Suraj Kund Crafts Mela – The annual venture of the Haryana Tourism was inaugurated by the President of India – sans the Haryanvi ‘nagada’ players immaculately dressed in white dhoti kurta and wearing ‘kesari’ turbans and garlands of marigold flowers and the other folk musicians and dancers from the different States of India. Welcome to the advent of the 23rd Spring season of the fair was all very silent due ot the national mourning on the demise of the ex-President of India, Shri Venkataraman. Every year a State of India is chosen as the theme of the Mela. This year, Madhya Pradesh has been chosen as the theme. Madhya Pradesh, dotted with world heritage sites such as Khajuraho, Sanchi and Bhimbetka and other archealogical treasures like Mandu, Orchha and Gwalior, is also the land of The National Parks of Kanha, Bandhavgarh and Panna. Tigeres and many other wildlife species find home at these amazing National Parks. This vast plateau of Central India lies in the cradle of Satpura and Vindhya mountain ranges with the lush valleys and the rivers Narmada and Sone bringing serenity to the land. The capital city of Bhopal and the hillstations of Panchmarhi and Shivpuri are an ideal and authentic tourist attractions.

Madhya Pradesh offers a fascinating range of handicrafts. Chanderi Sarees with it’s delicate weaves, is a work of captivating handicraft exhibiting hereditary skills and painstaking.

The tribal traditions and the rich folk of Madhya Pradesh are minefested in the many joyful celebrations and fairs and festivals of it’s colourful people.

As a part of the ‘Incredible India’ campaign to attract tourists from all over the world, Pranay Shrivastave has coined some catchy lyrics that have been tuned to a catchier tune in the form of a poem, for Madhya Pradesh Tourism. It has been sung, both in Hindi and English. Here are the lyrics (in Hindi and English) for the readers of my blog.

तिल देखो ताड़ देखो, आँखें फाड़ फाड़ देखो !
शेर की दहाड़ देखो, मार्बल का पहाड़ देखो !
चंदेरी के साड़ी देखो, बांधवगढ़ की झाडी देखो !
उज्जैन के संत देखो, बोद्धिक महंत देखो !
बुधा के निशान देखो, गीता और कुरान देखो !
इंदौर की शान देखो, कैसे बनता पान देखो !
खजुराहो श्ल्प्कारी देखो, भिम्भेटका कलाकारी देखो !
आँखें मींचे मींचे देखो, आँखें फाड़ फाड़ देखो !
सतपुरा की रानी देखो, भोपाल राजधानी देखो !

राजधानी में झील देखो, बहता पानी झिलमिल देखो !
धरमों के महफिल देखो, हिंदुस्तान का दिल देखो !
हिंदुस्तान का दिल देखो, दिल देखो !! दिल देखो !!!

The English version, it goes like this :

See a man, see a tree; eyes open, open see !
roaring tiger you’ll see;

marble mountain come and see!
Chanderi famous for saree;
Bandhavgarh for greenery !
See the Royal Mandu Mansion;
See jungle go into acion !
Look Cheetal look; look bison look;
look swamp deer look, look peacock look !
Take a closer look at Shivpuri,

See silver train go chook chook,chook!
look look look, look look look!
See holy men of Ujjain,
and some, who are not yet, man !
The Buddha and his wisdom, The Indore, Royal Kingdom !
Check out Gita and Koran, And then go and eat a paan !
Khajuraho eroticity; Bhimbhetka graffitti.
Prehistoric University, don’t shut your eyes and see,
It will open your eyes, you see !
Panchmarhi, the Queen of Hills;
Bhopal capital full of thrills !
Take a dip in Bhopal lake; so cold, you’ll shake !
Don’t stop at the start of India;
Welcome, to the ‘Heart of India’ !!!!

चलते चलते दिल जो हुआ तेरा शोला, एक चवन्नी खर्च के तू पीले कोका कोला !!
This couplet has been sent to me by a reader of my blog who has said that he remembers, when Coca Cola was introduced in Delhi and used to sell for four annas. He and his friends had coined this couplet when they used to walk down till their place of work which was quite a walking distance. He wrote to me in the context of my post “Back then……” which was published a year ago on my main blog www.delhilog.com – Celebrating Delhi !

