The Land of Gandhi- Visit India.

The legacy of Mahatma Gandhi, the Father of the Nation, is perfectly preserved in India. From various museums and memorials to Gandhiji's ashram, various stopovers in the country testify to the great life of the leader. His philosophies of truth and non-violence inspire millions and many people trace his footsteps by visiting the various monuments dedicated to him. Gandhiji's contribution to human development is far too great and varied to have been forgotten or overlooked. The world today recognises him as a far more compelling social innovator than humanity ever realised.

India - The land of Gandhi

From 1915 to 1948, Mahatma Gandhi travelled extensively around India, sparking the fires of revolution and unifying the country for one of the greatest freedom struggles of all times. Today, he stands as a tall figure in the freedom history of the nation, he helped build. As one journeys through the country, the lasting impressions of Gandhiji's philosophies and principles seem to be embedded in the very fabric of Indian society - from the beliefs of equality and non-violence to those of inclusion and brotherhood. As we trace the footsteps of the 'Father of the Nation', it becomes evident how the leader's heritage lives on. 

Return to India
On January 9, 1915, a crowd gathered to greet Gandhiji and his wife, Kasturba, as their ship, the S.S. Arabia docked in Apollo Bunder, in Bombay (now Mumbai). “I was filled with joy when nearing Bombay I sighted the coast,” Gandhi wrote in a letter to his relative, Maganlal. It had been almost 22 years when the eager young lawyer had left his home to seek a break in his career, and who returned now was a seasoned Satyagrahi who was revered as one of the greatest leaders of his time.

Porbandar

After a brief spell in Bombay, Gandhiji visited his birthplace, Porbandar.  As he and his wife deboarded the train, a huge crowd jostled its way towards them. Everyone wanted to know what the man, whose fame had preceded him to the city, looked like. The press of people was such that Gandhiji and Kasturba barely made it to their motor car, which was to take them to his ancestral home, Kirti Mandir. A 200-year-old building, the Kirti Mandir complex is the place where he was born in 1869.

Today, it is an altar of sorts for those who follow in Bapu's footsteps and his ideologies. The sprawling square-shaped haveli, with a vast courtyard, an open terrace and iron grid windows, is adorned with memoirs and pictures of young Gandhi. One such portrait is captioned ‘Gandhiji at seven’ and shows a boisterous jacket-clad boy with a round topi (that later was called the signature Gandhi topi) on his head, a tikka on his forehead and a chain around his neck. There are several pictures of Kasturba Gandhi as well and many of the two share lighter moments.

To mark the release of Gandhiji's release from prison in 1944, the residents of Porbandar built a temple adjacent to the haveli. This temple has now been converted into a small museum that displays items used by Gandhiji, along with some really old photographs. The museum also houses a library that has books either written by him or relating to his philosophies. The temple has been visited by several world leaders who came here to pay their respects to Gandhiji.

Rajkot

Before starting his Satyagraha movement, Gandhiji sought to travel the country via railways to understand the integral threads of India's great and diverse social fabric. As promised to his friend Gopal Krishna Gokhale, a leader of the Indian National Congress, he put himself on a 'probation period' and flagged off his travels from Rajkot, where he had spent his childhood as the son of the Diwan (1881 to 1887 AD). His residence Kaba Gandhi No Delo is an unmissable heritage site today. One can witness the life of the Mahatma in pictures in the house that have both Hindi and Gujarati captions. The structure of the building has been built in a Saurashtrian style of architecture and boasts arched gateways and courtyards. Many relics like Gandhi's personal belongings and other objects are also housed here. Gandhi's passion for handloom is encouraged in a weaving school that offers sewing and embroidery classes to young girls. Visitors can also visit Mahatma Gandhi Museum which has been housed inside the school where Gandhiji studied as a boy.

Benaras (Varanasi)

After Gandhiji's 'probation' ended in 1916, he was invited to Varanasi for the laying of the foundation stone of the Banaras Hindu University  (BHU). It is said that the eloquent speech he delivered there, marked the start of his political movement in India.

