Rama Paintings in Rama Mandiras

Worship of Rama, the seventh incarnation (avatar) of Vishnu, is widespread in Hinduism. He is the only deity in the Hindu pantheon who is considered as a king. Temples dedicated to Rama are found across India varying in size and grandeur. The temple at Ayodhya being consecrated recently (22 January 2024) will perhaps outshine many existing Rama temples by its sheer size and magnificence. 

The daily worship at a temple is an elaborate ritual involving the presence of several individuals as per hierarchy and the tasks assigned to them are multifarious and a high level of knowledge in customs and practices is essential. Many well-known temples have on roll, priests, cooks, musicians, attenders, so on and so forth. 

During the Bhakti movement of the 15th and 16th century, there developed a parallel mode of worship and personal devotion to the chosen deity. In north and central India, wealthy businessmen and landlords (zamindars, subedars, talukdars and jagirdars) patronised a distinct but unique form of worship of Rama and Krishna shorn of grandeur and the imposing temple structures. Large mansions and grand residences housed a shrine dedicated to the Lord, these are referred to as 'Thakurji ki Haveli' (house where the Lord resides). The havelis had a private section where the householders resided and a public section (called as 'baithak') where devotees adhering to the tenets of the sect were allowed to offer prayers and perform small family functions. 

The Thakurji ki Haveli among many distinct practices, patronised the Haveli Sangeet - musical renderings extolling the virtues of the Lord sung by vocalists to the accompaniment of musical instruments. A similar tradition of Bhajana Mandira and Rama Mandira was prevalent in parts of Karnataka, Tamil Nadu and Andhra Pradesh. The mostly inconspicuous structures are akin to the north Indian Havelis, the only difference being that the south Indian mandiras have independent entrance. 

These mandiras usually have a central altar wherein a painting of Rama is installed. The mandiras of Andhra Pradesh normally have a reverse glass painting of the Sitarama Kalyana, while the ones in Tamilnadu mostly have a Tanjavur painting of Kodanda Rama. The Rama Mandiras of Karnataka have paintings of Rama Pattabhisheka or Ekanta Rama in Mysore style. 

Music plays a major part of worship in Havelis; Rama Mandiras, down South, also patronise music as a part of service to the Lord. Hence, we see the tradition of music concerts conducted during the Rama Navami festivities. 

Most of the Rama Mandiras have on display, paintings depicting other Hindu divinities, the popular ones are Rajarajeshwari, Lakshmi, Saraswati, Shiva’s family, Krishna with consorts, Exploits (Bala leelas) of Krishna, episodes from Mahabharata, Bhagavata, puranas and Ramayana. 

This article examines a few interesting and unique paintings on display and worship at important Rama Mandiras in and around Mysore. The array of subjects and the artists involved in creating these stunning specimens and the devout patrons who were instrumental in leaving behind this rich legacy, are to be remembered in the civilizational journey of India. 

Image 1: This is a simple yet brilliant depiction of King Dasharatha in conversation with sage Rishyashringa, inviting him to perform the Putrakameshti Yaga at Ayodhya. Dasharatha's queens Kaushalya, Kaikeyi and Sumitra stand behind the former with folded hands while the minister Sumantra is shown behind the sage. (Arya Vysya Rama Mandira, Shivarampet, Mysore) 

Image 2: A classic masterpiece by an unidentified artist is the naming ceremony (namakarana) of the four little princes. Dasharath is seated in the centre, to his right queen Kaushalya is cradling the baby Rama and on the King's left, queen Sumitra holds the twins Lakshmana and Shatrughna and on the far left, queen Kaikeyi cradles Bharata. Royal priests and sages with hands raised, bless the royal family. (Private collection) 

Image 3: The wedding (kalyana) of the four princes of Ayodhya. The painting effectively illustrates the grandeur associated with the celebration in the central panel which divides into four individual mantapas where the weddings are being performed simultaneously. The lower register has episodes from Ramayana culminating up to the Seeta swayamvara while the upper register depicts the event of the swayamvara. (Rama Mandira attached to the Hattu Janagala Garadi at Paduvarahalli) 

Image 4: Packed with dramatis personae involved in the last siege and defeat of Ravana, this classic jewel of a painting depicts the worship of Shivalinga at Rameshwaram by Rama and Sita as atonement for the killing of Ravana. The heavily decorated ornate arch and pillars are reminiscent of the Mysore palace. The artist has very imaginatively and skillfully placed the characters one above the other as seen at royal events. (Kunchitigara Rama Mandira, Santhepet, Mysore.) 

Image 5: In this masterpiece by an unknown artist, Rama and his huge entourage await the arrival of Pushpaka Vimana along with Vibhishana to depart the hermitage of sage Bharadwaja. Hanuman, the wise Jambavan and the other simian generals with folded hands thank the sage for having served them with sumptuous meal provided by the grace of wish fulfilling divine cow, Nandini, the daughter of Kamadhenu, seen at the top left corner. (Dodda Garadi Rama Mandira at Srirangapatna) 

Image 6: The painting of Sampoorna Ramayana depicted within the Sudarshana Chakra by artist Parashurama Alasingalachar is a masterpiece. The painting has a register style of story narration. On the top left corner, Vishnu is shown reclining on the serpent Adishesha in Vaikunta, the right-side corner depicts the ancestral deity worshipped by the Ikshvaku clan. Rama and his three brothers offer flowers to the moolamurthy and the utsava murthy of Ranganatha. The bottom left depicts Brahma flanked by Saraswathi and Narada while on the right, Narada narrates the story of Rama to sage Valmiki. (Karagam family, Melkote) 

Image 7: The direct confrontation between Rama and Ravana at Lanka is the subject of this painting. Taking aim at each other with the extended bow, a faint smile on Rama’s face perhaps signifies the outcome of this duel. Here, Rama is shown bigger than Ravana, in size, to emphasise the divinity of Rama. (Bestara Rama Mandira, Tilaknagar, Mysore) 

Image 8: This painting depicts the twins Lava and Kusha ensconced on their parents’ lap with their uncles in attendance. Raja Guru, Maharshi Valmiki presents the horoscope (jataka) and Hanuman pays obeisance to their lordships. This is a fine specimen of Mysore painting with superb gesso and gold work by artist Durgada Krishnappa. (Rama Mandira, Talkad) 

