Articles By Bhisma Kukreti - श्री भीष्म कुकरेती जी के लेख

Bhishma Kukreti · October 13, 2014, 06:38:15 AM

माया (प्रेम , प्यार ) की अलंकृत व्याख्या

गढ़वाळि हास्य -व्यंग्यकोष -भाग -24

Garhwali Satirical Dictionary part -24

भीष्म कुकरेती

माया (प्रेम , प्यार ) एक पोषक तत्व च जु भगण मा काम आंद।

माया (प्रेम , प्यार ) एक जात्रा च, जैं जात्रा मा जत्र्वै से ज्यादा भैर वळ आतंकित रौंदन।

माया (प्रेम , प्यार ) अंग -प्रत्यंगुं एका -एकता च।

माया (प्रेम , प्यार ) एक बंधन च।

माया (प्रेम , प्यार ) कसेरी पर धर्युं एक द्व्य च।

माया (प्रेम , प्यार ) आग च।

माया (प्रेम , प्यार ) एक आर्थिक विनियम च।

माया (प्रेम , प्यार ) एक प्राकृतिक तागत च, बल च ।

माया (प्रेम , प्यार ) भौतिक बल या तागत च।

माया (प्रेम , प्यार ) एक कैमरा च जैमा समळौण -संस्मरण जमा रौंदन।

माया (प्रेम , प्यार ) एक विरोधी च या अवरोध च।

माया (प्रेम , प्यार ) पिंजरा मा बंद जानवर च।

माया (प्रेम , प्यार ) युद्ध च जैमा तिसरी पार्टी से संधि करण पड़द ।

माया (प्रेम , प्यार ) एक रोमांचक यात्रा च।

माया (प्रेम , प्यार ) दारु च अर सबि घुटकी लगाण चादन ।

माया (प्रेम , प्यार ) एक बगीचा च ।

माया (प्रेम , प्यार ) एक युद्धक्षेत्र च।

माया (प्रेम , प्यार ) हव्वा च।

माया (प्रेम , प्यार ) एक प्रयोग च।

माया (प्रेम , प्यार ) आनंद च।

माया (प्रेम , प्यार ) एक कोमल फूल च जु गरम वसंत मा खिलद।

माया (प्रेम , प्यार ) लिम्बु च या त मिठु ह्वाल या कसैला खट्टु।

व्यंग्य शब्दकोश जारी रहेगा ......।
Copyright@ Bhishma Kukreti 13 /10/2014

Bhishma Kukreti · October 13, 2014, 09:23:50 AM

Encouraging the Scholars in Garhwal in Pal /Shah Rule

Administration, Social and Cultural Characteristics History of Garhwal in Shah Dynasty -19

History of Garhwal including Haridwar (1223- 1804 AD) –part -208
History of Uttarakhand (Garhwal, Kumaon and Haridwar) -456

By: Bhishma Kukreti (A History Research Student)
Garhwal Kings offered encouragement to Sanskrit and Braj or other north Indian language scholars. However, though Garhwali was state language, Kings least promoted Garhwali language scholars in comparison to Sanskrit.
Buddhivilas Bahuguna- According to Kothar manuscript, Buddhivilas was Sanskrit and Astrology scholar. Vijay pal or Babhadra Shah offered him shelter.
According to Manodaya Kavya, there were scholars of Vedas, Karmkand, astrology, dharmashastra in the Manshah court.
Garhrajvansh Kavya states that Shyam Shah was supporter of scholars and used to offer valuables to scholars.
Tantrik and Mantrik – The Garhwal Kings used to believe on power of Tantra and Mantra. There were Tantrik and Mantrik in Garhwal court. Garhwal Kings also used to invite Tantrik and Mantrik from other states.
Many poets and scholars used to reach Shrinagar court of Prithvipati Shah. Prithvipati Shah used to offer them gifts. Prithvipati Shah offered Jagir to Persian scholars Shaymdas and Kehardas.
Fateshah had been famous king for offering shelters to poets and astrology.
Poet Ram Chandra Kandiyal created 'Fateshahyashovarnan'. Braj poets as Bhushan, Matiram and Ratan Kavi reached to Shrinagar and Fateshah offered them gifts. A Maithali Poet Gokulnath Jagganath Mishra took shelter in Garhwal Court of Fateshah and created Sanskrit poems. A court scholar Jatdhar Mishra created an Astrology book in Fateshah time.
Medhakar Shastri Bahuguna – He was Pradip Shah Court poet and created Ramayanpradip. Scholars as Jaidev Bahuguna (brother of Medhakar) and Ramdatt Bahguna Dharmadhikari were in court of Lalit Shah.
Maularam – Maularam was Braj poet and a fine artist. He created Garhrajvansh Kavya in Braj. Maulram also wrote Shlokas in Sanskrit.
The following Garhwali folklore were created in Garhwal Kingdom –
Jitu Bagdwal
Rajula Malu Shahi
Bhanu Bhompela
Jagdev Panwar
Ran Rautu
Surji Nag
And many more.

Copyright@ Bhishma Kukreti Mumbai, India, bckukreti@gmail.com 13/10/2014
History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued... Part -457
(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)
History of Garhwal from 1223-1804 to be continued in next chapter ....
XX
Notes on South Asian Modern Period History of Garhwal; South Asian Modern Period History of Pauri Garhwal; South Asian Modern Period History of Chamoli Garhwal; South Asian Modern Period History of Rudraprayag Garhwal; South Asian Modern History of Tehri Garhwal; South Asian Modern History of Uttarkashi Garhwal; South Asian Modern Period History of Dehradun, Garhwal; Modern History of Haridwar ; South Asian Modern Period History of Manglaur, Haridwar; South Asian Modern Period History of Rurkee Haridwar ; South Asian Modern Period History of Bahadarpur Haridwar ; South Asian Modern Period History of Haridwar district, History of Characteristics of Garhwal Kings Shah dynasty , to be continued
XX
Encouraging the Scholars Encouraging the Scholars in Garhwal in Pal /Shah Rule
in Garhwal in Pal /Shah Rule; Encouraging the Scholars in Garhwal in Pal /Shah Rule in context Pauri Garhwal History; Encouraging the Scholars in Garhwal in Pal /Shah Rule in context Chamoli Garhwal History; Encouraging the Scholars in Garhwal in Pal /Shah Rule in context Rudraprayag Garhwal History; Encouraging the Scholars in Garhwal in Pal /Shah Rule in context Tehri Garhwal History; Encouraging the Scholars in Garhwal in Pal /Shah Rule in context Uttarkashi Garhwal History; Encouraging the Scholars in Garhwal in Pal /Shah Rule in context Dehradun Garhwal History; Encouraging the Scholars in Garhwal in Pal /Shah Rule in context Haridwar, Garhwal History;

