Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

[Bhishma Kukreti]

              Pandava Jagar from Ravain Uttarkashi region

Folk Literature of Ravain/Rawaeen, Yamuna-Tons Valley Region, Uttarkashi, Garhwal -21 

Jagar Gatha (Lyrical Prose Folk Ritual Sayings) from Ravain/Rawaeen, Yamuna -Tons Valley, Uttarkashi, Garhwal Region-14

            Folk Songs/Folktales collection by late Dr. Jagdish Prasad 'Jaggu' Naudiyal 

                 Translation, Interpretation by: Bhishma Kukreti

            Pandava worshipping through dance and songs (Mandan) are common in every corner of Garhwal and Kumaon. There are many folk stories to be sung in Pandava Mandan.
               In Rawaeen/Ravain region of Uttarkashi, Pandava worshipping through Mandan is common as in other regions of Uttarakhand.   
Pandavas are awaken or called by following lines by Jagari or Das (drum player).

               रवांइ,  उत्तरकाशी  गढ़वाल क्षेत्र  के  प्रचलित   लोक गीत- 21 

       रवांइ,  उत्तरकाशी क्षेत्र से जागर या धार्मिक अनुष्ठान के लोक गीत/कथायें    -14   
 
   
             (मूल -डा जगदीश 'जग्गू' नौडियाल)

                           ( इंटरनेट प्रस्तुति  एवं अतिरिक्त व्याखा - भीष्म कुकरेती )

                                    पांडव जागर         

जाग जाग वीर अर्जुन नौरतों मंडाणा। 
पांच भाई पाण्डवों , नौरतों मंडाणा। 
जाग भीम गदा ले,  नौरतों मंडाणा। 
धनुर्धारी अर्जुन, नौरतों मंडाणा। 
धरमराज युधिष्ठर, नौरतों मंडाणा। 
जाग नकुल सहदेव, नौरतों मंडाणा। 
पंच जन्य संख की, टंकार खुली गे।
जाग जाग पांडवों, नौरतों मंडाणा। 
जाग धरती पर्वत, नौरतों मंडाणा।   
जाग देवी द्रौपदी, नौरतों मंडाणा।
O brave Arjun! We call you for nine days Mandan
O Righteous King Yudhisthar! We call you for nine days Mandan
O  Bhim with club! We call you for nine days Mandan
O Nakul Sahadev! We call you for nine days Mandan
O Pandavas! We call you for nine days Mandan
O Earth and Mountains! We call you for nine days Mandan
O Daupadi goddess! We call you for nine days Mandan


Copyright for interpretation @ Bhishma Kukreti 15/6/2013

     References:
Dr Jagdish Prasad Naudiyal, Uttarakhand ki Sanskritik Dharohar  (Ravain Kshetra ke lok Sahitya ka Sanskritik Adhyayan
Folk Literature of Ravain/Rawaeen, Yamuna -Tons Valley Region, Uttarkashi, Garhwal to be continued...22
Jagar Gatha (Lyrical Prose Folk Ritual Tales) from Ravain, Yamuna-Tons Valley, Uttarkashi, Garhwal Region to be continued...15

[Bhishma Kukreti]

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

                               ब्लेम गेम ट्रेनिंग  सेंटर
                              याने भगार लगाणौ प्रशिक्षण केंद्र
                             

                 चबोड़्या - चखन्यौर्या: भीष्म कुकरेती

(s = आधी अ, आधी अ//s= क, का , की,, कु के ,को आदि)


           अचकालौ जटिल जिन्दगी मा मनिखौं तै परिवार मा , शिक्षण संस्थानों मा , समाज मा , नौकरी मा, व्यापार मा, राजनीति मा अर सबि  जगा ब्लेम गेम, दोषारोपण खेल या भगार लगाणो खेल खिलण हि पोड़द। बगैर ब्लेम गेम का अचकाल कुत्ता बिरळ बि ज़िंदा नि रै सकदन।
           पण भारत मा व्यवसायिक स्तर का ब्लेम गेम ट्रेनिंग सेंटर नि होण से हुन्यार युवाओं तैं बड़ी तकलीफ होणि रौंद। इलै हमारी शिक्षण संस्था ज्वा भ्रस्टाचार करणों बाद बि पकड़ मा नि आण, स्पॉट फ़िक्षिंग या मच फ़िक्षिंग करणों बाद बि संसद सदस्य कनै बणन  जन प्रशिक्षण का वास्ता कुख्यात च, चर्चित च अब एक नया कोर्स लाणी च। ये नयो  कोर्स को नाम च हाउ टु ब्लेम अदर्स शेमलेसली फॉर युवर मिस्टेक्स या अपण दोष दुसर पर कनकै लगाण (अपण पूठो गू दुसरो पूठ पर लपोड़ण) या बेशर्मी से दूसरों पर दोषारोपण कैसे किया जाता है।
ये कोर्स मा सिलेबस प्रशिक्षार्थी हिसाब से डिजाइन करे गे। ये कोर्स मा निम्न विषय छन -
१-ब्लेम गेम की परिभाषा अर इतिहास जां से विद्यार्थी सीख सकुद यदि तुम से गलति ह्वे गे तो कनकै अपण तौळ वाळ पर भगार लगैक पदोन्नति पाए जांद।
२- ब्लेम गेम कु कु खेल सकदन को  कोर्स- ये कोर्स से सबसे जादा फैदा कौंग्रेस विरोधी विचारधारा का राजनीतिज्ञों तैं होलु। इखमा हम सिखौला कि जब धुर कौंग्रेस विरोधी राजनैतिक पार्टी या नेता कॉंग्रेसौ  खुकली मा बैठो तो अपण कॉंग्रेसौ  खुकली मा बैठणो दोष कै तरां से  साम्प्रदायिक ताकतों पर लगाये जै सक्यांद . ये कोर्स मा लालू प्रसाद यादव , मुलायम सिंह यादव , बहन मायावती , करुणा  निधि, अजित सिंह वल्द  चौधरी चरण सिंग, नीतेस कुमार की जीवनी वीडिओ ग्राफी की सहायता से पढ़ाए जालि।
३- खावन प्यावन हौरुं क अर मार खावन गौरुंक - इखमा मा हम सिखौंदा कि दोषारोपण से दुसरो नुकसान कनै करे जांद। ये कर्स मा उदाहरणो साथ हम दिखौला कि कन  मनमोहनी कौंग्रेस को रीफौर्म से मंहगाई बढ़द, बेरोजगारी बढ़द तो कॉंग्रेसी दोषारोपण करदन  कि चूँकि भारतीय लोग मिनरल वाटर, विटमिन युक्त भुजि खाण गीजि गेन तो गरीबी , मंहगाई, बेरोजगारी मा इजाफा ह्वे ग्यायि
४- ग्रुप ब्लेमिंग या भगार लगाणम  कवारौळि प्रयोग - इखमा हम संसद या विधान सभाऊं  क्लिप दिखैक पढौला कि सामूहिक घ्याळ , सामूहिक कवारौळि से अपण गलती को ठीकरा हैंक पर कनै फोड़े जांद।
५- लीगल ब्लेमिंग - यो ख़ास ख़ास विद्यार्थ्युं वास्ता एक क्रैश कोर्स च- जन कि कपिल सिब्बल, अरुण जेटली जन नेता ये कोर्स से फैदा उठे सकदन । इखमा हम सिखांदा कि  संवैधानिक संस्थाओं जन कि  कोंट्रोलेर जनरल ऑफ ऑडिट या चुनाव कमिसन की खुले आम कै तरां से न्यायिक पद्धति से धज्जी उड़ाए जै सक्यांद।
६- भैंसों गुस्सा मकड़ा पर - यु कोर्स केवल कॉंग्रेस्यूं वास्ता ख़ास बणाये गे। इखमा हम सिखौंदा कि जब राहुल गांधी या सोनिया गांधी को नेतृत्व मा पार्टी चुनाव हारि जावो तो सरा दोष अपणी पार्टी का कार्यकर्ताओं पर कन लगाये जाण चयेंद।
७-चिराग तले अन्धेरा मा दोषारोपण का दिया - ये कोर्स मा हम सिखौंदा कि दिल्ली मा या कै बि राज्य की राजधानी मा जथगा बि अपराध ह्वावन तो  नक्सलवाद , माओवाद, आतंकवाद , सम्प्रदायवाद या विदेशी ताकतुं  पर कै तरह से दोषारोपण करिक  जुमेदारी से बचे सक्यांद।
८- त्यार पड़ददान पाणि भीड़ी छौ तो मीन त्वै  थंचकाण - आपन भेड़िया-मेमने की कथा त पौढि होलि। इं कथा को गढ़वाळीकरण च बल एक बिठ (सवर्ण ) का हाथ कै तै पिटणो खयाणा/ खुजल्याणा छा वैन एक हरिजनौ नौनु घपेल  दे अर कारण बथै बल चूंकि ये हरिजनों पड़ददान कबि पाणि धार भीडि छौ त मीन ये नौनु तै पीट। ये कोर्स मा हम सिखौला कि संस्था , संस्थानों मा अपण गलत्युं दोष निवर्तमान अधिकारियों पर याने अपण दोष कै हिसाब से इतिहास पर लगाण चयेंद।
९- जै डाळि फल खावो वीं डाळि  तैं इ गाळि द्यायो - ये कोर्स मा सीख च बल जै बि संस्थान मा काम कारो अपणो पापौ सारा दोष संस्थान पर डाल़ो जन कि मनमोहन जी कोलेसन सरकार का स्वामी छन अर सरा दोष कोलेसन  पर लगाणम उस्तादुं उस्ताद छन।           
१० -कबि बि जुमेवारी नि लीणों तरीका -ये सैलेबस से हम सिखौला कि तुम से कथगा  बि भयंकर आग लगि जावो कबि बि अपण गलती नि मानण, अफु तैं जुमेवार नि बथाण  अर तर्कसहित  सरा  दोष अपण विरोधियों पर (खासकर जु समणी नि ह्वावो या जै तैं खुज्याण नामुमकिन ह्वावो ) लगै दीण चयेंद
११ -दंगऴयाण से पैल भगार लगाणौ कौंळ - ये कोर्स मा हम अमेरिकी अधिनायकवाद का क्लिप दिखैक पढौला कि दुसरो देस पर कब्जा करणों बान पैल कै तरां से कै बि देस पर दोषारोपण कै हिसाबन करण चयेंद कि संयुक्त राष्ट्र बि अमेरिकी अधिनायकवाद को समर्थक ह्वे जांद।
इनि निर्द्वंद दोषारोपण करणों सौ से बिंडी तरीका हम शिक्षार्थियों तैं सिखौला।
व्यवहारिक ज्ञान सिखाणों बान हमर कोलेबोरेसन राजनैतिक पार्टी अर ब्यवसायिक घरानों दगड़ च। हमर संस्थानम दोषारोपण का विशेषग्य नेता, अधिकारी  अर उद्योगपति विजिटिंग प्रोफ़ेसर छन।
 



