Parvati Part II

Navel gazer, that’s what a good friend accused me of.  I had reason to feel hurt and offended.  But then the accusation came from a budding politician who has the lofty aim of ‘greater human welfare’ in mind, so anything that does not concern human life directly is a luxury for him!

History, Heritage, Culture, Conservation, Restoration, Preservation are luxuries for a developing country like India. Is it so? Can Maslow’s theory for a human be applied to a society, a nation? In that case, should the nation move at the speed of the least evolved or the most evolved?

So next time anyone gives you spiel on priorities and urgency as far as human development is concerned, be assured that’s the only excuse he could find to hide his ignorance.These navel gazers, I say!

Now that, I have got it out of my system let me get back to the subject. One visit to Parvati wasn’t enough; curiosity to find the real dateline of the caves was very high. So we went there to pop some more pictures. Existence of Pune dates back to 230 BCE (Before Common Era), which is an era of Satavahana Dynasty. The archaeological evidence says that the Satavahanas ruled from Junnar (Pune) and Pratishthan (Paithan) in Maharashtra later. The habitants of that period followed the Hindu religion and worshiped Vishnu and Shiva but also respected Buddha. The caves at Parvati, Pataleshwar and Chaturshringi in Pune do point to this part of ancient history.

These caves situated at the South-East part of the hill largely lie neglected as very few know the significance and the heritage value of these grottos. The residents nearby and the regulars can take some initiative to preserve this.

We were transcending through 230 BCE to 1700 CE (ancient to medieval era) as we were moving up from the caves towards the Parvati top. The tall fortification wall (Tat & Buruj) was now visible. Parvati also follows the same architectural design of a land-fort with two fortification walls. Only parts of these walls are intact now, enough to give an idea of the old structure.

The sun was already high up and we had not yet reached the Vishnu temple. My photographer friend was more than a little anxious! A frenzied photo session followed, what you see here is the real thing. This temple is truly BEAUTIFUL. The colors and carvings on the dome are any photographers delight!

The representation of Garuda, Vahan (divine vehicle) of Vishnu carved in marble stone alone can be a subject for someone interested in Hindu iconography.

What fascinated me at the Kartikeya temple, were the recently done paintings, depicting the life of Kartikeya. I would love to know the identity of this/these artists. They’ve done a wonderful job with colors. The Kartikeya temple, they say was struck by lightning twice so the idol had to be replaced and the dome reconstructed. The stone structure which hides behind the colorful facade is intact and extremely beautiful.

Gopikanarayaneshwar (pronounced ‘Gopika-Narayan-Eashwar’) Mandir

A small quaint lane in Pune, near ModiGanpati, houses a temple – ‘Gopikanarayaneshwar’. Wonder how my teammates traced it. Small world, a resident of the housing complex around which this temple is built turned out to be a the uncle of a friend;he took us around and gave us leads to its dateline.It was constructed by the ‘Natu’ family,the head of whom was an administrator in the court of the Peshwas.  This is one of the three temples built by the Natus so that their women folk could worship in private.

The temple was built following typical Maratha architecture, where the base is made of black stone (probably basalt) and the Dome (Kalas) with Amalak and very ornate, lotus  motifs which has Mohammedan influence, is made of (softer) lime stone.

This is a Shiva temple with the effigy of Parvati in one of her various forms as Durga-Mahisasuramardini*. This is a fierce form of Parvati – depicting feminine power, independence, fearlessness, patience and a sense of humor. According to Hindu mythology and iconography, she was gifted with weapons of all the Gods —Rudra’s trishul (trident), Vishnu’s chakra (discus), Indra’s vajra (thunderbolt) , Brahma’s kamandalu, (a type of Hindu Aspersorium or a vessel that holds holy water), Kuber’s Ratnahar (Necklace of precious stones). In addition, she wielded a talwar (sword), gada (mace) and dhanush (bow). Accessories include a conch shell and lotus. This form of Parvati was also depicted with snakes.

*Mahisasurmardini — slayer of the MahisAsura (demon that rode a buffalo and terrorized heaven and earth).