Bhishma Kukreti · October 13, 2014, 11:40:33 AM

Shakambari Jayal (Juyal): The First Woman Historian of Uttarakhand
Historians of Uttarakhand -1
Bhishma Kukreti

Shakambari Jayal (Juyal) is first woman Historian of Uttarakhand. There is a long list of famous historians of Uttarakhand who were her disciple as Dr Pushpesh Pant, Dr Shekhar Pathak, Dr. Sunil Kumar, Dr. Dharampal Manral , Madan Chandra Bhatt and many more.
Shakambari Jayal (Juyal) was niece of ex Prime Minister of Tehri Riyasat Chakra Dhar Juyal. Shakambari Juyal was born in 1924. She died in Jaipur (Rajasthan) at the age of 86. The forefather of Shakambari Juyal belonged to Pauri Garhwal and her father was settled in Dhakrani, Dehradun. . Her father Chandra Datt Juyal was a government officer in Almora. She was born after her parents returned from Shakmbhari Temple pilgrim, Saharanpur and they named her as Shakambhari. She took her basic education in Dehradun. Her two brothers Vidhudhar and Nalnidhar Juyal were IAS officers.
Shakambari Jayal (Juyal) passed graduation and post graduate from Banaras Hindu University. She passed her M.A (History) in the subject- Medieval India (Madhyakalin Bharat). Dr Shakambari Jayal (Juyal) got her PhD under the eminent historian Dr Ramashankar Tripathi. Shakambari Jayal (Juyal) started her teaching carrier from Vasantan Degree College. Later on she was appointed as Assistant professor of DBS College Nainital. Later on she became professor at Government College Ranikhet and retired from there. Shakambari Juyal married with a Gujrati scholar Dr Gautam Dwivedi.
Credit goes to Dr Shakambari Jayal (Juyal) for initiating history research in Nainital College. When Dr Juyal became head of department, she worked hard to make the library as research oriented library. She approached UGC for providing books and encyclopedias for the History libraries and got help from UGC.
She also initiated to have history exhibition in Nainital and it was a successful history exhibition. Afterward, She also arranged two more History Exhibitions in Nainital. Dr Jayal (Juyal) initiated research in Kumaon and found many new unknown aspects of Kumaon archeology and history of Kumaon. She started 'Kumaon Sangrahlaya' in Nainital. Dr Shakmbari Jayal (Juyal) initiated various reseahces on History of Kumaon and also supported scholars as Prayag Joshi.
Dr Shakambari Jayal (Juyal) was supporter of cultural history than Formal history, journalistic history, and archeological history.
Dr Shakambari Jayal (Juyal) published many history articles in history journals. Her book 'The Status of Women in the Epics' was published in 1966. The book got very good comments from historians.

Copyright@ Bhishma Kukreti, Mumbai 13/10/2014
Reference
Dr Madan Chandra Bhatt, 2011, Uttarakhand ki Pratham Mahila Itihaskar Dr Shakambari Jayal (Juyal), Shailvani Samarika, Kotdwara

Bhishma Kukreti · October 14, 2014, 05:58:25 AM

दस हजार की लूट

स्किट स्क्रिप्ट ::: भीष्म कुकरेती

द्वी झण बुड्या -बुडड़ी खुसी खुसी बैंक से भैर आंदन।

एक गिरहकट - यार ! सि द्वी ऐगेन हमर मुर्गा ! सि पैसा गाडिक बैंक से भैर आणा छन। अर तौंक खुसी बताणि च बिंडी पैसा निकाळ तौन !

हैंक गिरहकट - हाँ ! हाँ पक्का मुर्गा इ छन। जरा सुणदा क्या बुना छन।

पैलो गि . - हाँ उन बि तौंतैं कै कुण्या पर हि दबकाण।

बुड्या - एक लाख मादे दस हजार आज निकाळ ऐन तो बि नौ एक लाख तक त बैंक मा छै छन।

बुडड़ि - हाँ भौत छन। अपण साल भर तक खुसी खुसी काम चल जाल।

बुड्या - दस हजार छन। अक्वैक सम्भाळ हाँ !नवा कखि !

बुडड़ि - नै नै सम्बाळिक धर्यां छन।

बुड्या - अच्छा सूण ! जरा ब्वारी तैं समझाये कर कि जब बि बुलण त ठीक से बुलण।

बुडड़ि-कनो ?

बुड्या -अरे ब्वारी तैं बुलण चयेंद तैं सुनहली थाळी गाडो , रजत कलर की प्लेट निकाळो आदि आदि

बुडड़ि-हाँ ! समझाई च पर तैंक समज मा नि आंद कि कन बुलण चयेंद। लखपति छंवां तो लखपति जन बात करण चयेंद
बुड्या -समझा ! समझा ! निथर मि तैं इ समझाण पोड़ल।
बुडड़ि- न ना ! मि समदै द्योल।
पैलो गिरहकट - सुनसान कुण्या ऐ गे। दबका तौं मुर्गों तैं पूरा दस हजार छन तौमां
दुसर गिरहकट - ऐ बुड्डी ! निकाळ तौं दस हजार रुपया !
बुड्या - अरे हम त गरीब -गुरबा छंवां !
पैलो गिरहकट छुर्रा दिखैक - हाँ हमन सुणि याल तुमरि छ्वीं। सुनहली थाली , रजत रंग की प्लेट !
दुसर गिरहकट -बैंक माँ नौएक लाख रुप्या जमा ...
बुडड़ि (अपर ब्लाउज पुटकन रुप्या निकाळिक गिरहकट का हाथ मा धरदी )- मुकदान लगल तुमर !
पैलो गिरहकट - सौ रुप्या ! बस ?
दुसर गिरहकट - बेवकूफ समज क्या तुमन हम तैं ? तुमन बैंक से दस हजार निकाळिन
बुड्या - तो पूरा दस हजार इ त छन।
पैलो गिरहकट - अबे बुड्डे ! ये तो सौ रूपये हैं। बाकी नौ हजार नौ सौ भी निकालो।
बुड्या - हाँ पर सि सौ रुप्या इ त दस हजार पैसा छन कि ना ?
द्वी गिरहकट - क्या मतबल ?
बुड्या - हाँ दस हजार पैसा। हम हमेशा खुस रौण चांदा तो हम रुप्या नि गणदा बल्कि नया पैसा का हिसाब से गणत करदां।
गिरहकट - मतलब तुम लखपति नि छंवां ?
बुडड़ि - किलै ना ? पैसा तैं इकाई मानो तो वै हिसाब से हम लखपति छंवां कि ना ?
बुड्या - खुस हूणो बान हम धन तैं रुपया मा ना पैसों मा गणदा ! हम इन नि बुल्दां कि हम पांच रूप्याक टमाटर लवां बल्कि बुल्दां कि हमन आज पांच सौ का टमाटर खरीदेन

