomes of Sweet flag from Rome and Greece.  The collectors and medicinal exports used to supply the same to Mandi (Wholesale markets in Kalkut or Srughna).   

Export of Motha or Coco Grass (Cyprus rotundus) from Uttarakhand: The farmers of plains of Uttarakhand used to export this grass. The grass was used for micturitive; strength and vigor; skin diseases; menstrual disorders.

Export of Guggul or Bdellium gum (Commiphora mukul) from Uttarakhand – The plant and its ingredients were exported from Uttarakhand. The creation of Shusruta Samhita increased the export of this plant from Uttarakhand.  The herb was used medicines for obesity and Vat disorder diseases.

Export of Musk or Kasturi from Uttarakhand: In Kushan Age, Musk export was common in Uttarakhand.

Export of Mitha Vish, vikh, ativish, Nilo Vish, Vatshnabh (many toxic plants or poisonous plants)- From Uttarakhand: Many poisonous toxic plants and their toxic ingredients were exported to Greece, Egypt and Rome. The plants, plant parts or medicines were used for many purposes. Many Tibetan, Kumaoni, Garhwali and Nepali business men used to come to Kalkut/Kalsi, Kankhal, Veerbhadra, Vehat and sold these plants or plant products to wholesalers.  It shows that the Garhwali, Kumaoni collectors of Kushan Age had alchemist knowledge about plants, uses and medicine manufacturing devices.

Export of Timru (Xanthxylum armtum) from Uttarakhand: Ashoka used to import toothbrush of Timru from Uttarakhand. Timru had other medicinal values too. It is clear that export of Timru was there from Uttarakhand at Kushan period. 

                            Ayurvedic Gurukul in Uttarakhand in Kushan Age

          Since, there was a high demand for herbal plants, dehydrated plants, low lasting plants, animals, animal parts from Uttarakhand; it is definite that there were Ashrams of disciples of Ayurvedic scholars as Charaka and Shushrama in plains of Uttarakhand too.   

***Historical Religious, political, administrative, social and cultural aspects of Kushan Era to be continued in ... Part-5

Copyright@ Bhishma Kukreti 24/05/2013


(The History of Garhwal, Kumaon write up is aimed for general readers)

History of Garhwal – Kumaon (Uttarakhand) to be continued... Part -53
Ancient communities of Kumaon-Garhwal (Uttarakhand), Himalayas- to be continued...50
Brief notes on historical aspects of Herbs and Ayurvedic Medicines Exports from Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Haridwar, Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Dehradun, Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Uttarkashi, Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Tehri Garhwal, Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Rudraprayag Garhwal, Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Chamoli Garhwal, Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Pauri Garhwal, Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Pithoragarh, Kumaon, Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Alora Kumaon, Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Nainital Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Champawat, Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Bageshwar, Uttarakhand in Kushana Period; historical aspects of Herbs and Ayurvedic Medicines Exports from Udham Singh Nagar, Uttarakhand in Kushana Period

[Bhishma Kukreti]

Tirmal Chand Jagar Gatha: The Kumaoni Traditional Song about Brave Kumaoni King

Folklore, Folk Legends, Folk Myths, Jagar of Kumaon-Garhwal, Uttarkahnd-34

Chivalry, Gallantry, Graciousness Folklores, Folk Legends, Folk Myths, Ballads of Bravery of Garhwal, Kumaon, Uttarakhand –18 

                                         Bhishma Kukreti

                  The Kumaoni King Bijaya Chand was womanizer and was weak king. His ministers ruled Kumaon as proxies. The prince Trimal Chand ran to Garhwal for asylum. However, Trimal Chand back to Kumaon and sat on throne in 1625.  King Trimal Chand ruled Kumaon from 1625-1638AD. There is folksong/traditional Jagar about Trimal Chand.
A few lines of Trimal Chand folksong/traditional Jagar are as -   

कुमाऊं और गढ़वाल की लोक गाथाएँ/जागर  -34   



त्रिमलचंद जागर गाथा ,जागर, वीर-वीरंगनाएं  गाथा : भडौ , कटकू, भड़वळि  या पांवड़ा, जागर 