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Making a test debut in 1990 when India toured England, Kumble established himself as a quality international spinner, taking eight wickets in a test when India toured South Africa in 1992. Later that year when England toured India, Kumble took 21 wickets in just three test matches. By the time he had played ten test matches he had already scalped 50 wickets. He reached the mark of 100 wickets in his 21st match and became the fastest wicket taker after Prasanna. Then 200 wickets in 47 matches; 300 wickets in 66 matches; 400 wickets in 85 matches; 500 wickets in 105 matches and finally the 600th wicket in his 124th match.

Dedication and commitment were the middle names of Anil Kumble. Inspite of the worst of injuries, Kumble rose to the occasion and stood for his team. Remember that dare devil, with his face packed in bandages to hold his broken jaw in the West Indies series taking a hard hit return catch from Lara. Why go far. Only till his last match today, Kumble’s fingers had been dipped in general anaesthesia and were bandaged, as he insisted to play on.

619 wickets in 132 test matches (No.3 in the world after Shane Warne and Mutthia Murlidharan); 10 wickets in one innings (Jim Larker of Englandbeing the only one to have done it in 1956); 10 times the Man of the Match (Sachin Tendulkar being the highest at 11) and a century to his credit. These are no mean feats.

Delhi feels proud for Jumbo, who chose this venue to declare his retirement. ‘Hip Hip Hurray’ !!

(the images are a grab from the various channels of TV)

The reference is to Bahadur Shah Zafar (II) who was the King during that period (1857)

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एक रोज़ मैं दरीबे से जा रहा था । क्या देखता हूँ कि एक फौज तिलंगों की आ रही है । मैं भी देख कर गुलाब गंधी की दुकानके सामने खड़ा हो गया । आगे – आगे बैंड वाले थे । पीछे कोई ५०–६० सवार थे । उनके घोड़े क्या थे, धोबी के गधे मालूम होते थे। बीच में सवार थे मगर गठारिओं की कसरत से जिस्म का थोड़ा सो हिस्सा ही दिखाई देता था । यह गठारिआं क्याथीं ? दिल्ली की लूट , जिस भी आदमी को खाता पीता देखा, उसके कपड़े तक उतरवा लिए, जिस रुपये –पैसेवाले को देखा, उस के घर पर जा कर ढही दे दी और कहा, चल हमारे साथ किले, तू अंग्रजों से मिला हुआ है, जब तक कुछ रखवा न लिया, उसका पिंड न छोड़ा । अगर दिल्ली के चरों तरफ़ अंग्रेज़ी फौज का मुहासरा न होता तो शरीफ लोग कभी के दिल्ली से निकल गए होते।

गरज खुदाई फौजदारों का यह लश्कर गुल मचाता, दीन–दीन के नारे लगाता मेरे सामने से गुज़रा । इस जमगफी (भीड़) के बीचों बीच दो मिआं थे । यह कौन थे ? आली जनाब बहादुर खां साहब सिपहसलार । लिबास से बजाये सिपहसलार के दूल्हा मालूम होते थे । जड़ाऊ ज़ेवर में लदे थे । पहनते वक्त शायद यह भी मालूम करने की तकलीफ़ गवारा न की गयी थी कि कौन–सा मरदाना ज़ेवर है और कौन–सा जनाना । जैसे ख़ुद ज़ेवर से आरास्त थे, उसी तरह उनका घोड़ा भी ज़ेवर से लदा हुआ था । माश के आटे की तरह ऐठे जाते थे । मालूम होता था खुदाई अब इनके हाथ आ गयी है । गुलाबगंधी ने जो इन लुटेरों को आते देखा तो चुपके से दुकान बन्द कर ली और अन्दर दरवाजे से झांकता रहा ।

खुदा मालूम क्या इत्तेफ़ाक़ हुआ कि बहादुर खान का घोड़ा एन उसकी दूकान के सामने आकर रुका । बहादुर खां ने इधर-उधर गर्दन फेर के पूछा यह किसकी दूकान है । उनके एड़ी कांग ने अर्ज़ की – “गुलाबगंधी की “। फ़रमाया “इस बदमाश को यह ख़बर नहीं थी कि मां बदौलत इधर से गुज़र रहे हैं । बन्द करने के क्या मायने ? अभी खुलवाओ “।