Copyright@ Bhishma Kukreti 14/10 /2014
*लेख में घटनाएँ , स्थान व नाम काल्पनिक हैं । लेख की कथाएँ , चरित्र व्यंग्य रचने हेतु सर्वथा काल्पनिक है

Garhwali Humor in Garhwali Language, Himalayan Satire in Garhwali Language , Uttarakhandi Wit in Garhwali Language , North Indian Spoof in Garhwali Language , Regional Language Lampoon in Garhwali Language , Ridicule in Garhwali Language , Mockery in Garhwali Language, Send-up in Garhwali Language, Disdain in Garhwali Language, Hilarity in Garhwali Language, Cheerfulness in Garhwali Language; Garhwali Humor in Garhwali Language from Pauri Garhwal; Himalayan Satire in Garhwali Language from Rudraprayag Garhwal; Uttarakhandi Wit in Garhwali Language from Chamoli Garhwal; North Indian Spoof in Garhwali Language from Tehri Garhwal; , Regional Language Lampoon in Garhwali Language from Uttarkashi Garhwal; Ridicule in Garhwali Language from Bhabhar Garhwal; Mockery in Garhwali Language from Lansdowne Garhwal; Hilarity in Garhwali Language from Kotdwara Garhwal; Cheerfulness in Garhwali Language from Haridwar;
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Bhishma Kukreti · October 14, 2014, 09:27:20 AM

Garhwal Kings Patronizing Garhwali or Pahadi Paintings
Administration, Social and Cultural Characteristics History of Garhwal in Shah Dynasty -20

History of Garhwal including Haridwar (1223- 1804 AD) –part -209
History of Uttarakhand (Garhwal, Kumaon and Haridwar) -457
Garhwali Paintings
The art critics call the art of Kashmir, Himachal Pradesh, Garhwal and Kumaun as 'Pahadi Chitrkala or Paintings of Himalaya . Phadi Kala is part of of Rajputa Chitrkala but with difference. Before the introduction of Rajput style in mountains of Himalaya, the style was referred as Kangada style. Due to ignoring characteristics of Aurangzeb the Mogul King and thereafter weakening of Mogul kingdom, the artists started migrating towards Himalayan kingdom'. Fortunately, the artists got the art lover king Sansarchand of Kanga (Himachal Pradesh). By the appreciation of King of Kangada Sansarchand for art and artists, Pahadi painting developed with speed. The critics call the time of 1786-1805 as the Golden Period for Pahadi Paintings. Expert of Rajput Painting Dr Kumarswamy says, " The Pahadi or Kangada style provided an exclusive style of presenting very beautiful, desirable, extra ordinarily attractive women in the paintings, this is its own creation and recognition too and there is no limit of attraction." In other article, Kumarswamy writes," if Chinese paintings could present splendid geographical images (Nature) the Pahadi style paintings could present the memorable love scenes"
History:
Pahadi style of Paintings developed in three specific zones or branches-
1- Basohali
2-Kangada
3-Garhwal
Though, Barrister Mukandi Lal is credited to bring Garhwali paintings into lime light I beginning of twentieth century , Kumarswamy will be called the first art critic who told about Garhwali painting in his famous book Rajput Paitning (1916) .
The development of Garhwali style painting is the result of historical happenings in Garhwal then a sovereign nation. Suleman the eldest son of Dara Sikoh (son of Shahjahan ) took asylum in Shrinagar Garhwal at the time of king Prithwipati Shah in 1658AD. Along with Suleman, two prominent court artists of Shahjahan Tomar Shamdas and his son Haridas -also came to Shrinagar Garhwal. After nineteenth months, thearmy of Aurangzeb took away Suleman Shikoh but the artists settled in Shrinagar. Both artists got the position of court artists (Tasveerdar) in the court of Prithwipatishah
When the art of Shamdas and Haridas was on its zenith, prince Pradyumanshah son of Prithweepatishah got married to the princess of Guler (Kangada) . It was obvious that the artists of both the kingdoms interact with each others. That is the reason that critic believe in Garhwali style effected Kangada style and kangada style effected Garhwali style paintings .
In 1829 the king of Kangada Anirudh Chand had to leave his kingdom and came to Haridwar (part of Garhwal kingdom) There in Haridwar, his two sisters were married to the King of Garhwal Sudarshan Shah and there is possibilities that the exiled king of Kangada offered kangada paintings and artists to the king of Garhwal. Though , Kishori Lal Vaidya an art critic connect this historical points for effect of Kangada paintings on Garhwali paintings but the time factor does not permit to accept so.
Maularam a Prominent Painter of Garhwali painting
:
Apart from artist duo Shamdas Tomar and Haridas Tomar, there have been fine painters as Heera lal, Heeranand and Mangatram. They might have painted the paintings which are not having there names on the available Garhwali paintings.