Image 9: Shivageeta is one of the esoteric books which focuses on an episode from Ramayana where Rama and Lakshmana are searching for the abducted Sita in the forest and they visit several hermitages and meet sages. The brothers are accorded darshan by Shiva and Parvati and in one instance Shiva reveals his cosmic form, Vishwaroopa. Thus, this interesting specimen of the Mysore school narrates a rare episode. (Javaratti Rama Mandira, Veeranagere, Mysore) 

Image 10: Among the most famous Rama Mandiras of the city is Bidara Rama Mandira having one of the most magnificent interiors and a fine collection of paintings. This painting of Kodanda Rama by an unknown master is a fine specimen from the early 20^th century. This is a fairly popular subject in the Mysore school. (Bidara Krishnappa’s Sri Prasanna Sita Rama Mandira, Mysore) 

Image 11: The grandeur of the coronation ceremony of Rama is well depicted in this painting. The artist has imaginatively placed maximum number of subjects within every available space in the painting. (Sri Venkateshwara temple, Tilaknagar, Mysore) 

Image 12: In this painting the artist has beautifully captured the anointment of Rama during the coronation ceremony (pattabhisheka). Two sages pour the consecrated water on Rama while five sages seated below chant benedictory verses. In front of Rama with folded hands are his siblings and behind Sita are their spouses. (Thimmarasappa’s Rama Mandira, Bestageri, Nazarbad, Mysore) 

Image 13: After the coronation of Vibheeshana following the death of Ravana, Vibheeshana summons Pushpaka Vimana to ferry Rama, Sita, Lakshmana, Hanuman, himself and the huge entourage of the simian army who are eager to visit Ayodhya for the coronation. This painting by artist B.P. Ramakrishna captures the essence of the arial flight of this wonder of a vehicle which can comfortably accommodate any number of passengers. (Collection: Mrs. Pushpa Krishnaiyengar, Bangalore) 

All the paintings used in this article are in the Mysore school, housed at the mentioned Rama Mandiras (or otherwise), and the copyright is reserved by the respective individuals/Trusts/Mandiras. The paintings were photographed by H.S. Dharmendra Raghu between 2015-2020.

Turban Tales

 

Figure 1. Maharaja KRW and Yuvaraja NKRW are seen with the palace staff in this undated photograph. Almost all classes of officers sport a Mysore turban and sash. Collection: Ramsons Kala Pratishtana.

An ancient Indian sartorial tradition for a man of social standing was donning a turban. The widely practiced custom was prevalent among many classes of the society and continues in select regions even to this day. Most of these headgears are plain in appearance shielding the wearer against the tropical sun. While some are worn as an important accessory asserting social status as the occasion demands, others are a necessity as the particular religion demands the practice. A majority of the turbans consist of a gossamer thin cloth which is skillfully tied by the wearer while gripping one end of the cloth with his teeth. Elaborate headgear with tufts at both ends require the assistance of a professional turban tier. Another variety of turban is the one that is already tied, the layers are stitched and placed on the head like a hat which likely made its appearance during the reign of Mughals.

 

Turban Tradition

The practice among the several clans of Rajputs is that, a person selected by consensus to head the family is formally anointed to the job by the custom referred as ‘dastarband’ wherein the turban is tied in the presence of elders, tilak is applied and he is handed over the heirloom weapons in the family’s possession. Amongst the Sikh community, when a boy attains the age of eighteen, the rite of passage to adulthood is the ceremony ‘dastarbandi’ where a full turban (pagri) is tied at the Gurudwara with a joyous celebration including receiving of gifts followed by a sumptuous meal. The tying and sporting of a headgear continues to this day among several adherents of Islamic faith, especially scholars and the placing of a turban is referred as ‘dastaarband’.

 

Teeming Turbans

Miniature paintings from the famed Mughal ateliers gives one a vivid picture of the bewildering array of turbans that were in vogue during that era. Except monks and wandering minstrels, every person in the frame sports a turban. A few painting specimens give us an idea about the elaborate festivities associated with the event of placing a turban on the head of a prince, the exhaustive details are a visual treat of the grandeur associated with the ceremony. One painting from this genre is that of Shahjahan, in side profile seen in a flamboyant patterned turban with two spinel beads on a gold wire ending with a spray of seed pearls at the back of the head, a gem studded diadem divides the turban into two, seated on the Peacock throne placed on the balcony of the Diwan-e-aam of the Red Fort, witnessing his favourite son Dara Shikoh who in resplendent silken robes and fine Mughal jewellery is seen receiving a turban, in muslin with a tufted crest with osprey feathers, from a senior courtier on behalf of the emperor in the presence of the nobles, courtiers and important kinsmen. Each of the Mughal emperors in the paintings of their reign are depicted wearing a different kind of headgear emphasising a personal fashion statement.

 

The finely patterned fashionable Mughal turbans with jewellery are in sharp contrast to the plain coloured functional turbans worn by the Rajputs.  However, paintings from the later Rajput courts show the rulers in an array of turban styles which are today collectively referred as the Rajasthani Safas.

 

Turban Twist

In earlier times, removing a turban, especially in war, meant surrender. Removing one’s turban and placing it at the victor’s feet meant defeat. However, exchange of turbans meant that friendship was cemented and both persons were of equal stature. Forcible removal of a turban signified insult, humiliation and lowered the social status of the person, in turn conveying that the person is unfit to wear one, henceforth.

 

Turban Trick

In the book ‘Kohinoor’ authored by William Dalrymple and Anita Anand (2016), chapter - ‘The Koh-i-noor in Afghanistan’, the authors describe the meeting between Ranjit Singh and Shah Shuja, “Uttering words of friendship and unity, bringing a written document much to the same effect, dipping his hand into saffron water to print a palm mark on the treaty, swearing by his sacred book, the Granth, and by his Guru Baba Nanak, with his hand on the blade of his sword that any troops deemed necessary by His majesty for the reconquest of the province of Kabul and the punishment of the scoundrel rebels will be provided by the Sikh government. Then turbans were exchanged as a sign of perfect amity.”