ख़बर नहीं इस हुक्मे–कज़ा (मृत्यु संदेश) का बेचारे लालाजी पर क्या असर हुआ ? हमने तो यह देखा कि एक सिपाही ने तलवार का दस्ता किवाड़ पर मार कर कहा “दरवाज़ा खोलो ।” और जिस तरह “सम–सम” खुल जा अल्फाज़ से अली बाबा के किस्से में चोरों के खजाने का दरवाज़ा खुलता था । उसी तरह इस हुक्म से गुलाबगंधी की दूकान खुल गयी । दरवाज़े के बीचों बीच लाला जी हांफ़ते हांफते हाथ जोड़े खड़े थे । कुछ बोलना चाहते थे, मगर जबान यारी न देती थी । उस वक्त बहादुर खां कुछ खुश थे । किसी मोटी आसामी को मार कर आए होंगे । कहने लगे तुम्हारी ही दूकान से बादशाह के यहाँ इत्र जाता है ? लाला जी ने बड़ी ज़ोर से गर्दन को टूटी हुई गुडिया के तरह झटका दिया । हुक्म हुआ कि जो इत्र बेहतर से बेह्तर हो, वोह हाजिर करो ।

वे लडखडाते हुए अन्दर गए और दो कंटर इत्र से भरे हुए हाज़िर किए । मालूम नहीं बीस रुपये तोले का इत्र था या तीस रुपए तोले का । बहादुर खां ने दोनों कंटर लिए । काग निकालने की तकलीफ कौन गवारा करता । एक की गर्दन दूसरे सेटकरा दी दोनों गर्दनें टूट गयीं । इत्र सूंघा कुछ पसंद आया एक कंटर घोड़े की आयाल पर (गर्दन के बालों पर) उलट दिया और दूसरा दुम पर । कंटर फैंक कर हुक्म दिया गया – ‘फार्वदी‘ । इस तरह बेचारे गुलाबगंधी का सैंकडों रुपयों का नुकसान करके यह हिंदुस्तानिओं को आजादी दिलाने वाले चल दिए ।

Street of the Incomparable Pearl’, Dariba Kalan. The street derives its name from a Persian phrase ‘Dur e be baha’, meaning ‘pearl without compare’ because since the period of Mughal Emperor Shah Jahan, the street used to be the popular market of precious stones, gems, gold and silver jewelery. Till today it is known as jewelers’ street although most of shops in the street now deal in silver and costume jewelery. It is a very good market for purchasing new or old silver jewelry, because of the wide choice available.

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‘Tilangas’ is apparently a reference to Telingana, in mdern Andhra Pradesh, where the British originally recruited many of their sepoys during the Carnatic Wars of the eighteenth centry. In Delhi the name seems to have stuck as an appellation for British-trained troops, although the British had long since replaced Telingana with Avadh as their prinicpal recruitment field, so that in 1857 most sepoys would have come from modern Uttar Pradesh and parts of Bihar. ‘Purbias’, which in Delhi was used alernatively with Tilangas, simply means Easterners. Both words carry the same connotation of foreignness, implying ‘these outsiders from the East’.

A large proportion of the Mutiny Papers are the petitions of ordinary Delhiwallahs who had suffered at the hands of the sepoys; invariably they were addressed to Bahadur Shah Zafar, who they hoped would protect them against the increasingly desperate Tilangas. Significantly, in their petitions to the courty, the words the ordinary people of Delhi used to describe what was happening in 1857 were not Ghadr (mutiny) and still less Jang-e Azadi (freedom struggle or war of independence) so much as fasaad (riots)and danga (disturbance or commotion)

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Period of the episode – The unrest of Year 1857 in Delhi
Place of incident – Dariba Kalan, Delhi