Copyright @ Bhishma Kukreti  18/06/2013   
(यह लेख सर्वथा काल्पनिक है )

[Bhishma Kukreti]

अछूतुं ड्यार  प्याड़ा-पक्वड़ि खाण मा दिक्कत कब आंद?

                    चबोड़्या - चखन्यौर्या: भीष्म कुकरेती

(s = आधी अ, आधी अ//s= क, का , की,, कु के ,को आदि)

सन 1998  (दिल्ली )
जॉर्ज - ये जी , शरद जी! मि तैं सोरग से भि आनन्ददायक ,  सवादी खाणौ खसबू आणि च भै।
शरद - हाँ जॉर्ज जी इन लगणु च कखि राजसी , राजबीजी (राजबंशी ) भोजन बणणु च .
नीतेस  - हाँ मि तैं बि गंध आणि च आस पास राजशक्ति , राजयचर्स का बल पर सुपाच्य , दीर्घ  आनन्द दायक रसोई बणी च राजसी भोजन की अति -सुगन्धित सुगंध से मेरी तो भूख बढी गे।
जार्ज अर शरद - चलो जरा पता लगाये जाव कि कख राजसी रसोई बणणु च। जरा हम बी राजसी भोजन को मजा लींदा धौं।
नीतेस  - हाँ कब तलक राज विरोध को वजै से सूखा  भोजन करे जावो  ?
सबि -चलो दिखे जावो कि कख राजशाही भोजन उपलब्ध च अर अब त हम सब राजसी   भोजन का बान भोजन -व्यग्र छंवाँ
शरद - हैं यो तो भाजापा को राजसूयी यज्ञs  फौड़(सामूहिक भोजन खाना) च। अरे इख इथगा पकवान?
जॉर्ज - इन लगणु च 182 मंडल जितणो उपलक्ष मा भाजापा वाळुन यू  राजसूयी यज्ञ उरायुं च।
जॉर्ज - हाँ! नीतेस !  देखो राजसी  सोना चांदी के थाऴयूँ मा राजभोग सज्युं च।
शरद - हां राजसी कुर्सी लगीं छन।
नीतेस - राजसेवक, राजकर्मचारियों, राजभ्रितों की फ़ौज ततप्रयता से सेवा करणा छन।
शरद -राज-भाइयों वास्ता गगनचुम्बी वातानाकूलित  राजमहल बण्या छन।
जॉर्ज - राजभोगियों बान इना उना जाणो बान रथ , चित्ररथ अर बनि बनिक उड़न खटोला छन।
नीतेस -अहा राजभोज  मा सत्ता को भात, राजगद्दी की दाळ, राजत्व की भुजि, राजलक्ष्मी को छौंका ,अधिकार युक्त मलाईदार खीर -मिठाई , पावर /शक्ति नामक  घी मा  बण्या पूड़ी-भूड़ी-पक्वड़ी आदि आदि।
शरद - अरे भै पण पता च हम तो राजनैतिक सवर्ण छंवां अर भाजापा तो  च निखालिस अछूत च। भाजपा पर भिड्याणो अर्थ च हमन सेक्युलर नि रै जाण।।
जॉर्ज - शरद  जी ! तुम बि ना पुरण समाजवादियों तरां पागलपन की बात करदां। अरे भाजपा अछूत च तो क्या ह्वाइ खाणक त राज्भोग्या च कि ना अर फिर वो द्याखदि महान राजनैतिक सवर्ण ममता बैणि , वरिष्ठ सेक्युलर सवर्ण करुणानिधि, जवान सेक्युलर -सवर्ण नवीन पटनायक,सेकुलरधिराज  चन्द्रा बाबू नायडू अर खानदानी सेक्युलर फ़ाउख अब्दुला सबि त राजभोग, राजसी भोजन सपोड़णा छन।
शरद - नीतेस ! क्या हम सेक्युलर सवर्णों वास्ता अछूतों ड्यार भोजन खाण वाजिब च?
नीतेस - अछूतों ड्यार खाणक खाण   बरोबर बाजिब च। जब अछूतों से हम तै सत्ता युक्त भात मिलणु च , शक्ति दायक रसमलाई मिलणि च . अधिकार युक्त मावा मिलणु च, अछूतुं इख भोजन करण से राजगद्दी मिलणि च त अछुतुं इख खाणक खाण, पाणि पीण अर सीण मा झिझक नि होण चयेंद। चलो भाजापा जन अछूत को राजसूयी यग्य मा राजभोग, राज-सत्ताभोग , राज-शक्तिभोग , राज-अधिकारभोग , को आनन्द लिए जावो।