 

Turban Trophy

In his well-researched book, Kohinoor, published 1994, author, former Iranian diplomat Iradj Amini describes how Persian warlord Nadir Shah extracted the diamond from Mughal emperor Mohammed Shah. “A courtesan had told Nadir Shah that the priceless diamond lay hidden in Mohammed Shah’s turban, citing an ancient tradition, the victor demanded an exchange of headgears, at last the diamond was his, or was it?

 

“Hastily, he undid the folds… wonderstruck at the gem’s size, brilliance and beauty he exclaimed ‘Koh-i-noor!”

 

Turban Trail

The focus of this article is the Mysore turban (Mysore peta) which has a visual recorded history since 1799, the year Krishnaraja Wadiyar III (Mummadi) aged 5 years was placed on the throne of Mysore with the signing of the treaty of Srirangapattana between the East India Company and Mahamatoshri Lakshmammanni (grandmother of the child king).

Figure 2. Raja Wadiyar. Vamsha Vruksha. Portrait Extract. Courtesy: Karnataka Chitrakala Parishath, Bangalore.

The devotional images of the earlier Wadiyar kings carved in stone as seen at the Trineshwara temple are shown with the hair tightly tied in a cloth in a side bun (turubu). However, painted portraits of the early Wadiyar kings are shown in Mysore turbans at the Chitramantapa – Subbarayadasa temple which was painted during the reign on Mummadi.

Figure 3. Ranadhira Kanteerava Narasaraja Wadiyar sports a side bun. Sketch by Kamalesh. Courtesy: Royal City, T.P. Issar

An oil painting by Thomas Hickey which is on display at the Rashtrapati Bhavan depicts a portrait of a boy king in a circular turban. The legend below reads Krishnaraja Wadiyar III at his installation. Similar turbans can be seen in the painting wherein two young sons of Tipu Sultan are being handed over to the officials of the East India Company as hostages by high-ranking nobles from Tipu Sultan’s court. All Indians are depicted wearing circular turbans.

Figure 4. KRW III. oil on canvas by Thomas Hickey. 1801. 75x61 cms. Collection: Rashtrapati Bhavan, New Delhi.

It is only later in the official portraits from 1820s of Krishnaraja Wadiyar III, the appearance of a distinct Mysore turban is seen. Over the years, portrait paintings by the gifted artists in the Mysore atelier record the emergence of the Mysore turban as it is recognised today.

Figure 5. Part of painting'Pandava Pattabhisheka' priests are shown in Mysore turbans. Collection: Ramsingh Museum.

Among the last four rulers of the Wadiyar dynasty, Krishnraja Wadiyar III is seen in innumerable paintings sporting a variety of large turbans which are not uniform in shape or style. This gives us a clue that the turban was mostly tied on a daily routine. It is mostly in coloured lithographs which form the frontice piece of his books that the king is shown in the same type of an elegant, ready-to-wear turban which was tied beforehand and the folds hand-stitched to stay in shape.

Figure 6. KRW III Mysore painting 51x61 cms. Collection: Karnataka Chitrakala Parishath, Bangalore.

Krishnaraja Wadiyar III can be considered a trendsetter who experimented with the Mysore turban. Murals at the Jaganmohan palace depict many of his important courtiers in a variety of colourful turbans. An album in a personal collection containing painted folios of the persons employed at the palace depicts many in turbans. What is of importance is that, each portrait has a legend identifying the name of the person and the nature of  his job.

Figure 7. From the album of palace employees. Devasthanada Munshi Shamanna. Accountant of temples Shamanna. Collection: Private.

Figure 8. KRW III. Painted Lithograph of KRW III in a ready turban. Frontice piece - Sankhya Ratna Kosha. Collection: Private.

Chamarajendra Wadiyar was adopted by Mummadi in 1865 but was given ruling powers in the year 1881. In an official portrait the young Maharaja is seen being heavily weighed down by the turban with its enormous load of jewellery. In an oil painting by Raja Ravi Varma done a few years later, the handsome Maharaja looks dapper and elegant in a similar turban and jewels. In another striking portrait by the same artist, in three-fourth profile, Chamarajendra Wadiyar is shown wearing a royal blue coloured turban with jari patterns matching his close-collar coat. In another painted photograph, the Maharaja is seen wearing a Rajput style angarkha, a necklace of two strands, a pair of diamond ear studs and two rows of clasped collets ending with a bunch crossing the chest from left to right.

Figure 9. CRW in angarkha. Collection: Private.

The refinement of the dress is matched by a tastefully tied turban. The two jari borders overlap each other instead of criss-crossing. The picture is a perfect example of exquisiteness. It is only in the headgears of this particular king that one sees he was bold enough to experiment with textiles having polka dots, zigzag lines, checkered boxes, pinstripes, etc.  He was undoubtedly flamboyant when he showed off the headgear.

Figure 10. CRW in regal finery. 1877. Source: Wikipedia.

When one examines the photographs of the next Maharaja Krishnaraja Wadiyar IV (KRW) and his brother Yuvaraja Kanteerava Narasimharaja Wadiyar (NKRW), the difference in the headgears is strikingly evident. While the Maharaja’s turbans are of the classical ready type, the Yuvaraja chose a separate style of turban which was mostly tied.

Figure 11. CRW. Oil on canvas by Raja Ravi Varma. Picture courtesy: Raja Ravi Varma Painter of Colonial India. Rupika Chawla.

In the earlier pictures of KRW, he is seen in a variety of turbans with dazzling jewellery, especially his wedding portrait by Raja Ravi Varma. After 1927, the year that commemorated the silver jubilee of his coronation, he chose a modish headgear which was broader at the crown, a prominent jari band which added a courtly elegance but was shorn of all grandeur. In sharp contrast his younger brother is mostly seen in the headgear type of the present-day Kalyana Karnataka region. Till date it is popular amongst the wrestlers, especially during Dasara.

 

In fact, in the year 1895, sepia toned photograph of the two brothers, the Maharaja designate is seen in a Mysore turban while the Yuvaraja designate is seen in one that is not from the Mysore region. In signed official portraits of the Yuvaraja, he is mostly seen in Jodhpuri coats, western suits with ties or bows but with his usual non-Mysore-type turban.

Figure 12. KRW and NKRW. Picture courtesy: Dance of the Peacock. Usha Balakrishnan.

The last Maharaja Jaya Chamaraja Wadiyar (JCW) has been photographed extensively in his lifetime, thank s to the use of cameras to document the milestones.