(सन्दर्भ : रमेश मटियानी 'शैलेश ', कुमाऊँ  की लोक गाथाएँ )

दिगौ अलमोड़ी का राज होलो तिरमोली चना
चना , विक्रम को च्यल होलो तिरमोली चना
लेखियो कागज चना तिरमोली चना
चना , पढ़ायो जोलिया हिना तिरमोली चना
हमारी कुशल तै छ तिरमोली चना
तलहटी बाटो रोक्यो तिरमोली चना
उपकार करिये बाटो खोल दिया तिरमोली चना
सिणि -साणी झगुली का मिलाया ढोक
तहें उठि बाटा लाग्या जोलिया लोग
अलकाचा बांश कि बुणि गै खाट
जोलिय रे पूजिग्यो अलमोड़ी  हाट
                       Hey!  deity of earth Dharmaraj, Pawan, Pani, Indra of Akash, Surya, Chandra; Jameen ke Jameendar aur Bhumidar; Purv ki Purnagiri; Doti ke Bhagling; Katyur ke Vaidyanath; Nepal ke Pashupatinath; Devidhuri ki Bhavani; Nainital ki Nandadevi; solh Paiyan! Please bless us. Hey! Deities and goddesses! Please protect us.

                                 The Kumaon kingdom is ruined. There is silence in Kumaon. The Kings of Kumaon kingdom were prosperous but now, the kingdom is poorest of poor. O Kumaon King! There used to be seven lines of minister in the Kumaoni court. Where have the wealth and pride lost? The sun of Champawat kingdom is setting.

    Shaikh and Sayyad Pathans have come in Bhabhar. The brave men as Bhardas Mogul, Savachan Jat and Nilchand Kathayat reached to Bhabhar of Kumaon. O Kumaoni brothers! The things as salt, jiggery and many important goods used to come through Bhabhar and the roads are now closed.There is no group, no army those could protect us.
                Four learned old men were sitting from four directions. They were Chaudhari, Bohra, Karki and Tadgi. There were sixteen Samant as Dev, Dhek, Mahar and Fartyalo. There were twelve types of officers and citizens. Everybody sat on their respective seats. Learned said that nothing was more pious than the head thread; there was no greater heritage than the kingdom. As the queen is superior most in honey bee comb, same way king is superior most in Kingdom. The citizen cannot live without king.

              The future Kumaon King Trimal Chand was in Garhwal. All the learned experienced men wrote a letter for Trimal Chand with messenger. The letter said," O great King! We are not safe here. The roads of Bhabhar have been blocked. It is not possible to get salt, jiggery and other goods. You come back and open the roads."
The messenger handed over the letter to Trimal Chand.  The body of Trimal Chand started shivering; there was tension on his moustaches. Trimal Chand said," It is not possible dark when there is sun. I am reaching to the capital."

              The four learned old men decided auspicious date for coronation. The astrologer decided auspicious time of crowing of Trimal Chand. The citizen of Champawat became happy and joyful. People started singing. Bhat started singing praiseworthy songs for the future King, Our fort is safe as Lanka. Chand kings are light for us". The women started singing,' There is new sun rise on the earth. The moon of second has come up."
                 The citizens came to Champawat. People and court officers brought auspicious goods to celebrate crowing of Trimal Chand. This way, Trimal Chand was crowned.   
     
                 
   



Copyright (Interpretation) @ Bhishma Kukreti, 24/5/2013
Folklore, Folk Legends, Folk Myths of Kumaon-Garhwal, Uttarakhand to be continued...35 