मई , सन 2013 (पटना )
     
शरद - नीतेस जी ! इ क्या बुलणा छंवाँ/ बल भाजापा जन अछूत को दगुड़ अब नी सयाणु च, तुम तैं अब ये अछूत से घीण लगणि च? ये अछूतौ साथ से तुम तै फगोस (दम घुटना ) हूणि च? यु अछूत अब तुमकुण असह्य ह्वे ग्यायि?
नीतेस - हाँ! अब ये अछूत  से हम तै कुछ नि मिलण तो ये अछूत तैं छुड़ण माँ ही फायदा च। यु राजनैतिक अछूत हम तै अब राजसुख नि दे सकदो। यु अछूत चुस्युं आम च।  जावो तुम प्रेस कौन्फ्रेसं मा ब्वालो कि हम तो सेक्युलर स्वर्ण छंवाँ अर हम इन अछूतों दगड़ नि रै सकदवां। जोर से ब्वालो, घ्याळ लगैक ब्वालो। जंघड़ ठोकिक चिल्लाओ   बल   जु हम यूं अछुतुं भिड्यूं पाणि प्योला तो जनता तै  ह्वे जाला।
शरद - ह्याँ पण पिछ्ला सत्रह सालों से मि बुलणु रौं , तुम बि बुलणा रौंवा कि भाजपा एक सेक्युलर  सवर्ण च अर अब लोगुं तै कनकै बुथ्याण कि भाजपा धर्म निरपेक्ष पार्टी नी च?
नीतेस - झूट को अडसारो से लोगुं तैं कब्जा मा कारो ।  मिथ्या राग , असत्य बाणी की झंझरी (जाळ ) से जनता को फंसाओ। बेशरमी बतचल; बेहया बकवास, निर्ल्लज बखानो से लोगुं तैं बस मा कारो। बेहयाई, बटेरबाजी  की बातो से जनता तैं बेवकूफ, मुर्ख  बणाओ; जनता तैं भ्कावो ।औरुं पर तोहमत को ताड़ मारो।     




Copyright @ Bhishma Kukreti  17/06/2013   
(यह लेख सर्वथा काल्पनिक है )

[Bhishma Kukreti]

                                    Nagvansh of Kartripur (485-565AD)

                  History of Garhwal, Kumaon, Haridwar (Uttarakhand) - Part 74   



                                                       By: Bhishma Kukreti

 
                          Gupta Rule over part of Garhwal, Kumaon, Haridwar (Uttarakhand)


             Through, Kavyaminmasha, the historians suggest that there was Gupta rule over from the day Chandragupta killed Khashdhipati (a king of one area of Uttarakhand) of Kartripur. There are absolutely no record available that throws light on Uttarakhand at Gupta period.

                                 Vishaypati Sarvnag (465-485 AD?)

                      The Indore of Bulandshahar inscriptions state that Sarvnag was the provincial chief (Vishaypati) of land between Yamuna and Ganja at the time of Skandagupta (465).
   That means Sarvnag ruled (under Gupta) the territory approximately from 465-485AD. The inscription suggests that Sarvnag might be the chieftain of Yamun and Kartripur region of Uttarakhand.

                         Nag Kings of Kartripur (a territory in Uttarakhand)

The Gopeshwar (Chamoli Garhwal) Trishul abhilekh (trident inscription) and Barahat (Uttarkashi) trident inscription suggest that five Nga kings ruled over Kartripur territory.
                 The Siroli (Chamoli Garhwal) stone inscription suggests that Maikhuri king Sarvarman ruled that region.
  This means that this Nag dynasty ruled over some part of Uttarakhand (especially Garhwal) from 485 AD to around or before 565AD)
                      Four Nag kings on Gopeshwar Trident Inscription

The following Nag King names are there on Gopeshwar Trident inscription
1-Skandnag
2-Vibhunag
3-Anshunag
4-Ganpatinag
Barahat Trident inscription describes following two nag kings
1-Ganeshwar
2-Guh
               The Gupta inscriptions here and there in India suggest that there were small kingdoms of Nag clans in north India before the emergence of Samudragupta. Samudragupta took rule from these Nag chieftains. However, they were representatives of Gupta ruler and virtually were rulers of their territories.
           When there was weakness in Gupta rule these Nag rulers became stronger.
  Hun ruled full or some part of Uttarakhand. Or Kartripur Kings used to pay taxes to Hun.

                               Ganpatinag King of Kartripur (Gopeshwar, Chamoli)

                                     

               The brass  trident inscription at the complex of Rudranath/Gopinath (Gopeshwar) temple is measuring 5 feet high and 20centimeetr wide. Ganpatinag the heir of Skandnag, Vibhunag and Anshunag built a Shiva temple and erected this trident. Guha builr the son of Ganpatinag built a temple Vishwanath temple in Barahat (Uttarkashi i, seventy miles away from Gopeshwar) and erected trident. The quality of trident, shape/size and script writing on both the tridents suggest that both the tridents were manufactured by same craftsman and carving writer was same.   
  It is said that Ashok Challa repaired this temple on later age.
              There are fifteen copper coins in National museum in Kolkata of forth century. The name Maharaja Shri Ganendra is carved on those coins. However, there is not much literature available to establish any relation of these coins with Ganpatinag of Kartripur, Gopeshwar.
                                       Shriguha Nag

     
                    Shriguha the son of Ganeshwar or Ganpatinag got the crown of Kartripur after Ganpatinag's death.
                      The twenty one feet high bronze trident of Barahat (Uttarkashi) and its inscriptions state that Shriguha was brave king. Shriguha had wide chest and big eyes. Shriguha was handsome and great donor too. Shriguha was a knowledgeable King. Shriguha was forward looking and soft hearted King. 
         
                                 Shaivism in Chamoli and Uttarkashi in Fifth/Sixth Century

                      Ganpatinag and Shriguha Nag built Shiva temples in Gopeshwar and Barahat. Both erected high tridents at the complexes of respective temples.  The people were also followers of Shiva sect.

                        Enemy Disturbances in Shriguha Kingdom

 
                          The trident inscriptions of Barahat suggest that enemy created disturbances and Shriguha Nag diffused those disturbances.  However, it is not clear that the disturbances creators were outsiders or within the family.
             Yadva Vanshi king Singhvarman (after 460AD) was King of Yamunprades adjacent of Kartripur. There is possibility of war between Yamunprades King and Kartripur King. 
              A couple of Historians suggest that there were sever attacks on Kartripur from Guge Kingdom of Tibet.  It might be too that Shriguha defeated the Guge King's attack and erected Trident as memorandum of his win over Tibetan king.


                   Decline of Nag Kingdom after Maukhari Kingdom Rise


                    The inscription of Sarvarman suggests that Maukhari attacked Kartripur and ended nag dynasty from Kartripur.
   