Maularam (1743-1833) was the fourth generation of Haridas .. Maularam was the son of fine artist Mangatram.
Maularam was the devotee of Kali Jagdamba. In one painting which he portrayed he is worshipping Kali godess. There was effects of saints and sages on Maularam. He was also follower of Gorakhnath sect and in his last span of life he became follower of Manmanth sect (believer of shapeless god) . That is the reason, he developed high imagination power. Initial his paintings are effected by Mogul style but slowly he inclined towards Garhwali and Kangada styles. He was also rewarded by Sansarchand king of Kangada nad nepalis praised his painting. The governor of Nepal kaji Hastidal Chauteria praised the art of Maularam in Nepali verses.
The king Jaikrit Shah appreciated his wok but it is believed that there was disagreement between Maularam and price Parakram Shah. After debacle by earthquake and Gorkha attack, Shrinagar lost its glory and it was no more capital of Garhwal Kingdom. Even then Maularam did not leave Shrinagar.
Maularam was of multifarious talents. He was great poet, historian and philosopher. Maularam used to write poems on many his paintings.
His paintings are as :
1-Morpriya- is the painting of his young age
2-Maynkmukhi painting is painted in his old age
3-Utkanthita Nayika and Jaidev Bazir are one of the best paintings of Maularam
4-'Dampati' painting portrayed the king Pradyumn Shah and his queen and is high standard painting
5-Due to very high standard of painting ' Radha - Krishn Milan' , the apinting was exhibited in many art galleries and exhibitions.
6-The love paintings of Maularam are 'Vipralambha Nayika','Sitar Priya', 'Hindola', 'Mastani', Vasakshayya'.
7-chandrmukhi
Maularam used to paint his name and date of finishing the painting. Invariabily Maularam used to write poems on the painting and he was the expert of blending poetry and visible art.
Art critics j c French, A Ghos and many appreciated the works of Maularam
Successors of Maularam as Garhwali Painters
The following paiters were family succesors of Maularam who created Garhwali paintings too
1- Jwala Ram son of Maularam: there are sixty three paintings of Jwalaram in the collection of Barrister Mukandi Lal . Three paintings are in the collections of Nurpur king
2-Shiv Ram son of Maularam: According to art critics Shiv Ram was finner painter tha Jwalaram
3-Atma ram grandson of Maularam: two paintings 'Shiv Parvati' and 'Radhakrishn' are in the collection of g K Joshi
4-Tejram grandson of Maularam
5-Hariram great grandson of Maularam
6-Tulsi Ram great grandson of Maularam
Chaitu and Manku
Chaitu and Manku brothers are famous artists of Garhwal, Himalaya . Though, there is no agreement among the historian for the village of Chaituand Manku and their life span, most of the historians and artists claim that Chaitu and Manku were contemporary artists of famous poet and artist Maularam (1743-1833)
Chaitu and Manku were born in village Rampur of Chalansyun Patti, Pauri Garhwal. Dr Katoch says that Chitram or Chaitu and Manak Ram or Manku were the last of Phadi Kala (Garhwali art) generation.
Both lived in Shrinagar then the capital of Garhwal .
N C Mehta, Chakravatrti, Carl Khandlwala and Randhava did researches on Chaitu amnd Mankram .
The paintings named ' Yadviyon ka haran or Rapes on Yadav Women' and 'krishn Dwara Kar Vasuli or Tax by Krishna' are famous paintings of Chaitu and there are signatures of Chaitram on both the paintings.
There is signature of 'Chetaye te gher de' (From the house of Chaitu) ' on a painting 'Rukmani Haran' painting (is in Bharat Kala Sangrah)
According to N C Mehta, Manku is famous for ' Geet Govind' paintings
There is distinct effects of Kangada style on all the paintings of Chaitu and Manku.. Krishna is in the dress of Mughul style.
Museums and Collection Centers where Garhwali Paintings are available
1- Maharaj Narendra Shah collection , Tihri Garhwal
2-Collection of prince Vichitr Shah, purana Darbar Tihri
3-Collection of rao Virendra Shah (Dehradun)
4-Bhartiy Kala Bhawan Varanasi (kunvar Vichitr Shah collection)
5-The collection of heir of Balak Ram , Shrinagar
6-Collection of Mukandi lal Kotdwar
7-Collection of Maharaj Nurpur
8-Collection of diwan Chakrdhar Juyal
9-Collection of barrister Manak , Patna
10-Collection of girja Kishor Joshi, Almoda
11-Collection of Ajit Ghos , Kolkatta
12-Collection of R K Kajriwal, Kolkatta
13-Collection of Onkar Chand Sud, Shimla
14-Collection of Kastur Bhai Lal Ji Bhai , Ahmedabad
15- Collection of J C French
16-British Museum , London,
17-Victoria Museum, London
18- Boston museum, USA
19-Rashtriy sangrahalay, Delhi
20-Rajya sangrahalay Lucknow