Chivalry, Gallantry, gracious Folklores, Folk Legends, Folk Myths of Garhwal, Kumaon, Uttarakhand to be continued...20   
Curtsey and references:
Dr. Krishna Nand Joshi, Kumaon ka Lok Sahitya (Folklore texts of Kumaon)
Dr Trilochan Pandey, Kumaoni Bhasha aur Uska Sahity(Folklore literature of Kumaon )
Dr Siva Nand Nautiyal, Garhwal ke Lok Nrityageet  (Folk Songs and dances of Garhwal )
Dr Govind Chatak, Garhwali Lokgathayen (Folklore of Garhwali)
Dr. Govind Chatak, Kumaoni Lokgathayen (Folklore of Kumaoni)
Dr Urvi Datt Upadhyaya, Kumaon ki Lokgathaon ka Sahityik Adhyayan (Literary review of Folklore of Kumaon)
Dr. Dip Chand Chaudhri, 1995, Askot ka Palvansh , Gumani Shodhkendra, Uprada, Gangalighat
Dr. Prayag Joshi, Kumaon Garhwal ki Lokgathaon ka Vivechnatmak Adhyayan (Critical Review of Folklore of Kumaon and Garhwal)
Dr Dinesh Chandra Baluni, Uttarakhand ki Lokgathayen (Folklore of Uttarakhand)
Dr Jagdish (Jaggu) Naudiyal, Uttarakhand ki Sanskritik Dharohar, (Partially Folklore of Ravain) 
Ramesh Matiyani 'Shailesh' 1959, Kumaun ki Lok Gathayen
Abodh Bandhu Bahuguna, Dhunyal (Folklore and Folk Songs of Garhwal)
Shambhu Prasad Bahuguna, Virat Hriday
Kusum Budhwar, 2010, Where Gods Dwell: Central Himalayan Folktales and Legends 
C.M. Agarwal , Golu Devta, 1992, The God of Justice of Kumaon Himalayas
N.D .Paliwal, 1987, Kumaoni Lok Geet
E.S. Oakley and Tara Datt Gairola 1935, Himalayan Folklore
M.R.Anand, 2009, Understanding the Socio Cultural experiences of Pahadi folks: Jagar Gathas of Kumaon and Garhwal
Dr. Pradeep Saklani, 2008, Ethno archeology of Yamuna Valley
Shiv Narayan Singh Bisht, 1928, Gadhu Sumyal, Banghat , Pauri Garhwal
Kumaon: Kala, Shilp,aur Sanskriti         www.himvan.com/webpages/dana.htm
Anjali Kapila (2004), Traditional health Practices of Kumaoni women
Bhishma Kukreti, Garhwali Lok Natkon ke Mukhy Tatva va Vivechana
Helle Primdahi, 1994, Central Himalayan Folklore: folk Songs in Rituals of the Life Cycle
Hemant Kumar Shukla, D.R. Purohit, 2012, Theories and Practices of Hurkiya Theater in Uttarakhand, Language in India Vol.12:5: 2012 Page 143- 150
Dev Singh Pokhariya, 1996, Kumauni Jagar Kathayen aur Lokgathayen
Madan Chand Bhatt, 2002, Kumaun ki Jagar Kathayen 

Notes on the Kumaoni Traditional Song about Brave Kumaoni King from; Kumaoni Traditional Song about Brave Kumaoni King from Rithakhal; Kumaoni Traditional Song about Brave Kumaoni King from Ghat of Champawat; Kumaoni Traditional Song about Brave Kumaoni King from Chhira; Kumaoni Traditional Song about Brave Kumaoni King from Lupra; Kumaoni Traditional Song about Brave Kumaoni King from Lohardhat; Kumaoni Traditional Song about Brave Kumaoni King from Sela; Kumaoni Traditional Song about Brave Kumaoni King from Bajkot; Kumaoni Traditional Song about Brave Kumaoni King from Sukhithang; Kumaoni Traditional Song about Brave Kumaoni King from Tanakpur; Kumaoni Traditional Song about Brave Kumaoni King from Chalthi; Kumaoni Traditional Song about Brave Kumaoni King from Dhunaghat; Kumaoni Traditional Song about Brave Kumaoni King from Khoral; Kumaoni Traditional Song about Brave Kumaoni King from Devidhura; Kumaoni Traditional Song about Brave Kumaoni King from Dayuri; Kumaoni Traditional Song about Brave Kumaoni King from Dhura , Champawat.