                       Sanskrit Education in Nag Kingdom

                  The Gopeshwar and Barahat inscriptions suggest that there were Sanskrit learned scholars and Sanskrit poets in Uttarkashi and Chamoli Garhwal in fifth and sixth century. The writing, the poetic class of inscriptions, show that there were arrangements for education in common places. The elite used to speak in Sanskrit.  Education was available to elite and might be to common men.


                  Economic conditions of Uttarakhand in Nag Period (485-565AD)

    The art and artistic value of Trident definitely advocate that economic conditions of North Garhwal were prosperous and there was export from this area. Though in Hun regime there was decline in mercantile activities the tradition of exporting gold dust, minerals, herbal medicines and herbs, mineral salt, woolen produces, musk, Bhojpatra, Ganga water  was going on.
              Barahat suggests that Uttarkashi was big market in ancient time.

                The metallurgy was important in north Garhwal in fifth and sixth century. Art and crafts had big role in society.
                       The coming history of Garhwal also state that the contemporary architecture science and art was flourishing in Garhwal in fifth and sixth century. Ganga and other reverent rivers were having importance in Indian societies.

               There were exchanges of science and art or technology transfer with other parts of Indian plains from Uttarakhand. There was commercial relationship with Tibet and at the same time there were disagreements for borders too.
                         

Copyright@ Bhishma Kukreti 15/06/2013
References:
1-Jayswal, Andhkaryugin Bharat
2-Shiv Prasad Dabra, 'Charan', 1968, Uttarkhadn ka Itihas, Bhag –1 and 3
3-Rahul Sankrityayan , Garhwal
4-Vasudev upadhyaya, Gupta Samrajya ka Itihas
5- Raj Pruthi, 2004, The Classical Age
6-Dinesh Saklani, 1998, Ancient Communities of the Himalayas
7-Arun Kumar Mishra, 1992, The Trading Communities in Ancient India:
8- Indian Archeology Review, 1968-69
9- Archeological Survey Catalogue, Chamoli and Dehradun Circle on Internet (Notification number 1669/1133-M/-27/12/1920

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

History of Garhwal – Kumaon-Haridwar (Uttarakhand) to be continued... Part -75

Xxx             xxx   
Notes on History of Uttarakhand (fifth and sixth century); History of Haridwar, Uttarakhand (fifth and sixth century); History of Chamoli, Garhwal, Uttarakhand (fifth and sixth century); History of Gopeshwar, Chamoli, Garhwal, Uttarakhand (fifth and sixth century); History of Tehri  Garhwal, Uttarakhand (fifth and sixth century); ); History of  Rudraprayag, Garhwal, Uttarakhand (fifth and sixth century); History of  Uttarkashi, Garhwal, Uttarakhand (fifth and sixth century); History of  Barahat, Uttarkashi, Garhwal, Uttarakhand (fifth and sixth century);History of  Pauri Garhwal, Uttarakhand (fifth and sixth century); History of  Dehradun Garhwal, Uttarakhand (fifth and sixth century); History of  Udham Singh Nagar Kumaon , Uttarakhand (fifth and sixth century); History of Nainital,  Kumaon , Uttarakhand (fifth and sixth century); History of  Almora, Kumaon , Uttarakhand (fifth and sixth century); History of  Champawat, Kumaon , Uttarakhand (fifth and sixth century); History of  Bageshwar, Kumaon , Uttarakhand (fifth and sixth century); History of  Pithoragarh, Kumaon , Uttarakhand (fifth and sixth century).

[Bhishma Kukreti]

           History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Lakhamandal Region (250-635 AD)

                           History of Garhwal, Kumaon, Haridwar (Uttarakhand) - Part 75   



                                                       By: Bhishma Kukreti

                   Lakhamandal, Kalikut (Kalsi) of present Jaunsar Bawar and Ravain regions were important pilgrim places and trade centers in North India from Mahabharata till Panwar dynasty took over Garhwal.
               The archeologists excavated various valuable historical materials from Lakhamandal and nearby areas. 
One of the important inscriptions 'Ishwara Prashasti' (Size: 2', 10.5x1'x9'') is found in Lakhamandal temples.
         It seems that after the death of her husband, widow Ishwara came to her parent home in Lakhamandal and arranged 'Ishwara Prashasti' in the memory of her husband. There many theories about existence of Sainhpur.
              Dr. Dabral seems to be more logical that Singhpur/Sainhpur was near Srughnapur (Sudhgaon of today's Saharanpur) and near to Kalsi too. Ishwara would have married to a chieftain of Sainhpur/Singhpur and she came back to parent place when she lost her husband.
             Dabral suggests that that one name of Srughna pur was Sainhpur and a Singhvarman king established a kingdom there by his name. In later stage, the name of kingdom/chieftain area or Janapada became Sainhpur.
  There are twenty two 'sholkas' in the inscription.
   There are names of following kings in Ishwara inscriptions of Lakhamandal –

S.N.----King Name -------------------Relation with last King ---------------Title given in inscription
   1----Shri Senvarman----------------Establisher of Kingdom--------------Rajarshi
   2----Shri Aryavarman ---------------Son ------------------------------Nripati
3-Shri Devvarman---------------- Son ---------------------------------------Nripati
4--- Shri Pradiptvarman ------------------- son   ----------------------------------- Bhupal
5- Shri Ishwarvarman ------------------------- Son -------------------------------- Bhupati
6- Shri Vridhivarman -------------------son ---------------------------------- Raja
7- Shri Singhvarman -------------------son ------------------------------------Rajsingh
8  --Shri Jal --------------------------------son  ---------------------------------Nripati
9- Shri Yagyavarman ----------------- son ----------------------------------- Mahipati
10- Shri Achalvarman ------------------son --------------------------------  Rajarshi/ Ghanghal
11- Shri Divakarvarman -----------------son ------------------------  Nripatish, Mahaghanghal, Bhad /Bhatt?
12- Shri Bhashkarvarman  -------------- Brother -----------------------  Nripatipal/ Ripughanghal
                   
                                        Rajarshi Shri Senvarman
                       Senvarman was either founder of Yaduvansh in Sainhpur or Yaduvansh got familiarity after Shri Senvarman. According to Jaysawal, the initiation period of Yadyvansh of Senvarman is around 250AD. The Yaduvansh might have ended around 635 AD.
The praiseworthy word 'Rajarshi' suggest that he was disciplined king.
                                          Nripati   Shri Aryavarman   
     Aryavarman has strong character.
                                             Shri Devvarman
                  Shri Devvarman used to eradicate the fear of his subject, was donor, anxious in winning for his family, and was destroyer of enemies. That means there were a couple wars in the time of  Shri Devvarman.
                                          Shri Pradiptvarman

Shri Pradiptvarman was an angry man and did not pardon his enemies. He had pride.

                                    Shri Ishwarvarman

                     Shri Ishwarvarman was a religious king.

                             Shri Vridhivarman
            Shri Vridhivarman was a prosperous king and was helpful.

                      Shri Singhvarman

                         Shri Singhvarman was strong king, was dangerous for enemies and soft for others. He was donors.
                                       Shri Jalvarman
          Shri Jalvarman was peaceful in nature

                                      Shri Yagyavarman

            Shri Yagyavarman was religious king.
             