Characteristics of Garhwali Painting
The art critics call the art of Kashmir, Himachal Pradesh, Garhwal and Kumaun as 'Pahadi Chitrkala or Paintings of Himalaya . Phadi Kala is part of of Rajputa Chitrkala but with difference.
There have been many experiments in Garhwali paintings on the basis of Mogul style from seventeenth century till Maularam came in existence. We may see this style in the paintings as 'Manini', Mastani (1771) and 'Hindona' pantings. There is visible effects of Mogul styled painting on the two paintings of Maharaj Fateh Shah. In one painting, Fateh Shah is in very indigence condition and is aiming at the target with arrow. In other painting, before Maharaj Fateh Shah a lion and a goat are taking water from a river together with peace and harmony. From subject point of view, though there is effects of Kangada style and Mogul style, there is specialty of Garhwali style in those paintings.
The famous art critic J .C French (who was a civil servant in Bengal Province ) states about Garhwali paintings in Himalayan Art( 1931), " From design, subject, presentation and strenth poit of views, there is strong effects on Garhwali paintings ( seventeen to nineteenth centuries ) of Kangada. however, there is clear distinction from the point of views of line-flow, general atmosphere between Garhwali and Kangada painting (art) . There is lesser glossiness, luster, decoration and extreme tenderness in Garhwali paintings than Kangada paintings". However, Ajit Ghosh says," there is similarity between Garhwali and Kangada paintings from the angles of emotions, objectivities, inspiration and stimulation. But in many aspects, Garhwali art reached ahead of Rajput Style of paintings. As Garhwali artists (painters) are far ahead than Rajput Styled painters in terms of spender, radiant, ornamentation, fineness, and presentation of geographical natural scenes.
A world fame art critic K.Vaidya writes in Pahadi Hirakata ," there is vast distinctions and differences in the faces of Hero and Heroines (Nayak Nayikayen) between garhwali paintings and Rajput Paintings and Kangada art. There are trees and plants gushing without leaves in many Garhwali paintings. The leaves are smaller in size and are round shaped in Garhwali paintings than Rajput Styled and Kangada Styled paintings . There are many other distinctions in Garhwali paintings that they are exclusive in nature and presentation."
There are following main subjects of Garhwali Paintings or Garhwali Chitrkala :
1- Rukmani Mangal
2-Nayka Bhed
3-Ramayan
4-Mahabharat
5-Kamsutra
There have been paintings of Dasawtar, Ast Durga, Nav Grah too.
Initially there have been love scenes in Garhwali art . However, this style have been on its peak and best in the paintings of Krishna Leela . The love scenes of radha and Krishna had been the main subjects of painters. The patron of Garhwali paintings Mukundi Lal Barrister says," no painter of other Himalayan paintings could reach on that height which Garhwali painters could achieve in showing the emotions and beauty of women. The women in Garhwali paintings are more lively, agile , swift and attractive than other Himalayan Paintings. The most important distinction in Garhwali paintings is that the women are having bigger round Teeka on their forehead"
There have been very effective blending of poetry and art in Garhwali paintings. Most of the painters took the base of Bihari Satsai (Poems of Bihari of Braj language) , Keshav, Matiram and other poets of love subjects. Example, in one painting, Krishna is embracing his lover while falling down from the bed and in other painting, Radha becomes jealeous after seeing that another lover of Krishna putting her foot on the head of Krishna with tender love (from Bihari's Satsai) . These painting is available in the collections of G .K. Joshi and Onkar Chand Sood respectively.
The Garhwali painters displayed very good expression of forests, animals, plants, birds and flowers. Mostly, painters showed flowery Mandar tree in their paintings. The audience becomes happily surprised to see the emotions of heroine in the scene of 'Separation of Love' in the paintings of Maularam . J. C French states," There is special tenderness and attraction in the flowers shown in Garhwali paintings"
Famous art collector and critic Kumarswami rightly says," The Rajput Styled paintings is nothing but a Folk Art and Garhwali Painting is Garhwali Folk art too. We find memoir of that time ,artistic views of people, religious and social thinking , belief of that time etc. all should do researches and preserve the past. All should take the work of Mukundi Lal Barrister ahead and should find more on Garhwali Art aand paintings"
Critics and Historians of Garhwal Art or Garhwali Chitrakala
This write up is meant for those who are interested in knowing about the references, art critics and art historians.
1-We get first reference about Garhwali art from the notes of an English woman sister Nivedita (disciple of Swami Viveka Nand ) about the artistic characteristics of temples around of Shrinagar Garhwal.
2- Metcalf seems to be first historian who threw lights on art of Garhwal in his articles on Rajput Style of Art
3-- E T Atkinson provided some reference on Garhwali art and handcraft in Himalayan Gazetteer (1882-1884)
4-Kumarswamy a famous art historian published his book in 1916 Rajput Painting wherein he positioned Garhwali paintings with Pahadi Paintings. From 1908 onwards Kumarswamy traveled many Himalayan places for his research on Rajput style of painting. Before that, Kumarswamy called references of Garhwali paintings in his speeches all over world. In true sense Kumarswamy is modern historian who talked about Garhwali paintings and later on his disciple Barrister Mukandi Lal worked thorough research on Garhwali paintings.
5- Pundit Harikrishna Raturi provided references of Garhwali kings appreciating and promoting Garhwali art in his Garhwal ka Itiyash
6- O.C Ganguli provided detailing on the paintings of Maularam in his famous book 'Master Pieces of Rajput Paintings'(1926)
7-The work of N C Mehta is very important for imitating the researches of Garhwali art as he mentioned that Kangada style of painting 'Gee Govind' is related to Garhwali style of painting in his famous boo' Studies in Indian Paintings'(1926..This book inspired research scholars to search specifics of Garhwali paintings.
8- J.C French published his well researched book on the art of Himalayan Kingdoms 'Himalayan Art' (1931. For this research French traveled Garhwal and other kingdoms of Himalaya. French appreciated the work of Maularam in his book and research papers.
9-W .G Archer published two books in 1956 -Indian Paintings in Punjab and Kangada-Paintings. Archer proved that Maularam used to copies his original work for many uses as gifting to other celebrities.
10-M S Randhava published three books in 1952 'Knagda Valley Paintings', Krishna Legend in Pahadi Paintings and Basuli Paintings. M S Randhava . Randhava mentioned that Garhwali kings used to give paintings in dowry on the occasions of their daughters, nieces.
11-Carl Khandalwala published a large volume 'Pahadi Miniature Paintings ' wherein he described / interpreted the research works of Barrister Mukandi Lal in details.
12- K L Vaidy published a book 'Pahadi Chitrakal', wherein there is details on Garhwali paintings.
13- Vachaspati Gairola provided details of Garhwali paiting in his book Bhartiy Hirakata (1963) and proved that Garhwali paintings started from fifteenth century.
14-Mulkraj anand, Ajit Ghosh, Gotz, Garlswarth also provided glimpses of Garhwali paintings in their works of art crtics.
15-Chakravarty wrote about Garhwali paintings in Ruplekha :part 22 (1951)
16-Barrister Mukandi Lal is called the father of writing, researched on Garhwali paintings and from his young age he wrote about garhwali paintings. In 1969, he published his famous book 'Garhwali Painting' Prime Minister Mrs Indira Gandhi wrote the introductory notes of this book.
17-There are articles (mostly of barrister Mukandi Lal ) in the following magazines, newsletters, books etc
A-Rup Lkehs part 26(2)
B- Himachal Prashashthi, 6th part, 1970
C-Uttarakhand Bharti ,Nainital, 1973
D-Bharat Kala Bhavan Suchipatr, 1945
E-Uttarakhand Bharti, issue-2,1973
F-Vishal Bharat issue 1, January 1928
G-Rupam (21Vol) 1921
H-Sarswati, September, 1940
I- Hindustani from 1932-1944
J-Tripathga (Kala ank) 1952
K-Nehru Smarak Granth 1949
L- Uttarakhand Bharti, Nainital, 1973
M-Illustrated weekly, 3rd June 1973
N- Sammelan patrika (1980), Allahabad
O-Vasudhara
P- Barrister Mukandi Lal Smiriti Granth 1986
18-Dr Yashvant Katoch has written books and articles on this subjects
19-Dr Shiv Prasad quoted many paintings in his books Uttarakhand ka Itihas an provided photographs of many paintings in his books --Uttarakhand ka Itihas 9 volumes
20-Dr Mohan Babulkar wrote about Jaunsar art in many magazines
21-Budhiballabh Dyundi and Durgavati Dyundi wrote many articles on garhwali chitrkala