Figure 13. KRW IV. Painted photograph. M.N. Murthy. Collection: Ramsons Kala Pratishtana.

Figure 14. KRW IV. Undated photograph. Collection: Ramsons Kala Pratishtana.

Figure 15. Left:  KNRW. Textile label from Manchester Mills 15x10 cms. Right: Official portrait of KNRW. 18x13 cms. Collection: Ramsons Kala Pratishtana.

One early photograph of his Upanayana, he is pictured in the regular Mysore turban, a 1938 picture of the Kashi Yatre ritual of his wedding, he is sporting a tied turban rarely seen later in public.

Figure 16. JCW during Kashi Yatre. From the wedding album of 1938. Collection: Ramsons Kala Pratishtana.

In his graduation picture for the convocation, the young prince complements his western suit with a chic Mysore turban.

Figure 17. JCW at graduation. Painted photograph. Artist: S. Shankara Raju. Collection: Ramsons Kala Pratishtana.

In the 1940 coronation pictures, the Maharaja is seen in all opulent finery. The select jewellery and headgear gives one a peak into the celebration and the lavishness associated with the event. A 1945 official portrait of the Maharaj in GCSI (Knight Grand Commander of the Most Exalted Order of the Star of India) robes, he sports a finely shaped Mysore turban which has a bejewelled Gandabherunda brooch at the apex topped with an Osprey tuft, perhaps signifying that the emblem of his state was above the medallion pinned to his tunic by the powers to be – British.

Figure 18. JCW in GCSI robes. This is the reference picture used for his full bodied portrait sculpture installed at JCW circle, Mysore. Offset print. Collection: Ramsons Kala Pratishtana.

Later on, as the Raja Pramukh and Governor of Mysore and Madras states, the Maharaja is mostly seen black, white or cream coloured long coats complemented by flamboyant turbans minus the jewellery.

Turban Torment

Archival records pertaining to the Dasara durbars and birthday celebrations (of the king) at the palace list-out strict guidelines in the invitations for the dress code to be followed, the colour of the coat and trousers, length and width of the sash is specifically mentioned and of course the mandatory turban. Only the visiting dignitaries were spared the ordeal. However, it is learnt that invited musicians, especially from Tamil Nadu found the dress code with the turban, quite uncomfortable. From correspondence addressed to the Durbar Bakshi, a few of the musicians sought exemption from the rule stating that traditionally the Ghatam players performed bare chested, but as correspondence and photographic evidence suggests, the request was turned down and nobody was given permission to enter the Durbar sans the prescribed attire. In the end, the whole episode was an exercise in futility.

Figure 19. Turbaned musicians perform for the Yuvaraja on his birthday at Durbar hall. Collection: Private.

Turban Trivia

There are two museums dedicated to turbans in India. One, located in Jaipur, Rajasthan which is a tribute to the colourful safas draped in western India, particularly Gujarat and Rajasthan. Occupying pride of place in the display cases are Jaipuri turban, Bikaneri safa which forms a part of the uniform of the Camel Corps of the Indian army. The Jodhpuri safa is a favourite among politicians and the armed forces. It is worn during informal events. Jallori from Jalore, Bhatti from Jaisalmer are distinct drapes. The Kotah-Bundi variation (Kotah paag) which has a voluminous back part which has to be held in place with near invisible strings attached to the forehead ornament (sarpech) and aigrette (kalgi) which in turn was attached to the Osprey feather (turrah) below which dangle strings of fine pearls (latkan). On display at ‘Bagore ki Haveli’ in Udaipur is a turban (pagri) which is claimed to be the world’s biggest measuring 150 meters and weighing 30 kilograms.

 

The other museum is located at Amritsar, Punjab, which highlights the turban tying tradition amongst the Sikhs. On display are the specimens of the warrior clan - Nihang turbans in characteristic blue colour, the variation of the Sikh turban as draped by the Dogras of Jammu, the turban types of the rulers of the Hill states like, Chamba and Mandi, the stylish pointed turbans of the Maharajas of Patiala, Kapurthala and Jind.

 

A miniature sheet consisting of many individual stamps issued by the Department of Posts, Govt. of India, has different headgears from across India. A Rupee ten issue has a legend Mysore Peta. But the wearer is shown donning the very distinctive Kodava turban, the designer of the stamp who has selected the image has missed the subtle differences between the two styles which look deceptively similar. The Mysore turbans have a tight wrap forming a semi-conical top which takes the shape of the crown of the head normally, a single jari border intersects at the forehead forming an apex, whereas, the Kodava turban is flat on the top mostly with two slim jari borders overlapping each other.

 

At the famous camel fair of Pushkar held in honour of Lord Brahma, one highlight of the event is a turban draping/tying contest followed by a fashion show of the award-winning turban designs. The judges decide the winner based on the elegance of the headgear, the material used, the speed of draping, the perfection of the twist of the cloth, the neatness of the pleats and finally, the curling of the tuft ends which have to be properly held together without tying a knot or any external ornamentation tied with a string.

 

The Mysore turban has gained much importance as it is presented to visiting dignitaries to the state. It is mandatory to be given at all state award presentation like the Rajyotsava and various honours given by the academies on behalf of the Department of Kannada and Culture, Government of Karnataka.

Farewell My Dear Friend

Covid-19 has taken its toll of one of the brightest and amazingly talented son of Mysore.

Soft spoken and gentleness personified Narayanachar Dakshinamurthy (1980-2021) was the rising star in the rarefied field of gold and silver smithy creating some of the most stunningly beautiful treasures for temples and private patrons.

Dakshinamurthy with his parents

A child prodigy, he had an innate ability to create and recreate masterpieces worthy of being family heirlooms. A chip of the old block, he continued the illustrious family legacy of his father late B.N. Narayanachar, paternal uncle octogenarian B.N. Channappacharya, maternal uncle late Bilikere Somachar and cousin B.C. Sreenivasa, all of them highly talented sculptors.

My association with Daksha (as he was called by family and friends) began in the year 1995 CE when I visited his house cum workshop bang in front of the police station in Mandi Mohalla. I had accompanied late P.R. Tippeswamy and my uncle late M.B. Singh to meet Daksha's father.