It’s interesting how humans expressed complex emotions and feelings through pictures and sculptures. There definitely is a message in every story, and possiblythe creator of these masterpieces used them as forms of teaching for the coming generations. The Tattavas (principles), Gunas (qualities) and Mahaguna (elements) and senses on which was based the philosophy of life had to be communicated. How it took form of idol worship later is something to be studied.

My journey into visiting these fading/forgotten/neglected heritage sites does not follow any pattern of study…yet there emerges a pattern of beliefs, basis, myths, evolving and separating itself from philosophy.

Vishrambaghwada - Pride of Pune

This is one place I would love to move into!

You’re looking at me with an extremely disdainful smile aren’t you? 

Softly and slowly it engulfed me with its charm. Please go there when you have lots of time on your hands, or you might miss all the beauty that grows on you over a period of time. This Vastu, is packed with an enormous wealth of historical relevance. Be it art and craftsmanship, architecture, luxury, lifestyle, education, revolution or administration, it remains at the fountainhead of Pune’s Heritage.

History has various connotations, the power-struggles between royalties and dynasties, the invasions, the wars, the massacres, the rebellion, the rise and fall, the art odyssey, the literary journey, the amalgamation of various cultures and religions and beliefs. No wonder it is so mesmerizing. It makes one crave for more…history never ends.

 We did catch the morning sun and much more, like, the rare pleasure of having the busiest junction of Pune all to ourselves. A relaxed pace of life certainly changes the way one looks at the world; suddenly one notices beauty around us. I would have easily missed a soulful voice in the daily hubbub of life but this one was just waiting to be heard. I wondered, what made him happy and smile so much? His worldly possessions were in one Zola (cloth bag) and he wasn’t yearning for more…or was he? I do not know, but his calling was certainly different than ours. So looking at him we smiled and smiled some more.

Yes, Vishrambaghwada is lavish, tasteful and inspired by nature. The architect has used animal forms as corbels and flower and leaves motifs on pillars and the roof. The wooden carving is exquisite, not even for one moment does it disturb the eye; it is that symmetrical and free flowing.

 

At the entrance, two dangerously lovable creatures with droopy eyes (what an understated show of power) stand guard. 

 

These are referred as Flying Lions in write ups; to me the creatures looked like a combination of a Makar (crocodile), a Simha (Lion) and Garuda (Eagle). The mane and paws of a lion, the face and scales of a crocodile and the wings of an eagle . . . what strong creatures these are. All the figures, including the monkey on the Meghadambari are curiously Buddhist and Hindu Symbols. The peacock is a Vahan (vehicle) of Kartikeya or Murugan (Lord Shiva’s son) and Saraswati (Goddess of Knowledge) and the parrot is a Vahan (vehicle) of Kamadeva (God of Love).

It is evident that Bajirao II had very fine tastes and was artistically inclined; he had specially called in the artists and craftsman from Gujarat. Every single pillar is carved meticulously with different motifs — like banana flowers and cypress leaves. It surely must have taken 8 years to build a house spread over 39,000 sq. ft! Its name is derived from: Vishram (relaxation), Baug (garden) and Wada (homestead). 

We walked through the courtyards and corridors, imagining how the place must have been inhabited 200 years ago. The images and impressions created by the historians created a very vivid picture, wow that was a golden era for the Peshwas. The interiors, the doors and windows are of classic Maratha style, warm and welcoming. Any artist would love to capture it on her canvas. 

The Peshwas enjoyed this abode for 9 years from 1808. They eventually vacated the Wada after the British took over Pune. Since then Vishrambaghwada has housed various administrative offices, schools and institutes. Even now it still continues to do so. For instance in 1821, a Sanskrit school was started here in a move to bringing education to the masses; later the Government Engineering College, Deccan College, Pune University and Agricultural University also enjoyed its patronage. 

Unfortunately, in 1871, the eastern wing of the Wada was entirely destroyed in a fire, the British rebuilt it and this resulted in fusion of Western and Indian architectural styles in one structure. In 1930, the Pune Municipal Corporation (PMC) bought the property from the British government and until 1959 it operated out of Vishrambaghwada. The good news is that the PMC has undertaken the restoration of Wada and is executing it very well. Enjoy your heritage; pay Vishrambaghwada a visit.