One day, I was passing through Dariba , when I saw a cavalcade of Tilangas coming from one end. Every passerby hurriedly got to a side to let the cavalcade pass. I too, stood aside in front of the shop of Gulab Gundhi (pronounced Gun-dhi as in sun….fun…gun) and watched the cavalcade pass by. The procession consisted of 50 to 60 horsemen, led by a band of drummers. The horses were burdened with huge bales, condemning them to look more like a washer man’s (dhobi’s) donkey, rather than a horse. Anyone could guess that the bales contained the loot from Delhi’s rich and prosperous gentry. Any one, wealthy and worthy, would be threatened with the charges of siding with the British and would be let off only after he paid up for his innocence. The wealthy and worthy gentry of Delhi would have long ago deserted Delhi, had they not seen a ray of hope in the British companies, who were still surrounding Delhi.

The contingent, shouting slogans in the name of God, marched passed in front of me. In the crowd of the contingent was their commander – Aali Janab Bahadur Khan Sahab. From the uniform that he was wearing, he looked more like a bridegroom than a commander. He had adorned himself with ornaments studded with jewels. And while wearing them he had not even bothered to distinguish between the ornaments that were worn by the men and the ones that were meant for women! And in the way the commander was embellished in the studded ornaments, his horse too was decorated likewise. When Gulab Gundhi saw the cavalcade coming, he quietly shut the doors of his shop and kept peeping at the passing parade, through the door.

God knows, what a coincidence it was, that Bahadur Khan’s horse stopped right in front of his shop. Bahadur Khan looked around and asked whose shop was it. His orderly replied, “Gulab Gundhi’s”. Bahadur Khan was furious. “Does the wretched man not know that His Highness is passing by? Why has he shut the doors of the shop? Get it opened ! Pronto !!”

Unaware of what would have Lalaji gone through by this ‘deadly sounding decree’, all we saw was that a soldier hit the door with the handle of his sword and commanded, “open the door!” At the order, the door of Gulab Gundhi’s shop opened like the door that used to instantly open at the words, “open, sesame”, in the story of Alibaba and Forty Thieves. Gulab Gundhi stood at the door with folded hands, panting and trembling. He wanted to say something but his tongue refused to be with him. On that day, Bahadur Khan was comparatively in a happier mood. Probably he had a field day. He asked if the attar (essential oils) used by the King were sent from his shop ? Lalaji, vigorously jerked his neck in affirmative. He was ordered to present the best product that was available in his shop.

Stumbling, Lalaji went inside and appeared with two decanters full of attars. It’s not sure whether the attars were priced at Rs.20 per tola (10 gms.) or Rs.30. Bahadur Khan took both the decanters and without bothering to remove the stoppers, he clashed the necks of the bottles with each other and broke them. He smelled from the one; liked it and poured it on his horse’s nape. With the other he drenched the hair of the tail of his horse and after throwing away the bottles he ordered his army – “Forward !” leaving Lalaji behind, with a loss of hundreds of rupees.

(the text is a translation of the original article printed in the Hindi daily ‘Navbharat Times’, New Delhi, 19th July, 1965 P.4 Column 7&8 by Ayodhya Prasad Goyalia)

Gulab Singh, the sufferer at the hands of Bahadur Khan in the above passage, established the shop of Attars at Dariba Kalan in Chandni Chowk in 1816. Now famous as Gulab Singh Johri Mal (Shop No.320), the tradition of manufacturing attars is being carried on by the great,great,great grandsons of Gulab Singh Ji.

It is said that during the reign of Akbar Shah II, the nobility, including the nawabs, rajahs, landlords and subedars, sat for hours with Gulab Singh Ji, delicately sniffing and selecting their attars placed in exquisite boxes with ivory in-laid work. Belgian cut glass decanters were sent to the inner sanctums of the Mughal queens and princesses, to sample and select their favourite frangrances. Now after two centuries, a steady stream of discerning customers and the connoisseurs can still be seen selecting their favourite attars.

Ram Singh the fourth descendant in the clan of Gundhis, explains how their ancestral work began around two centruries ago. The 70 year old Gundhi, nostalgically recounts his Grandfather Lala Banarsi Das telling him that there was a lake called Nahr-e-Bahisht (Lake from Paradise) in Chandni Chowk when their shop was opened. And Dariba Kalan was the main shopping centre for the Shahjahanabadis.