"It is a matter of deep humiliation and shame for us,’ he said, ‘that I am compelled this evening under the shadow of this great college, in the sacred city, to address my countrymen in a language that is foreign to me." 
When the silent city heard these unflinching words, it seemed to hail the start of a revolution, and the arrival of a leader. 
Today, walking through the campus of the great varsity, one can almost feel the aura of Gandhi lingering. Later, in 1936, Gandhiji inaugurated a significant landmark in the city - Bharat Mata Mandir. This unique temple worships no gods or goddesses except Bharat Mata (Mother India). It houses a marble statue of Bharat Mata (Mother India), which is modelled to symbolise India. Its design indicates the goddess of India for all the religious deities, leaders and freedom fighters. It also houses a marble relief geographical map of undivided India, representing plains, mountains and oceans.

Ahmedabad

After a brief stay in Santiniketan (West Bengal), where he met Nobel Laureate Rabindranath Tagore, Gandhiji headed to Ahmedabad in 1915. There he founded a small communal settlement on the banks of the Sabarmati river called Sabarmati Ashram, which would be the centre of his non-violent struggle against the British.

His aura still lingers here and one can travel back in time to get a sense of his ideology and remarkable life. Documents related to his non-violence movement, including the Dandi March, which began from here, have been put on display at the Gandhi Smarak Sangrahalaya (museum). There is a library for literature on Gandhi that holds an immense archive of letters written by him, most of them on used paper scraps. The ashram shares its land with Hridaykunj — the quarters where he lived; Vinoba-Mira Kutir, a guest house, a prayer land and a building used as a training centre for cottage industries. 
By the time the ashram was established Gandhiji had started wearing his signature dhoti and sandals (an outfit he had adopted to mingle well with the poor without his fame getting in the way). Soon, he learnt the art of spinning and weaving and led the production of khadi, which became a pioneer movement. Another must-visit site is Kalam Kush, a paper factory that turns scraps of waste cotton into paper. It was among the many cottage industries introduced by Gandhiji. Today, the factory makes for a fascinating visit as you can see how paper is created without the use of chemicals.

Bombay (Mumbai)

From the moment Gandhi arrived in India, through the launch of about six national movements, Bombay remained the epicentre of most of his activities between 1917 and 1934. His base in the city was Mani Bhavan, a modest two-storey building. In 1955, this historic heritage was converted into a memorial for Mahatma Gandhi and chronicles the story of India’s independence. Notably, it witnessed a four-day fast conducted by Mahatma Gandhi back in 1921, to restore peace in Mumbai. It was in Mani Bhavan that Gandhiji started his association with the charkha or the spinning wheel. Interestingly, the initiations of noted agitations like the Civil Disobedience, Satyagraha, Swadeshi, Khadi and Khilafat movements were started here. A walk through its exalted corridors takes us back to the political struggles held during the Indian freedom struggle. The photo section in the museum has a lot of information and can be an invaluable guide for those interested in revisiting the history of India. 

Pune

In 1942, after the launch of the Quit India Movement, Gandhiji and Kasturba were interned at the Aga Khan Palace  in Pune, along with their secretary Mahadev Desai. This palatial mansion, built in 1892 by Sultan Muhammed Shah Aga Khan III, became the place where both Ba (as Kasturba Gandhi was fondly known) and Desai died of a heart attack. Their memorials, made of marble, still stand here. 

Today, this grand building boasts Italian architecture and sculpted lawns, and is now the headquarters of the Gandhi National Memorial Society. Khadi, the handwoven natural fibre that Gandhiji used to spin on his charkha, is still made here. The 2.5-m-long circular corridor is well-known, running the periphery of the palace. There are several photographs and portraits of Mahatma Gandhi and other leaders of the freedom movement; one of the most impressive and moving of these is a tableau of the Mahatma leading a protest march against the British. Visitors can also take a gander at Gandhiji’s work at the Sewagram, located 8 km in the village of Wardha. Other highlights of the palace that are open to public viewing are the room in which he stayed with Kasturba Gandhi, as well as his charkha, sandals and other personal belongings. 