Parvati aka Parvata aai

Every Puneite has been here at least once. The true blue, hold it close to their hearts. Health enthusiasts flock here every morning and evening, devotees queue up for one glimpse of their God and artists derive inspiration from it. That’s Parvati for you.

Due to its geographically strategic position (2100ftabove sea level), proximity to a water source -Katraj lake and its location - on the old trade route connecting Dive Ghat – Kalyan-Nala Sopara, Parvati was the obvious choice of Shrimanta Nana Saheb Peshwa (son of Bajirao Peshwa - the First) for his abode. In fact, one evidence of Pune being an ancient city (8th century) is found here at the north-east end of Parvati. Do visit this cave; you will have to take small walk to locate this structure.

Legend has it that Peshwa Nana Saheb aka Balaji Bajirao’s mother - Rani Kashibai was suffering from a severe foot ailment. She went to a temple in the south of Pune which was famous for its miraculous healing power. Kashibai prayed for her recovery and vowed she would build a larger temple there if she got cured. Her wish was fulfilled and her son built a temple on the hill in the year 1749 A.D. This is the famous Parvati Temple.

 

At the tender age of 10, on 25th June 1740 Nana Saheb was sworn in as Peshwa by Chhatrapati Shahu Maharaj (Chhatrapati Shivaji Maharaj’s grandson). Within 10 years of his reign, he attained control over Maval, Bengal, Madhya Pradesh, Rajasthan and during the next decade over even Karnataka and Telangana. Nana Saheb Peshwa used to venerate Chhatrapati Shahu Maharaj, who had given all the administrative responsibilities to the Prime Ministers - Peshwas. One of many legends says that after the passage of Chhatrapati Shahu Maharaj, Nana Saheb took his Khadav (foot wear) along with him to Parvati and wanted to spend rest of his life with his memories (in ancient Hindu culture, disciples show the highest level of respect by worshipping the Khadav/Paduka of their Gurus). 

Nana Saheb lost his cousin, Sadashivrao Bhau (the son of Chimaji Appa), and his eldest son, Vishwasrao, at the disastrous Third Battle of Panipat. He could not recover from the shock, and died soon after the debacle in 1761.

The residence of the Peshwas is built like a Land Fort (Bhuikot Killa) with very tall walls (Buruj) for defense. Do take a walk towards the western end of the hillock from where one can see part of this Buruj. A considerable part of the Peshwa residence is converted into a museum which displays artifacts, coins, paintings, kitchen items, musical instruments, entertainment artifacts, old furniture, masonry items, fighting gear and armor from the Maratha era. The Peshwa family and many Sardar families have donated these items to the museum. We were told that the wooden pillars and intricately carved windows (Meghdambari) are from the fort of Burhanpur (Indore district). 

The main temple Devdeveshwar (Shiva-Parvati) is built as per the ‘Panchaytan’ style (idols of the deities of Shiva, Vishnu, Shakti, Ganapati and Surya are worshipped separately but in the same premises). Later additions by other Peshwas are the Vitthal, Vishnu and Karthikeyan temples, which are equally beautiful. One needs special permission from the Parvati Trust to photograph the idols of the Gods (it is mainly to protect the rare idols from theft). If permitted, we would make the pictures available to our readers soon. As usual nothing could stop us from photographing this magnificent Nandi!

The Devali style (5 domes - one main dome with four smaller replicas, one on each corner) evolved during the Peshwa regime. The mixture of Hindu and Muslim architecture is reflected through minarets, floral arches and lotus motifs. The enamel work is also of Muslim influence and was used in jewelry and Meghdambari carvings. Though this temple was built for the private use of the Peshwa family, it appears that religious and educational gatherings were held here regularly. Arrangements for the visitors were made in the temple premises; visitors would camp in the ‘Ovari/Gacchi’ (big niches along the walls).

 

 We spent considerable time with the people who look after the administration and maintenance of the Parvati premises, they are a nice lot. Sure, maintaining such premises has its own challenges! Next time you visit Parvati, I suggest you go as a student, and a lot of history will come alive for you.

My personal favorite is a 250 year old, massive Chafa (Champa) tree outside the Peshwa residence. We tried photographing it from every camera angle in an attempt to capture its beauty. Its size intimidates one in a good way. To me, it symbolizes a reflection of our past glory!