                         Ghanghal means Bhad (Brave)
                Ghanghal word is used to praise the last three kings. This Ghanghal word seems to be local words for brave man in that time. 
                Shri Achalvarman Ghanghal was peaceful but used to punish enemies in wars.
                  Shri Divakarvarman was Mhaghanghal or strongest king.
                               Shri Bhaskarvarman Ripughanghal


                     Shri Bhaskarvarman Ripughanghal was very strong king. It is praised in 'Ishwara Prashasti' that he won other kingdoms. It seems that he campaigned to win over the territories of south Uttarkashi.
  He had only one queen that is Jayavali. Jayavali was daughter of king Kapilvardhan.
                                             Ishwara Queen
  Ishwara was daughter of Shri Bhaskarvarman Ripughanghal and Jayavali. Ishwara was married to Chandragupta the crown prince of Jalandhar. She was widowed in her young age. She came to her parent house after her husband death. She built a temple there in Sainhpur Lakhamandal.  She built the temple for keeping forever the fame and name of her husband Chandragupta.

                       Vasudev Bhatt the poet of excellence
    There are twenty two Sanskrit Shlokas in Ishwara inscription. These Shlokas express that the poetry creator was great poet (court poet). The poetry creator describes his details on the last stanza. His name was Vasudev Bhatt, whose father name was Bhattskand and his grandfather name was Kshemshiv Bhatt. It is written there at the end - ' Bhattvasudev ainan prashstikarodayodhyesh:'. That means this poet had relation with Ayodhya. It may be possible that Vasudev Bhatt was from Himachal and his forefathers might have migrated to Kullu from Ayodhya.
                              Ishwarnag
                 Ishwarnag the son of Nagdatt erected and incised the 'inscriptions. He was great craftsman. Ishwarnag wrote there that he was from Roditak. Bhullat states that Ishwarnag was from Rahtak. Dr. Dabral refused to agree upon this theory.
                          No difference between 'B' and 'V' letters

   There are mistakes in carving 'Ba' and 'Va' letterings. Garhwalis still don't differentiate between 'Ba' and 'Va' as Basant is also written/pronounced 'Vasant. That shows that Ishwarnag was from Lakhamandal region only. '

                     Education
There was arrangement for education.

                                         Social beliefs
             The character of Ishwara states that on that time women used to follow one husband system in the region.  Bhaskarvarman had only one wife.

                                         Shaivism
         The temples and inscriptions definitely prove that Buddhism was totally declined in this period and Shaivism was on rise.
  Yagya and other rituals were necessary to get prosperity, children. Disciplinary, truthful life had values in society.
                                       
   

Copyright@ Bhishma Kukreti 18/06/2013
References:
1-Jayswal, Andhkaryugin Bharat
2-Shiv Prasad Dabra, 'Charan', 1968, Uttarkhadn ka Itihas, Bhag –1 and 3
3-Rahul Sankrityayan , Garhwal
4-Vasudev Upadhyaya, Gupta Samrajya ka Itihas
5- Raj Pruthi, 2004, The Classical Age
6-Dinesh Saklani, 1998, Ancient Communities of the Himalayas
7-Arun Kumar Mishra, 1992, The Trading Communities in Ancient India:
8- Indian Archeology Review, 1968-69
9- Archeological Survey Catalogue, Chamoli and Dehradun Circle on Internet (Notification number 1669/1133-M/-27/12/1920
10 Chhabda
11-Vatsa and Agarwal article on U.P. Historical Society, July 1944

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

History of Garhwal – Kumaon-Haridwar (Uttarakhand) to be continued... Part -76

Xx                        xxx                       xxx
                               
Notes on History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Gauraghati, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Kwasi, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Juddo, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Chimri, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Nagthat, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Bratkhai, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD);

[Bhishma Kukreti]

 Motiya Saun aur Ganga Saunyani: Jhoda type Folktale/ Folk Dance-Song illustrating importance of Deity Jhankarsem   

Folklore, Folk Legends, Folk Myths of Kumaon-Garhwal, Haridwar, Uttarkahnd-60

Folklore, Folktales, Folk Ballads, Folk Stories of Human Behavior, Human Emotions, Human Relationship, Human Psychology, Human Sensitivity, Human values, Human Sacrifices, interpersonal bond from Haridwar,   Garhwal, Kumaon (Uttarakhand) – 7 


(The write up is dedicated to Dr. Krishna Nand Joshi for his extensive works on Kumaon-Garhwal Folk Literature)

                                        By: Bhishma Kukreti

             The present folktale in folk song form is popular folk story. The story is sung in folk song form and dancers dance in Jhoda/Jhora dance type. Classes of folk song experts name this song as agriculture or work folk song. 





कुमाऊं, गढ़वाल ,हरिद्वार  की लोक गाथाएँ  -60       
               गढ़वाल , कुमाऊं ,  हरिद्वार, की मानवीय संवेदना आधारित  लोक गाथाएँ -7

           
               गंगा सौन्यानी और मोतिया सौन (एक झोड़ा गीत नृत्य कथा )

(सन्दर्भ : डा.कृष्णा नन्द जोशी, कुमाऊँ का लोकसाहित्य )
(इंटरनेट प्रस्तुति एवं व्याखा : भीष्म कुकरेती )
सौन की डुंगरा में मोतिया सौन,
उंकी रानी गंगा सौन्यान।
तिन जो थ्या अपुत्री थ्या
तनुलै  देवता का नाम ले ढुंग्या पुज्यान।
अर तीर्था का नाम लै रोड़ा नायान।
तबलै तिनरो पुत्र भ्यो।
बारै बीसी बरस को मोतिया सौन।
सात बिसी बरस की गंगा सौन्यान।
गंगा सौन्यानी नौ पाटी नवाली।
पानी भरन राति राति गैन।
तैकि सोरी  भेड़ी वा तैकि जाइज्याद।
को बंटवारा करन मरै छना।
उन बात गंगा सौन्यानी का काना पड़ी गैन।
तब सौन्यान चुपचाप हात धोइ बरैन।
और तांबा को घड़ो भरि बरनै
अपना घर सौना की डूंगार खी वापिस ऊंछिना।
तब बाट मनि उनरो हियो भरि भरि ऊंछ।
और रूनी रूनी घर पूजी वटे
मोतिया सौन थे सब बात पुछीन।
और दिन भरी . विलाप में काटी बटे
रात खिन एक कमरा में दुसरा में पडिगयान।
दुया रात भरि , सोच में पडि भुकरी रुंनाम

            Motiya Saun and his wife Ganga Saunyani lived in Son ki Dungri. They were childless. They worshipped every stone and took bath into all rivers and rivulets. However, they could not father child.
            Both were quite old. Motiya was two hundred forty years old and Ganga was one hundred forty years old. One day, Ganga went to Naula (water source). Her women relatives were discussing about the distribution of Property Motiya-Ganga.
           Without speaking with women she returned back home. Ganga Saunyani was very much upset with relative behavior. In night, Ganga Saunyani saw dream. In dream she saw a Jogi (sage) who told her that they worshipped stones and rivers but they did not visit Jhankarsem, The Sage told Ganga Saunyani that when she and her husband would perform Jhankarsem they would get a son.  In dream, the sage to make her sure told that a rotten tree would be green by morning.
      In morning Ganga Saunyani and Motiya Saun saw that the tree was green. By looking at the tree both became young.
       Then both with all worshipping items, started journey towards Jhankar. They took with them the priest for performing animal sacrifice and drum player Dharma Das.
They both performed ritual at the temple of Jhankarsem. After some time, they got a son.     




