Chanderi, the historic town of warp and weft!

During my heritage tour to Madhya Pradesh last month, I visited the weaver cluster of Chanderi; a small town near the banks of the Betwa river in Ashok Nagar district, and my dream of meeting weavers of saree finally came true! There is something alluring about witnessing a weaver immersed at the loom, transforming cotton/silk pods/threads into one of the most celebrated traditional garments; a handwoven saree! Visiting the Chanderi weaver cluster was an eye-opener for a passionate saree lover and handwoven saree collector like me.

The echoes of sound made by looms from every house of the "bunkar moholla" (weavers' colony) makes one realize that Chanderi is a town of weavers and livelihood of majority of the population is dependent on the centuries-old traditional business of textile weaving. The artisans of Chanderi weaving are predominantly Muslims from Julaha community, Kohlis and a few are from other backward class communities. There are groups within the various weaver clusters of Chanderi that continue to preserve exclusive traditional knowledge of art of weaving passed down upon them through generations. These weavers have great lineage of craft, skill, creativity and experience which is unique and difficult to recreate in power loom versions of Chanderi. 

A Weaver of Chanderi working on his pit loom 

We live in times when the markets are flooded with cheap power loom/machine-made reproductions of almost all the traditional handwoven sarees and textiles, a hazard that has put the survival of traditional hand loom industry on the brink. 

That's me flaunting my Chanderi saree 

Traditionally, Chanderi cloth was woven using hand-spun cotton thread that was brought from other parts of the country. The practice of using hand-spun cotton thread was discontinued when mill spun threads became commercially more viable. The mill spun silk threads were used to keep the sheen of the sarees, its inherent characteristic intact. It is a visual delight to watch a weaver create "butti/butta" manually inserting the motif in the body of the saree, using extra yarn, that reminds one of embroidery.   
  

Chanderi as a town has played a pivotal role in history of Indian handwoven textiles since centuries. Its geographical advantage of being located between the trade route that connected the town to ports of Western India from Gujarat, Mewar, Malwa, central India and many regions from Deccan, opened up great opportunities for the textile weavers to thrive. Chanderi came under rule of various dynasties like Bundela Rajputs, Malwa Sultan, Mughals and Marathas who patronized hand woven textiles of the region. Chanderi thus started being considered an important economic zone flourishing with business, a conglomeration of weaver communities adapting with time, producing one of the finest handwoven textiles of India known world over for its super fine, soft, sheer fabric with gold and silver threads, the world-famous "Chanderi saree". 

History of Chanderi weaving:

Madhya Pradesh was one of the most significant places for hand woven textiles from 7th century and 2nd century BC.Thanks to different rulers; their influence, patronage and promotion from royal families of Baroda, Indore, Gwalior, Kolhapur, Nagpur, and beyond and the boom in finest quality raw cotton, (Gossypium arboreum - Cotton native to Northwest India and Pakistan. It is said this variety of cotton was used by the Harappan civilization of the Indus valley in the production of cotton textiles*) exquisite hand-woven Chanderi reached its zenith earning its due place in world of Indian handwoven textiles. The lustrous weave became renowned outside India and was exported to many parts of the world winning hearts of textile aficionados. Chanderi became part of celebrations and festivities and important mark of nobility. 

Chanderi sarees, fabric and Geographical Indication 

Protected under Geographical Indication of Goods (registration and protection), Chanderi sarees and fabric (its unique design and fine silk yarn used for the weaving) cannot be copied.

Current status of Chanderi weaving  

Unlike a few handwoven sarees/textiles in India, demand of Chanderi has been on decline. There have been instances when due to lack of demand, many weavers were forced to take up other employment options. The high cost of handwoven products and exploitation by the middlemen ruined life of many traditional craftsmen and artisans.  

The central government, the state government of India along with a few NGOs have joined hands and started initiatives to promote this heritage weave. "Bunkar Vikas sangh", "Tana Bana", "Mission Chanderiyaan" not only train the weavers on various aspects like demand estimation, design intervention, marketing, order generation and distribution of finished products  but also aim to bring digital literacy in lives of weaver community to enhance their skills and reach to the wider markets.  