Tippeswamy hailed from a family (referred as Patel) of village headmen from Hartikote in Chitradurga district. He had vowed to donate five kalashas made of silver for the palanquin of the temple of his native village. The annual Jaatre (festival) was scheduled for the summer of 1995. While the discussions for the cost of silver, labour and time required were in progress, we were served tea. Sitting in one corner of the spacious hall right behind us, Daksha had sketched a pair of kalashas with filigree patterns along with the placement position of the pancha kalashas and silently handed over the same to his father. Tippeswamy was all excited. 

While Narayanachar took out his ledger to jot down the finalised order, Daksha slinked away. Out of the huge bay window which opened out to the street, I caught a glimpse of him relishing a Jamoon at the small shop across the street perhaps savouring his success that his pattern had been approved. Daksha was just a lad of fifteen then, on his eighteenth birthday I approached him with a request to create a sixteen armed Mahisha Mardini which he finished after two years. 

H.E. Governor of Karnataka Sri T.N. Chaturvedi conferring the award to Dakshinamurthy

In the year 2006, Ramsons Kala Pratishtana had nominated him for the Kamaladevi Chattopadhyaya Award instituted by the Crafts Council of Karnataka and he was selected for the same and received the honours at Raj Bhavan, Bangalore, from the then Governor of Karnataka T.N. Chaturvedi. I was witness to this joyous event on 03-04-2007. I nurtured a wish that one day the same will be repeated at the Rashtrapati Bhavan. Alas, fate willed otherwise.

His innumerable creations adorn Mathas like Palimaru, Pejavara, Puttige, Sode apart from dieties and puja paraphernalia in well-to-do households of south Karnataka. His last commission was the Pattadevaru (principle deity) Chaturbhuja Kalinga Krishna (four armed Krishna dancing on the serpent Kaliya) for Paryaya Sri Adamaru Matha. He showed me the copper masterpiece which had to be recast in silver before Sri Krishna Janmashtami this year.

Venugopala. Silver idol, with gold and precious stone details, in Hoysala style. Created by Dakshinamurthy for a private collection.

Daksha leaves behind his wife and two daughters. Tragically his mother passed away just ten days before succumbing to Covid-19.

Mahishasura Mardini. Silver idol with gold details. Hoysala style. Created by Dakshinamurthy. Deity being worshipped at Ramsons.

Daksha’s never-say-die attitude and reassuring smile will be missed forever.

Jaya Chamaraja Wadiyar Enlivened Through Art

https://starofmysore.com/jayachamaraja-wadiyar-enlivened-through-art/

Tribute to S.G. Sanath Kumar

S.G. Sanath Kumar
(26-6-1928 -- 24-9-2014)

Hardwicke... there is hardly a Mysorean, who has not heard of this Wesleyan educational institution of Mysuru.

Hardwicke was also known for its legendary ‘Headmaster’ – S.G. Sanath Kumar (26-6-1928 -- 24-9-2014) or as he was referred to as ‘Sanath-Sir’ by both teachers and students alike. I was a student of Hardwicke, indeed so were my brothers. I recall my first day when before setting off on my bicycle, my father; D Ram Singh cautioned me that ‘Sanath-Sir’ was a strict disciplinarian. This fear was so great that on one occasion I was late by a few minutes and was hoping to sneak in through the passage way where the choir was singing hymns. It was the sudden sight of ‘Sanath-Sir’ wielding his cane, rapping the knuckles of a small line of latecomers that made me turn tail and hare out of the school all the way home by walk leaving my bicycle propped up against Sanath-Sir’s residential quarters. It was with great trepidation that I went back to school the next day... the heavens did not fall and all was well.

Incidentally, Sanath-sir and my father were friends, and I had the unnerving privilege of eating from my lunch box at the Headmaster’s house!

My stint at Hardwicke began after I passed out of the well-known CFTRI School and joined the Anglican portals of this replica of the great English Public Schools.

This all-boys school was imposing and had been built by the Wesleyan Mission as a students’ hostel at the turn of the century. The building was built around an imposing quadrangle. The central section commanding a vast foreground is a three-storey rectangular tower with Madras-Terrace roofing and finials with a beautiful archway. The two-storey blocks with their sloped roofing make up the four corners.

Rows of arched openings punctuated with blank spaces dominate the elevation; the larger arches are framed with molded arch rims. A perfect combination of cream and terra cotta with imaginative way of painting brought out all the interesting details.

The most striking feature apart from the building itself was the beautifully laid out lawns and flower beds around two enormous ‘Christmas’ trees that stood like guardians between a lily-filled pool with its fountain. On any given day, one could see a lively menagerie consisting of rabbits, guinea pigs, tortoises, jungle fowls and peacocks amidst 500 boys. There was also a large vegetable garden that was well maintained and kept the menagerie in the pink of health.

The grounds in the front were used for football, hockey and of course the annual day celebrations. The mini-stadium and stage were used for cultural events.

It was during Sanath-sir’s ‘reign’ that Hardwicke was ranked as one of the best schools in Mysuru. It was also Sanath-sir’s passion for gardening that saw the school’s gardens, the neatly laid hedgerows, the profusion of flowers, winning the annual Dasara Flower Show year after year for a record 14 years in a row.

Sanath-Sir was cast in the mould of the great headmasters and it was due to his leadership that the school, its teachers and students became worthy of emulation.

It was in 1979 that Hardwicke celebrated its 125th Anniversary. It was also Sanath-Sir’s initiative that saw the establishing of the English medium primary school. It was also in 1979 that Sanath-sir was honoured as the ‘Best Headmaster.' When the then Chief Minister R Gundu Rao visited the school during the 125th centenary celebrations, he announced a grant of Rs one lakh to the school which was utilised to construct the mini-stadium.

Sanath-Sir was a keen footballer and an athlete had taken part in several university and state level events. His early schooling was at Hardwicke and later at St. Philomena’s college. He had a brief stint as a sports reporter with the Deccan Herald and a job in the Railways when his first love, teaching, drew him back into the folds of Hardwicke. Along with the teaching job he obtained his M.Ed., degree. He was made the Headmaster in 1968 and continued till 1984.