Copyright (Interpretation) @ Bhishma Kukreti, 18/06/2013
Folklore, Folk Legends, Folk Myths of Kumaon-Garhwal-Haridwar (Uttarakhand) to be continued...61 
Folklore, Folktales, Folk Ballads, Folk Stories of Human Behavior, Human Relationship, Human Psychology, Human Sensitivity, , Human values, Human Sacrifices,  interpersonal bond  from Haridwar,   Garhwal, Kumaon (Uttarakhand) –8
   
                                  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 Shiva Nand Nautiyal, Garhwal ke Lok Nrityageet  (Folk Songs and Folk 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 
Bhishma Kukreti, Garhwal ki Lok Kathayen, Alaknanda Prakashan
Bhishma Kukreti, Notes on History, Folk Literature of Haridwar
Xxx    xxx
Notes on Jhoda type Folktale/ Folk Dance-Song from Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Nanda Devi range, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Ganghet, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Danya, Kumaon, illustrating importance of Deity Jhankarsem;  Jhoda type Folktale/ Folk Dance-Song from Jageshwar Dham range, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Umeri gaon , Kumaon, illustrating importance of Deity Jhankarsem;  Jhoda type Folktale/ Folk Dance-Song from Gangolhat, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Gonap, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Khirmande, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Goniyagad, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Baghbira, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Itola Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Havabagh, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Binsar, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Satri, Kumaon, illustrating importance of Deity Jhankarsem             

[Bhishma Kukreti]

Hantya Jagar: Folksongs for Folk Ritual Performance for calling Dissatisfied Souls 

Folk Literature of Ravain/Rawaeen, Yamuna-Tons Valley Region, Uttarkashi, Garhwal -23 

Jagar Gatha (Lyrical Prose Folk Ritual Sayings) from Ravain/Rawaeen, Yamuna -Tons Valley, Uttarkashi, Garhwal Region-16

            Folk Songs/Folktales collection by late Dr. Jagdish Prasad 'Jaggu' Naudiyal 

                 Translation, Interpretation by: Bhishma Kukreti

            In Garhwal, Kumaon, there is very important folk ritual performance of Hantya Jagar. Ranbhut Jagars are also Hantya Jagar.
  Once, Kukreti explained Hantya Jagar as –"'Hantya' means the unfulfilled desire of deceased one. Many times, the future teller speaks that there is 'Hantya' problem for the bad days of a family or families the family perform the 'Hantya' Ghadela ritual. The Jagri (Ghadela performer) first sings the following songs before the stories of Hantya Jagar. In the initiating chants the Jagri calls the souls of deceased died by accidents or with unusual death.  Jagri and his assistant play the Daunru and bronze plate."
             It is said that when a person dies by accident or dies in early age or dies without fulfilling a specific desire, the soul of said person does not get eternal piece. The said dissatisfied soul wants ritual performance from the family.
                When the future teller suggests the family member arranges Hantya Pujai (ritual for satisfying dissatisfied soul).  There are many folk songs in tale form for Hantya Jagar (calling dissatisfied soul). The Hantya Jagars are always with pathos or sadness.
                  The following is one of the Hantya Jagar folk song from Ravain/Rawaeen region of Garhwal (Yamuna -Tons valley).


           रवांइ,  उत्तरकाशी  गढ़वाल क्षेत्र  के  प्रचलित   लोक गीत- 23 

           रवांइ,  उत्तरकाशी क्षेत्र से जागर या धार्मिक अनुष्ठान के लोक गीत/कथायें    -16   
 
   
             (मूल -डा जगदीश 'जग्गू' नौडियाल)

( इंटरनेट प्रस्तुति  एवं अतिरिक्त व्याखा - भीष्म कुकरेती )

   रवाईं में हंत्या  जागर -भाग -१

मामी तेरी छुटी पड़ी चाखोल्युं की टोल।
तेरो होलो केसों मामी इजा को पराण।
तेरो होलो केसों मामी इजा को पराण।
त्वेको आयो पड़ी मामी काल सी ओ बाण।
काल सी छिपदो मामी रीट दो सी ओ बाण।
सोची होलो मामी तै हरस देखऊं।
यख मं बैठी रो तेरो बांको माणिस।
के कालन डालि मामी जोड़ी मां बिछाऊँ।
भैर  भीतर मामी देखी ज तू अ क्वैक।
देखी भाळी जाई मामी आपड़ो बागीचा।
  Jagari (Ritual Priest) after calling the female soul and soul entering into a body of the person –
O dear! Bird herds are separated from you.
O dear! How would be your motherhood without your children?
O dear! How did the death come for you?
O dear! The death came hiding and surrounding you.
O dear! The death was searching you and you were thinking that you would see the happiness of family.
O dear! Your dear husband is sitting here.
O dear! The death separated you from your husband.
O dear! You see here and there everywhere in your house, see your garden and then satisfyingly go for ever.



Copyright for interpretation @ Bhishma Kukreti 18/6/2013

     References:
Dr Jagdish Prasad Naudiyal, Uttarakhand ki Sanskritik Dharohar  (Ravain Kshetra ke lok Sahitya ka Sanskritik Adhyayan
2-Sudha Chandola, Some Goddess Rituals from Non Narrative folk songs of India
Xxx         xx             
Folk Literature of Ravain/Rawaeen, Yamuna -Tons Valley Region, Uttarkashi, Garhwal to be continued...24
Jagar Gatha (Lyrical Prose Folk Ritual Tales) from Ravain, Yamuna-Tons Valley, Uttarkashi, Garhwal Region to be continued...17
Xx   xxx
Notes on Hantya Jagar: Folksongs from, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Radhi-Danda, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Yamunotri, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Kharsali, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Janki Chatti,  Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Hanuman Chatti, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Ful Chatti Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Gangnani, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Barkot, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Naugaon, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Lakhamandal, Chakrata,  Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Purola, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Jarmola Dhar, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Traditional songs from Mori Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Traditional songs from Naitwad, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Traditional songs from Anhol, Dehradun  Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Traditional songs from Tyuni, Dehradun,  Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Traditional songs from Arakot, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls           

[Bhishma Kukreti]

History of Garhwal, Kumaon, Haridwar (Uttarakhand) in Maukhari Empire (550-606AD)

                           History of Garhwal, Kumaon, Haridwar (Uttarakhand) - Part 76   
                         (Classical Age History of Garhwal, Kumaon, Haridwar (Uttarakhand))


                                                       By: Bhishma Kukreti


                             Foundation of Maukharis Empire (Appx.550AD)


              Hunas/Huns/Hun weakened Gupta Empire or displaced Guptas from glory. Pushyabhuti captured Thaneshwar region and declared the territory free.  Maukharis captures the whole Uttar Pradesh and decided their capital in Kanauj.
                       It seems that the first kings of Maukharis were the chieftains of Gupta Empire. Maukhari kingdom was extended to Orissa, Andhra, and Gaud Pradesh too. 