Every time a loom is shut out of desperation of a weaver, significant part of our heritage disappears forever. That one piece of fabric/saree that we admire is a result of decades of practice of special techniques, evolution of design, cultural history and refined aesthetics. If Chanderi weavers don't get our support, it will be one more precious weave fading away with time. Should we allow Chanderi weave to meet such sacrilegious consequence? Let's wake up before it is too late.   

* Information source: Wikipedia

Bhojpur Shiva temple, an incomplete marvel etched in stone

Perched on a small hillock on the bank of river Betwa about 30 kms from Bhopal city of Madhya Pradesh, stands an incomplete yet majestic Shiva temple; Bhojeshwara Mahadeva. Surrounded by acres of lush green fields, this unique edifice is a testimony to the era gone by and accords peek into cultural significance, techniques of temple architecture, heritage, construction style and practice from 11th century A.D. The Bhojpur Shiva temple is attributed to the legendary King Bhoj Deva of Parmara Dynasty who was not only a great scholar but also patron of arts, renowned author and an avid learner. He reigned the province and the surrounding region from 1010 A.D. to 1055 A.D. 

On the rocky platform near the entrance of the Bhojpur Mahadev temple 

At the very first glimpse of the structure of Bhojpur temple, one feels awestruck! The 106 feet long, 17 feet wide and 17 feet high platform on which the temple is raised, takes one's breath away with its towering size! I was pleasantly surprised by the Braille information kiosk at the entrance of the temple for visually challenged people. (It surely did win some brownie points!) 

View from the slope of serpentine entrance to the temple 

As one walks in from the serpentine entrance towards the temple, the resemblance to the Greek style of temple design immediately comes to mind. There are three levels on which the temple is built; the wide, huge steps leading to a higher level, an open place of worship outside the temple and the main temple. Interestingly unlike the typical Hindu temples where the proportion of sanctum sanctorum is invariably small compared to the space around and at point of complete harmony with over all structure as embodiment of a microcosm of the Universe, at Bhojeshwara temple, the huge Shivalinga contains majority of the Garbhgriha, leaving barely much space around. 

Entrance of the Bhojeshwara temple

The original ceiling of the Garbhgriha of the temple was broken and has been covered with fiber glass sheet in shape of inverted lotus flower just like the original design. The roof is supported by four enormous pillars and twelve piers. The pillars portray intricately carved sculptures of Uma-Maheshwar, Lakshmi-Narayana, Brahma-Savitri, and Sita and Rama.  The door-jambs are adorned with figures of river goddesses Ganga and Yamuna on either sides and Kuber.
A finely polished Shivalinga (the abstract personification of the deity Shiva), 2.35 meters high with a circumference of nearly 7 meters enshrines the square sanctum. Around the linga there are carved columns and above it ornately carved sculpted ceiling. The entire temple is said to be carved out from locally available solid sandstone, a reflection of un-parallel artistry of the time! One can't help wondering how the artisans who built the temple must have raised huge stones of that size and scale.  

The sanctum sanctorum 

  

Sculptures of River Goddessed Ganga, Yamuna and Kuber 

The fascinating aspect of the Bhojeshwara temple is the that the Shivlinga along with the beautiful Yoni Patta (the biggest I have ever seen) rises to the height of almost 20 feet, making it amongst the tallest Shivalingas in the world! The original architectural designs carved in stone show that the temple complex was aimed on much larger scale and engraved on stone before the construction. In the compound of the temple, one finds engraved stencils on the rocks that explain detailed plans of architectural design for entire temple complex. 

Engraving of the temple construction and design plan 

My heart skipped a beat when I spotted many beautifully carved sculptures; some half-carved statues, unfinished materials and decorative designs with the masons' marks strewn all around, completely neglected in the area of temple complex. 

Engraving on the rocks of temple plans 

There is no clarity on why this temple was left incomplete. However, there are some theories that suggest different versions. One theory says the temple was supposed to be constructed in one night and since the herculean task could not be finished, it remained the way it was. Another school of thought says Bhoja Deva had to rush to Gujarat as the Somanath temple was attacked by Mohammad Gazni and his support was needed. He diverted all the resources thus Bhojeshwar temple remained abandoned.