I was fortunate to render an oration in honour of Sanath-sir upon his retirement in 1984 . Although I had graduated from high school in 1982, the presence of Sir unnerved me. There I stood at the lectern with Sanath-sir sitting a few feet away. His 'admiring look' at me was enough to derail my train of thoughts; unable to speak extempore I frantically searched my pocket, found the written notes  and I somehow got through my speech conscious of the fact that I had made a priceless ass of myself.

Vivid are the memories of my interactions with Sir when I was the General Secretary of the School Union and later the President of the Interact Club od Hardwicke High School. I am grateful to Sir for being my guide and mentor who inculcated leadership qualities in me.

During the Presidentship of my father, Rotary Mysuru decided to establish a High School and Sanath-sir being a member of that club was chosen to lead the way. As the chief-de-mission of this new Rotary project, Sanath-sir with his years of experience heading Hardwicke and other CSI School at Mandya saw the successful establishment of the Rotary High School in 1988.

He served as the secretary and correspondent of the Rotary school and saw it emerging as a centre of excellence. Sanath-sir finally retired on 10 April 2004.

He continued to keep in touch with his students. I last had a brief meeting with him at his house opposite the Hardwicke PU College, he sat in the small patch of sunlight in the narrow path before his door, a black and tan dachshund dozing at his feet and a star tortoise nibbling a rose petal while another was in a state of somnolent stupor, he recalled his early days as student, then a teacher and finally the Headmaster of that sterling institution the Hardwicke College.

Sanath-sir was married to Meena in 1954, who also happened to be my teacher. Their son Ranjith works in Mandya while their daughter, Pamela is back in Mysuru after her service as a teacher at the Bishop Cotton’s Girls School in Bengaluru.

Sanath-sir was much more than a teacher; he was a family friend and a well-wisher.

A Maharaja's Passion

Mummadi Krishnaraja Wadiyar | Painted lithograph

Throughout history, there have been kings and queens who have had an odd yen for playing traditional board games. In the West it was gambling with dice or any game that involved a wager but in the East many of the games were enigmatic puzzles and it was in the realm of board games that one king in colonial India became famous as an inventor of board games.

Maharaja His Highness Sir Sri Krishnaraja Wadiyar Bahadur III, ruled Mysuru between 1799 and 1868 C.E.; during this period the kingdom of Mysuru became a rare hothouse of cultural renaissance. He played all popular board games, improved many of them and even invented new ones. He also chronicled board games and had his court scribes and artists prepare elegant manuscripts about them. His passion for the Knight's Magic Tour and its unique solution, has earned him fame.

Murals of portraits and puzzles, Ranga Mahal, Jaganmohana Palace, Mysuru

The king's love for liberal arts and his penchant for traditional board games was given a boost since the administrative control of his kingdom was in the hands of the British East India Company. The time-tested ploy of ruinous mismanagement, which the English Resident charged the king with, saw the reigns of the kingdom with the English and the king was put on pension. Mummadi, with enforced leisure on his hands, did not succumb, as so many other native princes, to carnal pleasures but sought inner peace in the mysterious world of traditional board games.

The Jaganmohana Palace, where the king used to retire, exists to this day as Sri Jayachamarajendra Art Gallery. It is in the many storeys of this Palace that one looks on with awe as entire walls are covered with exquisitely painted murals of board games and puzzles, in the old-Mysuru-tradition of painted pavilions.

A page from the manuscript of Kautuka Nidhi (Sri Tattvanidhi) illustrating the board game of Navagraha Pagaday

The king was also a scholar par excellence, a dramatist of merit, a polyglot at ease with Kannada, Persian, Telugu, Marathi and Tamil, and above all he was a patron of arts. It was also said that the king was a satirist of no mean order and that he had a personal 'court jester' to entertain him and his courtiers. Diaries and official communiqués from the Resident's office to the Viceroy's Home Office speak of his demeanour as being 'courteous and soft-spoken,' 'erudite yet diffident', a 'knowledgeable conversationalist with a sense of humour' and as a man of fine taste.

The king commissioned scholarly works; he wrote literary masterpieces in elegantly ornate Kannada (State language), about seventy in number. The monumental Sri Tattvanidhi is said to have been compiled by him. This multi-volume compendium of iconographical incantations speaks of the enormous grasp the king had over the realm of 'agama' based ritual and spirituality. Among the many literary works, mention may be made of Chamundika-Nighantu, Saugandhika-Parinaya, Sri Nanjunda Sataka and Navagraha-puja-Manjari.

Yet in the midst of this intellectual endeavour, the king's passion for board games was unbounded as was his passion for horses. His Pachisi innovation with its spiritual implications is remarkable for its ingenuity. Eight of the 24 squares in each arm are inscribed with a pictorial image along with an inscription in Kannada. The inscription instructs the player on whether the counter can jump forwards or backwards along the track. This may appear to be similar to the game of Snakes & Ladders. But there is a surprise to this Pachisi game for there is a subtle Karmic philosophy that is embedded.

In a similar vein is the 12-armed Pachisi, called Navagraha Pagaday that resembles a lotus in bloom. It has 12 x 12 or 144 squares. The game's 12 arms or petals are clustered together around the 12 signs of the zodiac. There are other planetary symbols at the centre giving the game an astrological characteristic.

Mummadi playing Chess with Rama Vilasa Sannidhana | Mysore painting | K.S. Shreehari | 2007

The king's passion was not limited to thinking up enigmatic variations but long hours of play with a few choice confidantes. In a private temple dedicated to the god Venkataramana, on the street close to the Jaganmohana Palace, one can see to this day a relief sculpture of a local but well-known religious balladeer, one Subbaraya Dasa. It was with this Subbaraya Dasa that the king enjoyed many a game. The king would also sit down for a game with his favourite consort, the Maharani Rama Vilasa Sannidhana.

It is believed that there are at least six illustrated board game manuscripts that credit authorship to Mummadi Krishnaraja Wodeyar. There is Chaturanga Sarasarvasva, the Sri Krishnaraja Chaturanga Sudhakara, the Sankhya Shastra, the Kempu Kitabu and two versions of the Chaturanga Chamatkrita Chakramanjari. Another classic, the Chaturanga Chakra is in the library of the Kuvempu Institute of Kannada Studies at the Manasagangotri campus of the University of Mysore.