                                     Ishanvarman Maukhari (550-575)

               Ishanvarman was son of Ishwarvarman. Maukhari King, Ishanvarman increase his arm power vigorously.  Ishanvarman stopped the Hun aggression and declared his kingdom from Gupta Empire. Ishanvarman took the title- Maharajadhiraj. Ishanvarman Maukhari had continuous wars with his neighbors. Kumargupta of Gupta Empire defeated Ishanvarman.
                Ishanvarman informed in his Hada inscriptions that he won Andhra, Sulik (Chalukya?) and Gaud kings.
            Afsar inscriptions suggest that Ishanvarman extended his kingdom territory up to Kartripur (Uttarakhand), Yamuna valley. It is not certain whether Ishanvarman defeated Guha of Kartripur dynasty or not. ,

                                    Sarvvarman Maukhari (576-580)

                 Sarvvarman Maukhari got the rule after his father death. Sarvvarman Maukhari killed Damodargupta the son of Kumargupta of Gupta Empire of Magadha. Sarvvarman Maukhari was more aggressive and powerful than his father. Sarvvarman Maukhari took the title of 'Maharajadhiraj'. Sarvvarman Maukhari is described 'Maharajadhiraj' in Siroli (Gopeshwar, Garhwal) and Asirgarh inscriptions.

                             Rule over Uttarakhand by Sarvvarman

                   Siroli inscription states that Sarvvarman ruled over Kartripur. No other name was there as Sarvvarman. Therefore, it is concluded that Sarvvarman Maukhari ruled over Uttarakhand. His kingdom representative was Narvarman. Narvarman built a Nauli (well type water source).
Hun Attack- There was Hun attacks on Maukharis kingdom. Maukharis diffused Hun attacks. It also seems that Sarvvarman Maukhari ruled over Kumaon, Haridwar and nearby Saharanpur territories; Bareli etc. Nepal had marriage relationship with Maukharis.

                              Avantivarman Maukhari (580-600)

  Avantivarman Maukhari (son of Sarvvarman Maukhari) protected well his territories left by his father. It seems there was rule of Maukharis on Uttarakhand.

                                  Grahavarman Maukhari (600-606)

                    After the death of his father Avantivarman, Grahavarman Maukhari ruled Maukharis Kingdom. The wife of Grahavarman Maukhari was the princess of Thaneshwar King. With the help of Gaud king Shashank, Gupta king attacked on Grahavarman Maukhari. The Maukharis king Grahavarman Maukhari was killed by Devgupta in this battle.
                       Rajyashri, the widow of Grahavarman Maukhari ruled the Maukharis kingdom for some time. Later on Harsha the brother of wife of Grahavarman Maukhari took the Maukharis Kingdom under Thaneshwar Kingdom.




                            Invention of Chaturanga or Chess Game    

                It is said that Chaturanga (Chess) game was invented in Maukhari regime.

Copyright@ Bhishma Kukreti 19/06/2013
References:
1-Jayswal, K.P. ,  Andhkaryugin Bharat
2-Shiv Prasad Dabra, 'Charan', 1968, Uttarkhadn ka Itihas, Bhag –1 and 3
3-Rahul Sankrityayan , Garhwal
4-Vasudev Upadhyaya, Gupta Samrajya ka Itihas
5- Raj Pruthi, 2004, The Classical Age
6-Dinesh Saklani, 1998, Ancient Communities of the Himalayas
7-Arun Kumar Mishra, 1992, The Trading Communities in Ancient India:
8- Indian Archeology Review, 1968-69
9- Archeological Survey Catalogue, Chamoli and Dehradun Circle on Internet (Notification number 1669/1133-M/-27/12/1920
10 Chhabda
11-Vatsa and Agarwal article on U.P. Historical Society, July 1944
12-Thapliyal, K.K, 1984, Inscriptions of Maukharis, Late Guptas, Pushyabhutis and Yashovarman of Kanauj
13-Uma Prasad Thapliyal, 2005, Uttaranchal: Historical and Cultural Prospective (Page 29, about Authority of Maukharis on Uttarakhand and Haridwar) 
14-.Tripathi, R.S., History of Kanauj

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

History of Garhwal – Kumaon-Haridwar (Uttarakhand) to be continued... Part -77
Classical Age History of Garhwal, Kumaon, Haridwar (Uttarakhand) to be continued...
Xxx          xxx
Notes on History of Haridwar (Uttarakhand) in Maukhari Empire; History of Udham Singh Nagar Kumaon, (Uttarakhand) in Maukhari Empire; History of Nainital, Kumaon, (Uttarakhand) in Maukhari Empire; History of Almora, Kumaon, (Uttarakhand) in Maukhari Empire; History of Pithoragarh Kumaon, (Uttarakhand) in Maukhari Empire; History of Bageshwar, Kumaon, (Uttarakhand) in Maukhari Empire; History of Champawat, Kumaon, (Uttarakhand) in Maukhari Empire; History of Rudraprayag, Garhwal, (Uttarakhand) in Maukhari Empire; History of Chamoli, Garhwal, (Uttarakhand) in Maukhari Empire; History of Tehri, Garhwal, (Uttarakhand) in Maukhari Empire; History of Uttarkashi, Garhwal, (Uttarakhand) in Maukhari Empire; History of Dehradun, Garhwal, (Uttarakhand) in Maukhari Empire.

[Bhishma Kukreti]

Veer Vadhu Devki: Lyrical Folktale/Folklore about Brave, Faithful, Virtuous Woman

Folklore, Folk Legends, Folk Myths of Kumaon-Garhwal, Haridwar, Uttarkahnd-61

Folklore, Folktales, Folk Ballads, Folk Stories of Human Behavior, Human Emotions, Human Relationship, Human Psychology, Human Sensitivity, Human values, Human Sacrifices, interpersonal bond from Haridwar,   Garhwal, Kumaon (Uttarakhand) – 8 


(The write up is dedicated to Bhajan Singh 'Singh' for his extensive works on Kumaon-Garhwal Folk and Modern Literature)

                                        By: Bhishma Kukreti
               The present folklore is based on a true story and folk people added many dimensions as per regional needs.
  The event  happened in Rath region of Pauri Garhwal. 

कुमाऊं, गढ़वाल ,हरिद्वार  की लोक गाथाएँ  -61       

               गढ़वाल , कुमाऊं ,  हरिद्वार, की मानवीय संवेदना आधारित  लोक गाथाएँ -8

        (सन्दर्भ : भजन सिंह 'सिंह' ' सिंहनाद )
          (इंटरनेट प्रस्तुति एवं व्याखा : भीष्म कुकरेती )

                वीर, पत्निव्रता  वधू -देवकी
(गाथा का आरम्भिक पद्य )

पैलि गढ़ देस त्वेकू नमस्कार छ।
तेरी हम पर दया-दृष्टि अपार छ।।
तेरी छाया मा हमकू बड़ी मौज छ।
वीर-पुत्र की तेरी फ़ौज खड़ी छ।।
पैलि उन्नीस सौ पन्द्र का लाम मा।
जर्मनी -फ़्रांस का घोर संग्राम मा।।
सात सागर तरी देश का काकू।
जाति का अर ब्वे बाबु का नाम कु।।
राठ मा गोठ गौं कु अमर सिंह छयो।
फ्रांस की लड़ाई मा भर्ती ह्वैकि गयो।।
ब्यो करी घर मू, लाम पर दौड़ी गे।
भार्या वे कि छे देवकी नाम की।।
वा सती छै बड़ी भक्त ही राम की।
सास  ससुरा की सेवा मा रांदी छई।
कैक मुख पर नजर नि लगांदी छई।।
स्वामी का नाम को व्रत लेंदी छई।
भूखा प्यासों तई भीख देंदी छई।
जब कभी स्वामी की याद आंदी छई।
रात दिन रुंदी बितांदी छई।।
   
           There was fierce war going on between France and German. Amar Singh of Goth village of Rath region of Garhwal enrolled in British army. After marriage he went to France for fighting for British in the war (1915). His wife Devki was with her in laws.
                  No news came of Amar Singh for many months. Devki used to remember her husband.
         After some time, news came that her husband is killed in the war.  Devki was now widow. She started passing her time as virtuous and religious widow.