Copyright@ Bhishma Kukreti Mumbai, India, bckukreti@gmail.com 14/10/2014
History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued... Part -458
(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)
History of Garhwal from 1223-1804 to be continued in next chapter ....
XX
Notes on South Asian Modern Period History of Garhwal; South Asian Modern Period History of Pauri Garhwal; South Asian Modern Period History of Chamoli Garhwal; South Asian Modern Period History of Rudraprayag Garhwal; South Asian Modern History of Tehri Garhwal; South Asian Modern History of Uttarkashi Garhwal; South Asian Modern Period History of Dehradun, Garhwal; Modern History of Haridwar ; South Asian Modern Period History of Manglaur, Haridwar; South Asian Modern Period History of Rurkee Haridwar ; South Asian Modern Period History of Bahadarpur Haridwar ; South Asian Modern Period History of Haridwar district, History of Characteristics of Garhwal Kings Shah dynasty , to be continued
XX

Bhishma Kukreti · October 14, 2014, 10:55:45 AM

Edwin Thomas Atkinson: A Prominent Historian of Kumaon and Garhwal
Historians of Uttarakhand -2
Bhishma Kukreti
The contribution of Edwin Thomas Atkinson is very important. Edwin Thomas Atkinson was born on 6th September 1840, in Tipperary, Ireland. Edwin Thomas Atkinson died in Kolkata by Bright's disease on 15th September 1890. Edwin Thomas Atkinson was a lawyer and was expert on Indian Laws. Edwin Thomas Atkinson joined Indian Civil Service. Edwin Thomas Atkinson published many volumes related to India.
Edwin Thomas Atkinson published following books those are very useful for knowing history, sociology and geography of Uttarakhand.
Himalayan Gazetteer (1882, reprinted 1998)
Religion in Himalayas (1882, reprinted 1974)
Kumaon Hills: Its history, geography and anthropology with reference to Garhwal and Nepal (reprinted 1974, 1980)
Himalayan Gazetteer or The Himalayas Districts of North West Provinces of India (1882, reprinted 2002)
Homoptera Indica
Flora of Himalayas with reference to Kumaon, Garhwal, Nepal and Tibet (1882, 1980)
Statistical, descriptive, and Historical accounts of North West Provinces of India (1874)
Catalogue of Insecta (1890)
Catalogue of Capsidae
Notes on Indian Rhaynchota (1884)
Notes on the History of religion in Himalayas N.W.P. India (1883)
Geology of Himalaya: comprising studies on Shivalik Hills, Kumaon, Garhwal, Nepal, Sikkim and Bhutan(republished1980)
The Economic Botany of Himalayas (two new edition in 1980 and 1989)

No historian can avoid Atkinson for writing History accounts of Garhwal, Kumaon and Doti (Nepal)

Copyright@ Bhishma Kukreti, Mumbai 14/10/2014
Xx
Historians of Garhwal, Historians of, Kumaon; Historians of Pauri Garhwal, Historians of Udham Singh Nagar, Kumaon; Historians of Chamoli Garhwal, Historians of Nainital, Kumaon; Historians of Rudraprayag Garhwal, Historians of Almora, Kumaon; Historians of Tehri Garhwal, Historians of Champawat, Kumaon; Historians of Uttarkashi Garhwal, Historians of , Bageshwar Kumaon; Historians of Dehradun Garhwal, Historians of Pithoragarh , Kumaon; Historians of Haridwar Garhwal, Historians of Doti , Old Kumaon;

Bhishma Kukreti · October 14, 2014, 06:49:23 PM

असली अध्यापकौ/अध्यापिका की पछ्याणक

गढ़वाळि हास्य -व्यंग्यकोष -भाग -26

Garhwali Satirical Dictionary part -26

संकलन ::: भीष्म कुकरेती

असली अध्यापक/अध्यापिका सुपिन मा बि बरड़ान्द -सिट डाउन , स्टैंड आप , गेट आउट !

असली अध्यापक/अध्यापिका बस मा , गोर मा , गप्प लगांद , खाणो पकांद , मीटिंग मा याने कखिम बि परीक्षा पत्र जांच लींदन

असली अध्यापक/अध्यापिका पेन्सिल चबांदन

असली अध्यापक/अध्यापिका जरा बच्चों समूह द्याख ना कि बुलण लग जान्दन - लाइन में , लाइन में , अनुशासन में

असली अध्यापक/अध्यापिका बगैर सीट जँचयाँ परख्याँ कुर्सी / सीट पर नि बैठदन ऊँ तैं हर समौ डौर रौंद कि विद्यार्थ्युंन सीट मा कुछ ना कुछ धर्युं होलु

असली अध्यापक/अध्यापिका अपण लंच द्वी मिनट उन्नीस सेकंड मा खै लीन्दन

असली अध्यापक/अध्यापिका भविष्यवाणी कर लीन्दन कि ओपन हाउस मा कैक ब्वे -बाब बाब आल

असली ग्रामीण अध्यापक/अध्यापिका भविष्यवाणी कर लीन्दन कि क्वा मौ शरादुं मा बुलालि

असली अध्यापक/अध्यापिका तैं बरोबर पता रौंद कि क्लास से रेस्टिंग रूम की दुरी कथगा मीटर अर कथगा सेंटीमीटर च

असली अध्यापक/अध्यापिका अपण जिंदगी मा नया बहाना नि सुणदन

असली अध्यापक/अध्यापिका का पास प्रिंसिपल , हेडक्लर्क का पता अर फोन फोन नंबर अवश्य हूंद

प्राइवेट स्कुलौ /कॉलेजौ असली अध्यापक/अध्यापिका जाणदा छन कि स्कुल या कॉलेज प्रिंसिपल ना ट्रस्टी चलांदन

असली अध्यापक/अध्यापिका जाणदा छन कि नियम ऊं पर लागू नि हून्दन

ग्रेजुएट, , पीजी कॉलेज का असली अध्यापक/अध्यापिका अधिकतर पढाँद दैं बुल्दन - रीसेंट्ली इन 1937 . कारण यी नोट्स 1943 मा अध्यापक/अध्यापिका का प्रोफेसर का प्रोफेसरन बणै छा

जब फौड़म पूछे जा बल खाणक कन च त असली अध्यापक/अध्यापिका कु जबाब इन होलु -

-- खाणक स्वादम सी ग्रेड छौ किन्तु स्वास्थ्यौ हिसाबन बी ग्रेड अर जनप्रतिक्रिया कु हिसाबन कम्पार्टमेंट मा पास हूण लैक

--बी ग्रेड अर पैलो मैनाक फौड़ से दस प्रतिशत सवादी किन्तु मर्च बीस प्रतिसत अधिक

- बुड्यों कुण ठीक ठाक , छुट बच्चों ब्वेउँ तैं सावधानी बरतण पोड़ल निथर ए ग्रेड

बरसात का मौसम मा मौसमौ बारा मा सवालो जबाब मा असली अध्यापक/अध्यापिका उत्तर इन ह्वे सकद -