Incomplete puzzle of knight's magic tour in the form of a Vyali, Mural at Jaganmohana Palace, Mysuru

Mummadi admired mathematical puzzles. They form a recurring theme in many of his works. For instance there is the knight's magic tour which is a classical maths puzzle that has intrigued board game theorists across the world. The aim of this chess-inspired conundrum is to use a single chess-counter, the knight, to 'tour' (more of a symbolic word) each square without 'revisiting' any square twice. But each square also contains a letter. By stopping sequentially on a selection of letters, the knight's magic tour puzzle now assumes the nature of an acrostic, a riddle in which the first, last or other letters can be 'arranged' to form a verse or a set of meaningful words.

The polychrome mural painting of the knight's magic tour can be seen in the top floor of the Sri Jayachamarajendra Art Gallery in Mysuru. Along with these murals many objects exists in this gallery, like a set of brass plates which are inscribed with different grids and configurations for board games or knight's 'tour' diagrammatic drawings with numbers as well as annotations that explain rules in addition to further interpretative remarks. Why would the king go to such lengths if not for letting board game players and enthusiasts across the world into the secrets of anagrams, cryptograms and magic squares that he had devised?

Game of Panchi | Inscribed brass plate | Collection and courtesy: British Museum

It is believed that several sets of these brass plates were made and a complete set of 23 is in the collection of the British Museum in London. The entire collection of board games and other assorted gifts including a miniature version of the Mysuru royal throne in silver were sent by Mummadi to the ruling British sovereign along with a request to end the rule of the British Commissioners; these were usually sent at the opening session of the British Parliament.

Mummadi is also said to have improved the card game of Ganjifa (Chad). In the Kautuka Nidhi (9th book of Sri Tattvanidhi), he describes 13 new variations of Ganjifa card games. These require anywhere between 36 and 360 cards. For example, the 360 cards sets had 18 suits. Each suit having 18 cards was presided over by a particular god or goddess. There  were also a number of additional cards that did not belong to any particular suit. These cards had different role in the game .

A Ganjifa card from the Chamundeshwari Chad

Jeff Hopewell, an acknowledged authority on Ganjifa cards, has written scores of scholarly articles on them. He has organised exhibitions of Ganjifa in Belgium and England. In one of his articles he mentions the 'Chamundeshwari Chad' with 16 suits devised by Mummadi Krishnaraja Wadiyar in which one is headed by Chamundi, the ruling deity of Mysuru. Hopewell describes the set thus: 'There are six court cards depicting the deity on an elephant, in a palanquin, on a chariot, on a horse, seated and standing by a fort with the regal standard fluttering in the wind.'

Yet another example of Mummadi Krishnaraja Wadiyar's invention surfaced in 1982 when it went under the hammer at a London auction house. The auction house described it as a 'double-sided reversible folding game board in rosewood, inlaid with ivory.' It was the Karmic game of Shivasayujya Mukti Ata.

This game revolves around spiritual and philosophical thoughts and is meant for four players. Here, the final winning square is in the centre of the board depicted as the abode of Shiva who is shown in the form of 'Mukhalinga'. The four players have six pieces each whose starting squares are marked within the lotuses at the corners of the board. On the reverse of this game board is the Devisayujya Mukti Ata game dedicated to the goddess Chamundeshwari and even this game is based on the philosophy of Karma.

Mummadi has left an unusually detailed record of his devotion to board games. Sadly many of these records are available not in Mysuru or even in some of the great museums in India but are on display at well known museums in foreign countries. Several others are to be found in the catalogue of auctioneers like Sotheby's and Christie's and in private collections abroad.

The corpus of work on board games by Mummadi Krishnaraja Wodeyar is mindboggling. Yet there is still a vacuum that needs to be filled. Many of his board games and puzzles are worthy of research by board game aficionados and scholars; this would add substantially to one's understanding of this enigmatic ruler. 

A Fitting Tribute To a Scholar King

A Fitting Tribute To a Scholar King

Major-General H.H. Maharaja Sri Sir Jayachamarajendra Wadiyar Bahadur

Maharaja of Mysore - 18 Jul. 1919 to 23 Sep. 1974

18 July 2016, a well known circle of Mysoreu, Hardinge Circle was rechristened as Jayachamarajendra Circle (eventually will be shortened as JC Circle) as the city finally honoured the last ruler of the erstwhile Mysuru State with the installation of a full-body portrait statue of the last Maharaja of Mysore. There are still a few more Colonial appendages like Lansdowne Building (it was originally known as Lansdowne Bazaar and was inaugurated by Lord Lansdowne) or the Dufferin Clock Tower or Chikka Gadiyara opposite Devaraja Market (inaugurated by Lady Dufferin) or the Curzon Park (honouring the visit of Lord and Lady Curzon) and Irwin Road.

Hardinge Circle was named in commemoration of the visit of Viceroy Lord Hardinge to Mysore. There used to be a flowery hedged circle with a high post with five domed lights in the middle of the crossroads. The circular garden vanished without a trace yet the name remained, ‘Hardinge Circle’, called raucously by bus conductors, ‘Aardinsurkel.’

Towards Kuppanna park on Mirza Ismail road

The location of the Jayachamarajendra Circle at the culmination of the Albert Victor road is meaningful as we already have the statues of two other iconic rulers of Mysore in a row. KR Circle, as it is known, is a commemorative statue to His Highness Nalwadi Krishnaraja Wadiyar whose achievements for the well-being and development of Mysore has been well-documented, likewise the majestic commemorative statue of Chamarajendra Wadiyar in front of the Jayarama and Balarama gate of the Palace.

Hardinge Circle and Mirza Ismail Road (seen in the background, a narrow road) as seen from Albert Victor road

History seems to have ‘overlooked’ the reign, brief though it was, of  Jayachamarajendra Wadiyar. Major-General H.H. Maharaja Sri Sir Jayachamarajendra Wadiyar Bahadur, Maharaja of Mysore. He was born on 18 July 1919 at the Chamundi Vihar Palace to Yuvarani Kempu Cheluvajammanni Avaru and H H Yuvaraja Kanthirava Narasimharaja Wadiyar Bahadur.

Jayachamarajendra Wadiyar had his early schooling at the Lokaranjan Mahal Royal School followed by graduate studies at Maharaja’s College of Mysore University and awarded a BA in 1938.