Delhi

It was a chilly day in January, and 78-year-old Mahatma Gandhi was walking from Birla House to the lawn where his prayers were held. As he leaned on his two grand nieces for support, he was greeted by a young man dressed in blue trousers and a khaki bush jacket. After a brief 'Namaste', the man, who would later be recognised as Nathuram Godse, whipped out his pistol and shot Gandhiji three times at point-blank range. 

The nation mourned the loss of their great leader, and a great samadhi was dedicated to him at Raj Ghat in the national capital. The Father of the Nation was cremated here on January 31, 1948, and today millions visit this site to pay homage to him. Lying on the banks of the Yamuna river, Raj Ghat is fringed by lush well-manicured lawns that are dotted with trees. The samadhi is a true reflection of the man himself and exudes a simplicity with which he came to be associated. A brick platform where his body was burned and a black marble platform is surrounded by a marble fence. The words ‘He Ram, which was the last thing Gandhiji said, have been inscribed on the memorial. An eternal flame stands adjacent to it. Various trees that dot the landscape have been planted by dignitaries like Queen Elizabeth II, former US president Dwight Eisenhower, former Australian Prime Minister Gough Whitman etc., and bear their names on a plaque. Visitors are required to remove their shoes before paying homage to the leader. A ceremony is held every Friday to mark the day he died. There are two museums nearby, which are dedicated to Gandhiji.
Though the day marked the end of the man, it hailed the beginning of a legend that would last forever

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Sanchi- The Food of SOUL

 

Buddhist Monuments at Sanchi

On a hill overlooking the plain and about 40 km from Bhopal, the site of Sanchi comprises a group of Buddhist monuments (monolithic pillars, palaces, temples and monasteries) all in different states of conservation most of which date back to the 2nd and 1st centuries B.C. It is the oldest Buddhist sanctuary in existence and was a major Buddhist centre in India until the 12th century A.D.

Universal value

The stupas, temples, viharas, and stambha at Sanchi in central India are among the oldest and most mature examples of aniconic arts and free-standing architecture that comprehensively document the history of Buddhism from the 3rd century BCE to the 12th century CE. About 10 km from Vidisha, the Buddhist monuments at Sanchi, located on a serene and picturesque forested plateau, are also considered to be the sacrosanct Cetiyagiri in the Sri Lankan Buddhist chronicles, where Mahindra, the son of Emperor Aśoka, stopped prior to undertaking his journey as a missionary to Sri Lanka. The enshrined remains of Sariputra and Maudgalyayana (chief disciples of Buddha) in Sanchi were venerated by Theravadins, and continue to be revered to the present day.

The inception of Sanchi as a sacred centre is attributed to the Mauryan emperor Aśoka. His reign in the 3rd century BCE is considered instrumental to the spread of Buddhism throughout the Indian subcontinent. With the establishment of the monolithic Aśoka Stambha (pillar) bearing a highly elaborate capital, Emperor Aśoka distinguished Sanchi as a site of great importance. Contemporary with the stambha was a brick stupa, which was later increased in scale during the Sunga dynasty (184-72 BCE), covered with an ashlar stone veneer, and augmented with circumambulatory paths and staircases with ornate balustrades, harmika, yashti, chhatra, and four torana, which were later ornamented during the Satavahanas dynasty in the 1st century CE. The last addition to the grand stupa was during the Gupta dynasty (5th century CE), when four shrines were added at the cardinal entry points. Today, this grand structure of Sanchi (“Stupa 1”) is considered an incomparable example of the mature phase of Indian stupas. Since Aśokan times, subsequent powerful empires that reigned over this region – such as the Sunga, Kushana, Kshatrapa, and finally Gupta dynasties – continued to contribute to the expansion of Sanchi with the construction of hypostyle, apsidal, and other temples and shrines, comparatively smaller stupas (Stupas 2 and 3), and numerous viharas. Corroborated by inscriptions present in the property, Sanchi remained an important seat of Buddhism until the 13th century CE. 

  The Buddhist monuments at Sanchi contain an appreciable concentration of early Indian artistic techniques and Buddhist art, referred to as its Anionic School or Phase. Depicting Buddha through symbols, the sculpted art shows the evolution in sculpting techniques and the elaboration of icons, especially depicting Buddha. Stories and facts of great religious and historical significance, enlivened with bas-relief and high-relief techniques, are also depicted. The quality of craftsmanship in representing the gamut of symbolism through plants, animals, human beings, and Jataka stories shows the development of art though the integration of indigenous and non-indigenous sculpting traditions.