-- आज अस्सी से नब्बे प्रतिशत हाजरी रालि

-- आज हाजरी बहतर प्रतिशत से कम ही होली

--आज अनुपस्थित बच्चों ब्वे बाबुंन डाक्टर मांगन सर्टिफिकेट लाणो जाण

व्यंग्य शब्दकोश जारी रहेगा ......।

Bhishma Kukreti 14 /10/2014

Garhwali Satire Dictionary, Garhwali Satire Dictionary collected and edited by born in village Jaspur ; Garhwali Satire Dictionary collected and edited by born in Dhangu Patti ; Garhwali Satire Dictionary collected and edited by born in Dwarikhal Block ; Garhwali Satire Dictionary collected and edited by born in Gangasalan Pargana ; Garhwali Satire Dictionary collected and edited by born in Lainsdowne Tehsil ; Garhwali Satire Dictionary collected and edited by born in Pauri Garhwal ; Garhwali Satire Dictionary collected and edited by born in Uttarakhand; Garhwali Satire Dictionary collected and edited by born in Central Himalaya ;Garhwali Satire Dictionary collected and edited by born in North India;Garhwali Satire Dictionary collected and edited by born in South Asia ; Garhwali Satire Dictionary; Garhwali send-up lexicon; Garhwali spoof vocabulary; Garhwali lampoon glossary; Garhwali Satire phrase book; word list; Garhwali Humor, Satire thesaurus;

Bhishma Kukreti · October 15, 2014, 06:49:32 AM

वै भगवान कु बच्चा ! तेरी औकात छ क्या च ?

चबोड़्या -- भीष्म कुकरेती

भूत -भगवन ! मि त भूतलोक मा बेदिक्क्त छौ , बेख़ौफ़ छौ , अलमस्त छौ, आपन मि तैं किलै बुलाइ ?

भगवान - त्यार चुनाव ए सालो सबसे सर्वश्रेष्ठ भूत मा ह्वे।

भूत -तो ?
भगवान -तो क्या त्यार सुकर्मों हिसाब से त्वे तैं मृत्युलोक याने मनुष्य योनि मा भिजे जाल।

भूत -नही महाराज ! मि भूत इ ठीक छौं।
भगवान -हैं ! दिबता बि मनुष्य लोक मा मनुष्य योनि मा जन्म लीणो बान घोसपेच लगाणा रौंदन अर तु बुलणु छे कि भूतलोक इ ठीक च।

भूत -हे परमेश्वर ! एक बि काम मनुष्य इन नि करद जु मनुष्य का लैक काम व्हावन।

भगवान -जन कि ?

भूत -एक हों तो मि बतौँ। मनिख हरेक कर्म मनुष्य -बिमुखी करद।
भगवान -क्या ?

भूत -अब द्याखो आपक नियमुं हिसाब से क्वी बि जानवर बेमाता का दूध नि पे सकुद। किन्तु मनिख बेमाता तो छोडो दुसर जानवरों दूध चसोड़ -चसोड़िक पे जांद।
भगवान -हाँ पर......

भूत -पर क्या भगवन ! कथगा इ पर छन ये मनिख पर

भगवान -हूँ !

भूत -जरा स्वाचो ! आपन मनुष्य का दांत अर आंत इन नि बणैन जाँसे मनिख मांश भक्षण कर साको। किंतु संसार मा सबसे अधिक मांश मनिख ही खांद !
भगवान -लेकिन......

भूत -लेकिन क्या ! यी ना आपन एकी आंत इन नि बणै छे कि यु ग्यूं -चौंळ पचै साकु , किंतु आज संसार मा मनिख सबसे अधिक ग्यूं -चौंळ की ही पैदावार करद
भगवान -हाँ किंतु

भूत -किन्तु क्या ईश्वर ! आपन मनिख तैं इन नंग या इन दांत नि दे छा कि यु हैंक जानवर या अपण कौम मनुष्य तैं मार सको। किन्तु हे देव ! आज मनुष्य ही इन जानवर च जु सबसे अधिक अपण भाई बंधुओं हत्या करद । युद्ध मनुष्य का वास्ता वर्ज्य छौ किन्तु मनुष्य युद्ध मा लिप्त च।

भगवान -ठीक च , पर देवलोक का नियमानुसार त्वे तैं मनुष्यलोक मा मनिखौ गाणी मा जाण इ पोड़ल।

भूत -ना ना !
भगवान -नही ! जाण इ पोड़ल।

भूत -वै भगवान कु बच्चा ! तेरी औकात छ क्या च ? पंडित , मुल्ला , पादरी , मठाधीश नि ह्वावन तो त्वे तैं कु पूछल ?
भगवान -हे शठ भूत ! तू म्यार क्रोध तैं नि जाणदि। जा मि त्वे तैं श्राप दींदु कि तू वापस भूत ह्वे जा।

भूत -ओए ! बकबास त नि छै ना करणु ? मि तैं सुदि त नि छै डराणु ? यु श्राप बदल त नि सकद ना ?

भगवान -नही ! अब तू कभी भी मनुष्य नही बन पायेगा।

भूत -धन्यवाद प्रभु ! श्राप प्राप्ति का वास्ता मीन आप तैं गुस्सा दिलाई।
भगवान (अपड़ि मन मा ) -हैं ! शरीफ भूत बि मनुष्यों तरां चालबाजी करण मिसे गेन ?

Copyright@ Bhishma Kukreti 15/10 /2014
*लेख में घटनाएँ , स्थान व नाम काल्पनिक हैं । लेख की कथाएँ , चरित्र व्यंग्य रचने हेतु सर्वथा काल्पनिक है

Garhwali Humor in Garhwali Language, Himalayan Satire in Garhwali Language , Uttarakhandi Wit in Garhwali Language , North Indian Spoof in Garhwali Language , Regional Language Lampoon in Garhwali Language , Ridicule in Garhwali Language , Mockery in Garhwali Language, Send-up in Garhwali Language, Disdain in Garhwali Language, Hilarity in Garhwali Language, Cheerfulness in Garhwali Language; Garhwali Humor in Garhwali Language from Pauri Garhwal; Himalayan Satire in Garhwali Language from Rudraprayag Garhwal; Uttarakhandi Wit in Garhwali Language from Chamoli Garhwal; North Indian Spoof in Garhwali Language from Tehri Garhwal; , Regional Language Lampoon in Garhwali Language from Uttarkashi Garhwal; Ridicule in Garhwali Language from Bhabhar Garhwal; Mockery in Garhwali Language from Lansdowne Garhwal; Hilarity in Garhwali Language from Kotdwara Garhwal; Cheerfulness in Garhwali Language from Haridwar;
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Bhishma Kukreti · October 15, 2014, 11:20:56 AM

Transportation and Trades in Garhwal in Pal /Shah Period
Administration, Social and Cultural Characteristics History of Garhwal in Shah Dynasty -21