Sculptures strewn all around, neglected in the temple complex 

Small temple outside sanctum for people to perform pujas 

One may not find the Bhojeshwar Temple in list of popular tourist trails but for lovers of history and archeology, this temple provides perfect material to study examples of medieval, Indian temple architecture.  It is designated as "Monument of National Importance" by the ASI (Archeological Survey of India).

Intricately carved culptures lying in the temple complex 

Temple plans etched on rocks 

Damaged sculpture of Goddess Parvati 

Temple tour Karnataka : Bhoga Nandeeshwara

About a month back, I went on a study tour visiting temples of Karnataka with my class mates. I will be writing series of two articles about the temple tour.  

Part one: Bhog Nandeeshwara 

In Nandi village, at the foothills of Nandi hill of Karnataka, Indian sacred history and temple architecture encode coalition of various empires, histories and synthesis among different social groups and cultural systems. At Bhoga Nandeeshwara temple, one finds assimilation of different histories beautifully entwined, each bringing fragments of architectural style that proclaim their character yet resonate with the other styles in perfect harmony. 

According to the inscriptions, the temple was built in 9th century AD by the native Kannada Nolamba dynasty and many additions were made over centuries under respective ruling dynasties like Ganga, Chola, Rashtrakuta, Hoysala and Vijayanagara. Patrons from these dynasties contributed great deal adding value to the original architectural style without violating its aesthetics which was reflection of not only gesture of mutual respect but also social cultural milieu of the times.  Bhoga Nandeeshwara temple is believed to be first most ornate Dravidian temple in entire Karnataka, that played pivotal role in socio-cultural activities in the village and surrounding areas. 

The temple has a vast open area and as one enters the huge courtyard, one instantly gets engulfed in silence!  The chirping of birds, the giant rain trees that seem to have witnessed eternity, the robust summer blooms and their divine aroma calm all the neurosis and one gets the feel of ancient times dripping with soothing serenity. 

Architectural, archaeological and sculptural wonders are distinct characteristics of Bhoga Nandeeshwara temple. The intricacy of ornate carvings on countless statues depicting different deities, the geometrical patterns on the walls, the minute details on the carvings, design of the temple, inscriptions in ancient languages are sight to behold! 

The main enclosure of the temple has three shrines dedicated to Lord Shiva; each representing different stages: Arunachaleswara(childhood), Bhoga Nandeeshwara(youth) and Ardhanareewara; also known as Uma Maheshwara (after marriage), along with several other shrines on the rear side of the temple. The large mantapa in front of the main shrines have brilliant art work with each pillar showcasing beautifully carved images of gods, animals, puranic characters, sages and scenes depicted from Hindu mythology.

The Uma-Maheshwara temple, known for its intricate carvings made in soap stone (as opposed to the granite used in rest of the temple) was built by the Hoysalas between the 12th and the 13th century and has Uma and Maheshwaram in the sanctum.  This shrine is particularly sought after by the newlyweds to seek divine blessings.

The highlight of the temple is the Vasantha mantapa built in front of Ardhanareeswraa shrine. The temple has four intricately carved pillars, each depicting divine couple, richly ornate artistic roof and intricately designed and carved images of Shiva-Parvathi, Vishnu-Mahalakshmi, Brahma-Saraswathi, Surya and his consort on different corners of the mantapa. 

Shrines of Bhoga Nandeeswaraand and Arunachaleswara have large mahamantapas followed by the sanctum housing Shivalingas. The large Nandi situated opposite Bhoga Nandeeswara temple is beautifully carved with a small mantapa. 

The temple also has a big pond surrounded on all four sides by a walkway and a running mantapa. Legend has it that the pond was created by Nandi, plunging his horn into ground to draw out water from the divine Ganga. The Shringi Teertha is believed to be the source of the South Pinakini (South Pennar) river.

The Bhoga Nandeeshwara temple is believed to be a "rough draft", a drawing board for the chief architect of Hoyasala architecture style temples before building Belur and Halebidu and other structures.

"A concerted effort to preserve our heritage is a vital link to our cultural, educational, aesthetic, inspirational and economic legacies- all of the things that quite literally make us who we are. " - Steve Berry