Criterion (i): The perfection of its proportions and the richness of the sculpted decorative work on its four gateways make Stupa 1 an incomparable artistic achievement. The group of Buddhist monuments at Sanchi – stupas, temples and monasteries – is unique in India because of its age and quality.

Criterion (ii): From the time that the oldest preserved monument on the site was erected, i.e., Aśoka’s column with its projecting capital of lions inspired by Achaemenid art, Sanchi’s role as intermediary for the spread of cultures and their peripheral arts throughout the Mauryan Empire, and later in India of the Sunga, Shatavahana, Kushan and Gupta dynasties, was confirmed.

Criterion (iii): Having remained a principal centre of Buddhism up to early medieval India following the spread of Hinduism, Sanchi bears unique witness as a major Buddhist sanctuary in the period from the 3rd century BCE to the 1st century CE.

Criterion (iv): The stupas at Sanchi, in particular Stupa 1 and Stupa 3, represent the most accomplished form of this type of monument. The hemispherical, egg-shaped dome (anda), topped with a cubical relic chamber (harmika), is built on a circular terrace (medhi); it has one or two ambulatories for the faithful to use (pradakshina patha). Representing a transition from wood structures to stone, the railings (vedika) and the gateways (torana) also bear witness to the continued use of the primitive forms of megalithic tumuli covered with an outer layer and surrounded by a palisade.

Criterion (vi): Sanchi is one of the oldest extant Buddhist sanctuaries. Although Buddha never visited the site during any of his former lives or during his earthly existence, the religious nature of this shrine is obvious. The chamber of relics of Stupa 3 contained the remains of Sariputra, a disciple of Shakyamuni who died six months before his master; he is especially venerated by the occupants of the “small vehicle” or Hinayana.

Integrity

Within the boundaries of the property are all the known elements necessary to express its Outstanding Universal Value, including the sculpted monolithic pillars, sanctuaries, temples, and viharas atop and along the slopes of the hillock of Sanchi. These elements demonstrate the complete vocabulary of mature Buddhist aniconic art and free-standing architecture. The property, which also encompasses its near natural setting, is thus of adequate size to ensure the complete representation of the features and processes that convey the significance of the Buddhist Monuments at Sanchi. The property is in a good state of conservation. Threats and potential threats to the integrity of the property include pressure from the local villagers to use the right-of-way in the prohibited area (as was the case in the historic past), incursions into this area, and development in the villages.

Authenticity

The archaeological remains of the Buddhist Monuments at Sanchi are authentic in terms of their locations and setting, forms and design, and materials and substance, as well as, to a degree, their spirit. These representations of mature Buddhist free-standing architecture and aniconic sculpted art remain at their original locations and in a setting that is sympathetic. The Sanchi stupas (numbered 1, 2, and 3) were restored in the early 20th century and demonstrate all the original features characteristic of mature Indian stupas. Though abandoned for about 600 years, Sanchi has witnessed the revival of a pilgrimage from all over the Buddhist world, and in particular from Sri Lanka, thus testifying to the religious significance of this place. The site is alive with chants and prayers to immortalize the remains of Sariputra and Maudgalyayana, two of the foremost disciples of Lord Buddha.

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Hill Forts of Rajasthan

The serial site, situated in the state of Rajastahan, includes six majestic forts in Chittorgarh; Kumbhalgarh; Sawai Madhopur; Jhalawar; Jaipur, and Jaisalmer. The ecclectic architecture of the forts, some up to 20 kilometres in circumference, bears testimony to the power of the Rajput princely states that flourished in the region from the 8th to the 18th centuries. Enclosed within defensive walls are major urban centres, palaces, trading centres and other buildings including temples that often predate the fortifications within which developed an elaborate courtly culture that supported learning, music and the arts. Some of the urban centres enclosed in the fortifications have survived, as have many of the site's temples and other sacred buildings. The forts use the natural defenses offered by the landscape: hills, deserts, rivers, and dense forests. They also feature extensive water harvesting structures, largely still in use today.

fort of chittor

Outstanding Heritage Value

Within the State of Rajasthan, six extensive and majestic hill forts together reflect the elaborate, fortified seats of power of Rajput princely states that flourished between the 8th and 18th centuries and their relative political independence.