History of Garhwal including Haridwar (1223- 1804 AD) –part -210
History of Uttarakhand (Garhwal, Kumaon and Haridwar) -458
Garhwali Paintings
The unapproachable, unreachable roads were blessing in disguise for Garhwal, Himachal and Kumaon Kingdoms. Due to inaccessible roads and difficult terrine, the outside invaders were failure to capture Garhwal Kingdom for centuries. Even the Timure, Sultan, Rohilla, Mughal emperor armies were failure to invade Garhwal beyond Dehradun or Bijnor (Bhabhar of Old Garhwal).
The people used to walk on foot. The officers, kings used to ride on horse or Dandi / Pinus/Palki. The King used to ride on elephant in Shrinagar only. Bhotiya or Tibetan Horses were more suitable for hill roads and plains as well. There for the people used to breed Bhotiya or Tibetan horses. Mules were used for taking load. Donkeys were also used only in plains of Garhwal.
Goods Transportation Media

People used camel as goods transportation medium in Bhabhar, Haridwar including Bijnor. Camels were major source of GoodsTransportation in the rout of from Haridwar to Laldhang, Kotdwar, Kashipur, Ramnagar and Bijnor to Haridwar and Kotdwara.
In Hill regions, people used horses, sheep, goat as medium of goods transportation. Mostly, people used to carry load by themselves on Knadi, Ghodi, Jhaba, Thupri, Bokho etc. Kandi or load vessels were made by bamboo (ringal), hemp, Bheemal.
The army ammunition, weapons, food was also transported by the above means.
Bags were made of hemp, Bheemal fiber, woolen fiber and goat skin or goat body.

Medium of River Crossing
Major ports on Ganga River were Badahat, Dunda, Shrinagar, Vyschatti, Mohanchatti ot Fulchatti, Mahdev Chatti, Chandighat (Rishikesh). Kolagarh on Ramganga, Banghat on Nayar were ports on other Rivers. Here people used to cross the Rivers. The medium of crossing were Boat, Mashak (Leather bag); Dunda (dongi), Pitcher. Dhunar were the people to drive there appliances. Semal wood was used to make small boat or Dongi.
Jhula or Sanga Bridges on Rivers
State used to construct or arrange bridge works. In other cases villagers used to make or construct bridges on rivers. Kingdom used to collect Sanga or Jhula tax for crossing rivers.
First and old method of making bridges was to fall the logs and tress on the river.
Jhula or rope way bridges were also built by the State. The Dhunar used to pull the rope for crossing and used to get agriculture land from the Kingdom. There was one Jhula in Lakshman Jhula, Two in Devprayag. There were Jhula bridges in Dunda, Barahat, Bhatwadi, Shrinagar, Chhinka, Vishnuprayag etc and in Neeti Valley.

Copyright@ Bhishma Kukreti Mumbai, India, bckukreti@gmail.com 15/10/2014
History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued... Part -459
(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)
History of Garhwal from 1223-1804 to be continued in next chapter ....
XX
Notes on South Asian Modern Period History of Garhwal; South Asian Modern Period History of Pauri Garhwal; South Asian Modern Period History of Chamoli Garhwal; South Asian Modern Period History of Rudraprayag Garhwal; South Asian Modern History of Tehri Garhwal; South Asian Modern History of Uttarkashi Garhwal; South Asian Modern Period History of Dehradun, Garhwal; Modern History of Haridwar ; South Asian Modern Period History of Manglaur, Haridwar; South Asian Modern Period History of Rurkee Haridwar ; South Asian Modern Period History of Bahadarpur Haridwar ; South Asian Modern Period History of Haridwar district, History of Characteristics of Garhwal Kings Shah dynasty , to be continued
XX
Transportation and Trades in Garhwal in Pal /Shah Period; Transportation and Trades in Garhwal in Pal /Shah Period in context Uttarkashi Garhwal History; Transportation and Trades in Garhwal in Pal /Shah Period in context Dehradun Garhwal History; Transportation and Trades in Garhwal in Pal /Shah Period in context Haridwar Garhwal History; Transportation and Trades in Garhwal in Pal /Shah Period in context Pauri Garhwal History; Transportation and Trades in Garhwal in Pal /Shah Period in context Chamoli Garhwal History; Transportation and Trades in Garhwal in Pal /Shah Period in context Rudraprayag Garhwal History; Transportation and Trades in Garhwal in Pal /Shah Period in context Tehri Garhwal History;

Bhishma Kukreti · October 15, 2014, 12:14:11 PM

Antonio de Andrade: A Contributor Recording the Garhwal History
Historians of Uttarakhand -3
Bhishma Kukreti

Priest and Explorer Antonio de Andrade could not be called historian of Garhwal. Antonio de Andrade was born in 1580 in Olerious, Purtgal Kingdom. Antonio de Andrade died on 19th March 1634 in Goa, India.
Antonio de Andrade entered the Society of Jesus in 1596. From 1600-1634, he was engaged in missionary activities in India (Goa). Antonio de Andrade was first European to cross Himalaya for reaching Tibet. In 1624, he left Agra for Badrinath with his colleague Manuel Marques with Hindu Pilgrims for Badrinath. After reaching Haridwar, he stayed in Haridwar for getting permission of Garhwal Kingdom to enter into Garhwal. He went to Shrinagar, Mana and then reached to Tibet. Second time (1626), he travelled Tibet via Laddakh.
His travel and exploration of 1624 and 1626 were published in 1626 in a Portages original in Lisbon followed by Spanish translation in Segovia (in Spain 1628). Thereafter his exploration was published in Polish and other European languages.
Antonio de Andrade provides various aspects of Garhwal Kingdom for historians coming some conclusion about politics, diplomacy, social and cultural aspects of Garhwal in sixteenth century.
His writing helps Historians to write various aspects of Garhwal History in sixteenth century.

Copyright@ Bhishma Kukreti, Mumbai 15/10/2014
Xx
Historians of Garhwal, Historians of, Kumaon; Historians of Pauri Garhwal, Historians of Udham Singh Nagar, Kumaon; Historians of Chamoli Garhwal, Historians of Nainital, Kumaon; Historians of Rudraprayag Garhwal, Historians of Almora, Kumaon; Historians of Tehri Garhwal, Historians of Champawat, Kumaon; Historians of Uttarkashi Garhwal, Historians of , Bageshwar Kumaon; Historians of Dehradun Garhwal, Historians of Pithoragarh , Kumaon; Historians of Haridwar Garhwal, Historians of Doti , Old Kumaon; Historians of Bijnor , Old Garhwal, Historians of, Pilibhit, Old Kumaon;