The death of his father on 11 March 1940 led to the title, ‘Yuvaraja Bahadur’ being conferred on him. The death of his uncle, the Maharaja on 3 August 1940, led to Jayachamarajendra ascending the throne on 29 August 1940 and anointed and installed as the Maharaja of Mysore on 8 September 1940.

Jayachamarajendra Wadiyar was installed as the ruler of Mysore at a time when the winds of freedom were blowing across the country. The nascent freedom fighters had already made inroads in various parts of the State. Mysore was not an exception. Maharaja Jayachamarajendra Wadiyar signed the 'Instrument of Accession' on 9 August 1947 and Mysore became a part of the Dominion of India on 15 August 1947. With an agreement merging Mysore with Indian Union on 26 January 1950, he ceased to be sovereign.

Later he was installed as ‘Rajapramukh’ of the State of Mysore and held this post till 31 October 1956. He was made the Governor of Mysore on 1 November 1956 and continued till 3 May 1964, further he was made the Governor of Madras and he served till 25 June 1966.

The then Maharaja had made certain conditions to the accession of Mysore to the Republic of India and this assurance made by the then party in power was rudely given a jolt when an Amendment to the Constitution was passed in 28 December 1971 by which the position of countless rulers were deprived of their rights as 'rulers’ and the privy purse guaranteed under the accession agreement was abolished. Overnight, kings became ‘commoners.’

This betrayal led to an anguished Maharaja forsake the grand Dasara celebrations; placing the royal sword on the throne he retreated to a private forest reserve near Bandipur.

HH Jayachamarajendra Wadiyar married twice. The first marriage which took place at the Kalyana Mantapa of the Palace on 15 May 1938 was to Satya Premakumari Devi-ammanni avaru, the daughter of Pratap Singh Deo Bahadur of Jigni. The couple had no children. The Maharaja’s second marriage was to Maharani Tripurasundari Devi Ammanni Avaru, daughter of Balananja Raje Urs, an officer in the Mysore State Forces. Both Maharanis died at Mysore in 1983 within a span of fifteen days.

Jayachamarajendra Wadiyar died on 23 September 1974 at the Bangalore Palace leaving behind one son and four daughters (the eldest daughter had predeceased him).

Jayachamarajendra Wadiyar was an accomplished musician in both Carnatic and Western classical music. He was an excellent pianist and there was a time when he expressed the desire to be a concert pianist and play with the great orchestras of Europe. In 1948 he was elected President of the London Philharmonic Orchestra Society. He was also an Honorary Fellow of Trinity College of Music, London (1946) and a Licentiate of the famed Guildhall School of Music.

Blessed with an ear for music Jayachamarajendra Wadiyar discovered Russian composer Nikolai Karlovich Medtner. A contemporary of Rachmaninoff and Scriabin, he wrote several compositions, all of which include the piano.  Jayachamarajendra Wadiyar discovered Medtner when the latter was living in London and in failing health. The Maharaja founded the Medtner Society with the objective of recording all Medtner's works and managed to record several concertos with the London Philharmonic Orchestra whose first president was the Maharaja. In gratitude to his patron, Medtner dedicated his Third Piano Concerto to the Maharaja of Mysore.

The Maharaja was also equally at home in the realm of Carnatic music, both as an instrumentalist and a composer. There are 74 Carnatic compositions by him.

He was also the (Vice) Chancellor of Mysore, Madras, Annamalai Universities as well as the Benares Hindu University. Like his forefathers he was a Patron & Chief Scout of Mysore State between 1940-1956, Chairman of the Wildlife Board of India. He was conferred a Hon LL.D by the Banaras Hindu University (1942), a D.Lit. by the Annamalai University in 1955 and a Hon. D.Lit. from the University of Queensland, Australia.

That he was deeply spiritual can be gauged by his scholarly books: “An Aspect of Indian Aesthetics” (1956), “Dattatreya-the Way and the Goal” (1957), “The Quest for Peace: an Indian Approach” (1959), “The Gita and Indian Culture” (1963) and “Religion and Man” (1965).

It is said that he had visited the ashram of the sage, Ramana Maharishi, in Tiruvannamalai, Tamil Nadu. No Palace diarist has recorded this meeting but what is available is a book published by the ashram, ‘Day by day with Bhagavan’ by one Devaraja Mudaliar. In an entry dated 1945, there is Devaraja Mudaliar and others talking to Ramana Maharishi. Asks Mudaliar: ‘It is said that the Mysore Maharaja had come to see you.’ Nodding in agreement, the Sage replies: ‘He just sat quietly. He did not ask any questions. After sometime he bowed and took his leave saying that he would like to live here but the call of his people was too strong.’

Maharaja was also a good equestrian and fond of dogs. Regular visitors to the Palace in the late 50s would normally be shocked when they were in the Amba Vilas waiting to see the Maharaja, they would instead be forced into immobility as a pair of giant hounds wandered in and sat flanking the hapless visitor. The Maharaja would arrive, apologise on behalf of the dogs. “They will not hurt a fly” the Maharaja is said to have remarked leading one of the visitors to comment later on, “but I am not a fly.’ The Maharaja was quite accessible to his subjects and visitors.

Those fortunate enough to have met him would unanimously say, 'A gentleman and a scholar.'

18 July 2016. Unveiling of JC Circle
L-R: Rajamata Pramoda Devi, Maharajakumaris Kamakshi Devi and Indrakshi Devi, Maharaja Yaduveer Krishnadatta Chamaraja Wadiyar, Maharani Trishika Devi and Sri R. Rajachandra

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PS: Lord Hardinge of Penshurst, British Diplomat and Statesman, served as Viceroy of India from 1910 to 1916. His tenure was a memorable one. King George V visited India and the Delhi Durbar was held in 1911. He also oversaw the shifting of the captial from Calcutta to New Delhi in 1912.
He had friendly relations with most of the ruling princes and this enabled him to negotiate the deployment of native Indian troops to areas outside India during World War I in 1914.

Lord Hardinge of Penshurst

In 1916 after he stepped down as Viceroy, he returned to his former post in England - Permanent Under Secretary at Foreign Office. In 1920 he was appointed as the Ambassador to France before his retirement in 1922. He died on 2 August 1944, aged 86.

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This article was published in Star of Mysore on 02 July 2016