The extensive fortifications up to 20 kilometres in circumference optimized various kinds of hill terrain, specifically the river at Gagron, the dense forests at Ranthambore, and the desert at Jaisalmer, and exhibit an important phase in the development of an architectural typology based on established “traditional Indian principles”. The vocabulary of architectural forms and of ornaments shares much common ground with other regional styles, such as Sultanate and Mughal architecture. Rajput style was not ‘unique’, but the particular manner in which Rajput architecture was eclectic (drawing inspiration from antecedents and neighbours) together with its degree of influence over later regional styles (such as Maratha architecture) do make it distinctive.

Within the defensive walls of the forts, the architecture of palaces and other buildings reflects their role as centres of courtly culture, and places of patronage for learning arts and music. As well as housing for the court and military guard, most had extensive urban settlements within their walls, some of which have persisted to the present day. And some also had mercantile centres as the forts were centres of production and of distribution and trade that formed the basis of their wealth. Most of the forts had temples or sacred buildings, some pre-dating the fortifications and outliving the Rajput kingdoms, and many of these remarkable collections of buildings still attract followers. Collectively the forts contain extensive water harvesting structures, many of which are still in use.

As a former capital of the Sisodia clan and the target of three famous historical sieges, Chittorgarh is strongly associated with Rajput history and folk lore. Furthermore the sheer number and variety of architectural remains of early date (ranging from the 8th to the 16th centuries) mark it as an exceptional fort in its scale and monumentality comparable to very few other Indian forts.  Kumbhalgarh was constructed in a single process and (apart from the palace of Fateh Singh, added later) retains its architectural coherence. Its design is attributed to an architect known by name –Mandan – who was also an author and theorist at the court of Rana Kumbha in Chittorgarh. This combination of factors is highly exceptional. Situated in the middle of forest, Ranthambore is an established example of forest hill fort and in addition, the remains of the palace of Hammir are among the oldest surviving structures of an Indian palace. Gagron is an exemplar of a river-protected fort. In addition its strategic location in a pass in the hills reflects it control of trade routes. Amber Palace is representative of a key phase (17th century) in the development of a common Rajput-Mughal court style, embodied in the buildings and gardens added to Amber by Mirza Raja Jai Singh I.  Jaisalmer is an example a hill fort in desert terrain. The extensive township contained within it from the outset, still inhabited today, and the group of Jain temples, make it an important (and in some respects even unique) example of a sacred and secular (urban) fort.

Criterion (ii): The Hill Forts of Rajasthan exhibit an important interchange of Princely Rajput ideologies in fort planning, art and architecture from the early medieval to late medieval period, within the varied physiographic and cultural zones of Rajasthan. Although Rajput architecture shared much common ground with other regional styles, such as Sultanate and Mughal architecture, it was eclectic, drawing inspiration from antecedents and neighbours, and had a degree of influence over later regional styles such as Maratha architecture.

Criterion (iii): The series of six massive hill forts are architectural manifestations of Rajput valour, bravery, feudalism and cultural traditions, documented in several historic texts and paintings of the medieval and late medieval period in India. Their elaborate fortifications, built to protect not only garrisons for defence but also palatial buildings, temples, and urban centres, and their distinctive Rajput architecture, are an exceptional testimony to the cultural traditions of the ruling Rajput clans and to their patronage of religion, arts and literature in the region of Rajasthan over several centuries.

Integrity

As a series, the six components together form a complete and coherent group that amply demonstrate the attributes of Outstanding Universal Value, without depending on future additions to the series.

When considered as individual components, Chittorgarh and Ranthambore include all relevant elements to present their local, fort-related significances. However, ICOMOS is concerned about the surrounding development and industrial activities around Chittorgarh Fort, in particular the pollution and landscape impact of the nearby quarries, cement factories and zinc smelting plants, which, if continued or even expanded, have the potential to adversely affect the property.