It was evening time. The villagers had come back to houses after works. Some women were busy cooking food, some were milking the cows.
                  In that time, a Heeng/asafetida seller Kabuliwala came in the village. He was fearful. Nobody gave him shelter. Devki offered him food too.
                 Devki's house was far away from main village. Kind hearted Devki provided him a ground floor room for spending a night.
  Devki slept on first floor.
        At midnight, Devki heard that Kabuliwala was knocking doors and Kabuliwala was threatening that if she does not open door, he would kill her. Kabuliwala broke the door. Kabuliwala was with a knife. Kabuliwala wanted to rape her.
    It was 'do and die situation' for Devki. She took her sickle and beheaded Kabuliwala.   



Copyright (Interpretation) @ Bhishma Kukreti, 19/06/2013
Folklore, Folk Legends, Folk Myths of Kumaon-Garhwal-Haridwar (Uttarakhand) to be continued...62 
Folklore, Folktales, Folk Ballads, Folk Stories of Human Behavior, Human Relationship, Human Psychology, Human Sensitivity, , Human values, Human Sacrifices,  interpersonal bond  from Haridwar,   Garhwal, Kumaon (Uttarakhand) –9
   
                                  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 Shiva Nand Nautiyal, Garhwal ke Lok Nrityageet  (Folk Songs and Folk 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 
Bhishma Kukreti, Garhwal ki Lok Kathayen, Alaknanda Prakashan
Bhishma Kukreti, Notes on History, Folk Literature of Haridwar
Xxx    xxx
Notes on Lyrical Folktale/Folklore from Jakh, , Rath, Garhwal about Brave, Faithful, Virtuous Woman; Lyrical Folktale/Folklore from Dhaundiyalsyun, Rath, Garhwal about Brave, Faithful, Virtuous Woman; Lyrical Folktale/Folklore from Vidolsyun. Rath, Garhwal about Brave, Faithful, Virtuous Woman; Lyrical Folktale/Folklore from Kandarsyun, Rath, Garhwal about Brave, Faithful, Virtuous Woman; Lyrical Folktale/Folklore from  Chopdakot, Rath, Garhwal about Brave, Faithful, Virtuous Woman; Lyrical Folktale/Folklore from Vali Kandarsyun Rath, Garhwal about Brave, Faithful, Virtuous Woman; Lyrical Folktale/Folklore from Dhaijyuli, Rath, Garhwal about Brave, Faithful, Virtuous Woman; Lyrical Folktale/Folklore from Ghuddaudsyun, Rath, Garhwal about Brave, Faithful, Virtuous Woman; Lyrical Folktale/Folklore from Thalisain, Rath, Garhwal about Brave, Faithful, Virtuous Woman; Lyrical Folktale/Folklore from Bungidhar, Rath, Garhwal about Brave, Faithful, Virtuous Woman; Lyrical Folktale/Folklore from Khatsyun, Rath, Garhwal about Brave, Faithful, Virtuous Woman; Lyrical Folktale/Folklore from Chauthan, Rath, Garhwal about Brave, Faithful, Virtuous Woman

[Bhishma Kukreti]

Hantya Jagar:  Awakening Ritual Folk Song for calling Soul of deceased relatives -Part-2

Folk Literature of Ravain/Rawaeen, Yamuna-Tons Valley Region, Uttarkashi, Garhwal -24 

Jagar Gatha (Lyrical Prose Folk Ritual Sayings) from Ravain/Rawaeen, Yamuna -Tons Valley, Uttarkashi, Garhwal Region-17

            Folk Songs/Folktales collection by late Dr. Jagdish Prasad 'Jaggu' Naudiyal 

                 Translation, Interpretation by: Bhishma Kukreti
                        Hantya Jagar means calling the souls of dead relatives. It is believed that those die because of accidents or unnatural death or death at young age come to see their relatives. The family performed a ceremony called Hantya Jagar or Hantya Ghadela.
  The priest –drum –dish player sings the rituals and soul comes into body of particular person who then dances.
   The following folk song is for calling male soul who dies in young age.
रवांइ,  उत्तरकाशी  गढ़वाल क्षेत्र  के  प्रचलित   लोक गीत- 24 

रवांइ,  उत्तरकाशी क्षेत्र से जागर या धार्मिक अनुष्ठान के लोक गीत/कथायें    -17   
 
   
(मूल -डा जगदीश 'जग्गू' नौडियाल)

( इंटरनेट प्रस्तुति  एवं अतिरिक्त व्याखा - भीष्म कुकरेती )

रवाईं में हंत्या  जागर -भाग -2

भैया कलकी रौ तेरी हौंसिया उमर।
कैसू रयो भैया तू सौबकू प्यारो।
दुखी रौ दी मेरा भया बैठ्या छन तेरा सारा।
देख तेरी  इजा रौया निपूती इजा।
तेरी जोड़ी रौयो कनी सौजोड़ी।
तेरो कनू रौयो मयऴदू स्वभाव।
मरदी बगत त्वेन पाणि भी न पाये।
कनि गई होली बंठ्या तू बांकी स्वैण छोड़ी।
अकेली इजा को यकूलो लडीक।
बांकुरासे पराण तेरो डाऴयूं-डाऴयूं रै गे।
टोली छोड़ी गयी भैया सारा बाल बच्चा।
कनू गई प्यारो भैया इजा कू तू जायो।   
O Brother! You were young.
O Brother! All appreciated you and all loved you.
O Brother! All your relatives are sitting here.
O Brother, Watch! Your mother is sitting without son.
O Brother! You and your wife were marvelous pair.
O Brother! You were peace loving man.
O Brother! You did not get water while die.
O Brother! How did you leave you wife?
O Brother! You were only one son of your mother.
O Brother! Your soul would be flying on trees.
O Brother! You left your family.
O Brother! You were lovely son of your mother.
O Brother! You went at young age.




Copyright for interpretation @ Bhishma Kukreti 18/6/2013

     References:
Dr Jagdish Prasad Naudiyal, Uttarakhand ki Sanskritik Dharohar  (Ravain Kshetra ke lok Sahitya ka Sanskritik Adhyayan
2-Sudha Chandola, Some Goddess Rituals from Non Narrative folk songs of India
Xxx         xx             
Folk Literature of Ravain/Rawaeen, Yamuna -Tons Valley Region, Uttarkashi, Garhwal to be continued...25
Jagar Gatha (Lyrical Prose Folk Ritual Tales) from Ravain, Yamuna-Tons Valley, Uttarkashi, Garhwal Region to be continued...18
Xx   xxx
Notes on Awakening Ritual Folk Song from Ravain, Uttarkashi region for calling Soul of deceased relative; Awakening Ritual Folk Song from r Ravain region, Dehradun calling Soul of deceased relative; Awakening Ritual Folk Song from Ravain, Uttarakhand region for calling Soul of deceased relative; Awakening Ritual Folk Song from Ravain, Mid Himalayan region for calling Soul of deceased relative; Awakening Ritual Folk Song from Ravain, Himalayan region for calling Soul of deceased relative; Awakening Ritual Folk Song from Ravain, North India  for calling Soul of deceased relative; Awakening Ritual Folk Song from Ravain, Asia for calling Soul of deceased relative; Awakening Ritual Folk Song from Ravain, Oriental region for calling Soul of deceased relative.