The wider setting of Chittorgarh is vulnerable to urban development as well as industrial and mining activities that cause notable air pollution.  At Jaisalmer the wider setting and views to and from the fort could be vulnerable to certain types of urban development in the surrounding town. While at Gagron the setting could be under threat from unregulated construction.

Within the forts, there are acknowledged development pressures derived from continued encroachment and enlargement of residential communities. The stability of the overall hill on which Jaisalmer rests is vulnerable to water seepage as a result of the lack of adequate infrastructure.

Authenticity

As a series, the six sites have the capacity to demonstrate all the outstanding facets of Rajput forts between the 8th and 18th centuries. Each of the sites is necessary for the series.

For the individual forts, although the structures at each of the sites adequately convey their value, some are vulnerable. The original exterior plaster at Amber Fort and Gagron Fort has been replaced, which has caused a loss of historic material and patina. At Chittorgarh and Kumbhalgarh Forts, there are structures in a state of progressive decay or collapse, which are vulnerable to losing their authenticity in material, substance, workmanship and design. At Jaisalmer within the urban area, individual buildings are in need of improved conservation approaches.

Protection and Management requirements

Chittorgarh, Kumbhalgarh, Ranthambore and Jaisalmer Forts are protected as Monuments of National Importance of India under the Ancient and Historical Monuments and Archaeological Sites and Remains (Declaration of National Importance) Act of 1951 (No. LXXI of 1951 (AMASR)) and the AMASR Amendment of 2010. They were listed in 1951 (Kumbhalgarh, Ranthambore and Jaisalmer) and in 1956 (Chittorgarh) respectively. The 1951 national legislation provides unlimited protection to the monuments designated in its framework and the 2010 amendment establishes a 200 metre protection zone around the area of the designated Monuments of National Importance.

Gagron and Amber Forts are designated as State Protected Monuments of Rajasthan under the Rajasthan Monuments, Archaeological Sites and Antiquities Act of 1968. They were both listed in the very year the act was adopted. The 1968 Act stipulates that no person, including the owner of the property, can carry out any construction, restoration or excavation work, unless permission has been granted by the responsible state authorities. In the case of Amber Palace an additional notification for the protection of a 50 metre buffer zone around the property has been issued. All sites have buffer zones designated, but there is a need for clearer planning policies for these in order to regulate development.

The overall management of the six properties is steered by the State Level Apex Advisory Committee, which was established through Order A&C/2011/3949 on 11 of May 2011. It is chaired by the Chief Secretary of Rajasthan and comprises members of the concerned ministries, namely Environment & Forests, Urban Development and Housing, Tourism, Art, Literature & Culture, Energy and various representatives of the heritage sector including the ASI. The Apex Advisory Committee meets on a quarterly basis and is designed to constitute the overall management framework of the serial property, guide the local management of the six serial components, coordinate cross-cutting initiatives, share research and documentation, share conservation and management practices and address the requirements of common interpretative resources.

To implement the recommendations of the Apex Advisory Committee, the Amber Development and Management Authority, acts as an overarching authority for management implementation. This was legalized through notification by the Chief Secretary of the Government of Rajasthan dated 14 October 2011.

There are Management Plans designed to cover the period 2011 to 2015 for five of the six sites. For Jaisalmer, the Management Plan for the property along with sub-plans including visitor management, risk preparedness, and livelihood generation for the local population, will be completed by end of 2013. There is a need for policy statements in the Plans to reference Outstanding Universal Value and for more detailed action plans to be produced for the implementation of the management policies, as well as for indicators for management quality assurance during the implementation processes. For the first revision of the Plans, it would be desirable to provide an over-arching volume for the whole series that sets out agreed approaches.

To reverse the vulnerabilities of certain individual structures within the forts, there is a need for short-term conservation actions. For Jaisalmer, there is a need to ensure the major conservation project for infrastructure and conservation of individual buildings is delivered according to the agreed timescale. Conservation of the extremely extensive fortifications and ensembles of palaces, temples and other buildings will call for extensive skills and resources. A capacity building strategy to raise awareness of the importance and value of these skills, as part of an approach to livelihood generation, could be considered.

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