Attar is a Persian word meaning ‘fragrance’. Attars have been famous in the Arab and India for over 5,000 years. The English word otto is a transliteration of the original Arabic word (‘itr). These are the essential oils extracted majorly from the naturally occurring odoriferous substances such as flowers, roots, herbs and spices. Aromatic perfume materials are blended together to form true fragrances in pure concentrate forms, free from alcohol and spirits. As easy it may sound, the process of extracting attar is very tedious and requires a great amount of skill.

Inspite of the latest technology available for distillation, yet the Attars are made traditionally by Deghs (copper stills) and Bhapka (steam distillation) system, which is a hydro distillation process. Archaeological excavations have revealed round copper stills, used for making attars, that are at least five thousand years old. These stills are called deghs. Following the seasons of the flowers, traditional attar-makers, with their deghs, traveled all over India to make their attars on-the-spot. Even now, rural areas often lack good roads to quickly transport the harvested flowers, and a few traditional attar-makers still travel with their deghs to be close to the harvest. Their equipment has changed little, if at all, in the last five thousand years.

The fresh harvest is placed inside the stills (deghs) and filled with water. The degh is then hermetically (perfectly water proof) sealed with a lid (sarpos) and clay. From the sarpos (lid) runs a bamboo pipe (chonga) through which the vapours are collected in long-necked barrels (bhapka) which is kept immersed in a water tank (gachchi). The still is heated by lighting a fire underneath with the help of wood or cow dung. The temperature and speed of the distillation is controlled by regulating the fire.

The distillation is managed by highly skilled workers called Dighaa, who knows when the correct quantity of vapours have condensed inside the receiver by feeling the round part of the receiver under water. The water in the tank is changed continuously to prevent the temperature rising too high. Managing the still (large copper kettles) is highly skilled job, as the operator must keep the boiling at a level that matches the condensation in the receiver, so as to keep the pressure under control. When the desired quantity of vapour is condensed, the Dighaa rubs a wet cloth around the body of the still for a temporary pause in distillation and the filled receiver (bhapka) is replaced by another receiver. If necessary, the second may be replaced by a third receiver. The receiver is then allowed to cool.

The mixture of oil and water is then separated either directly form the receiver through a hole at the bottom or pouring the whole mixture in an open trough, after the separation, the water is removed from an opening at the bottom.

After desired concentration of the attar is reached, it is then poured into leather bottles for sedimentation and removal of moisture. The concentrate thus obtained is filled in crystal bottles with a matted glass stoppers called itradan.

Apart from the original shop established in 1816, Gulab Singh Johri Mal, has another show room in the Main Chandni Chowk (opposite The Town Hall).

Mukul Gundhi, one of the brothers of the seventh generation of the two-century old clan narrates about the customary practice in nobility to offer attar to their guests. The most common method of applying Attar practised by them was to rub a small amount of oil over the extended right hand palm down. This is also the etiquette of receiving attar when offered by someone. The regular way of wearing attar is by applying it behind the ears beneath the lobes. This is done with the help of a small stick attached to the cap of the bottle and which remains immersed in the perfume when the cap is shut. Connoisseurs also put one or two drops of attar oil on a small piece of cotton (about the size of the end of a cotton bud or swab) then insert the cotton piece in the ridge like edge of the ear.

The ornate shelves in the orginal shop at Dariba and the Showroom at Chandni Chowk are decoratively lined with Belgian cut glass decanters of different shapes and sizes containing the fragrances of various flowers. The brothers relate the tale of tiresome and time consuming process in searching and gathering of fresh and pure flowers. For Rooh Gulab, the attar of Rose, they visit the flower gardens of Kannauj, Sikatra near Aligarh, Ghazipur and Jaunpur (all in U.P). The condition is that the flowers must be plucked at dawn and used before the sun rises. For after that, the fragrance begins to leave the blooms. For Chameli and Motia, they have to go to Sikandarpur and some villages of Varanasi. For Kewra, Molsari, Champa and Harsingar flowers, they have to visit the villages of Orissa. As the harvest of flowers used for making attars has to be fresh, Gulab Singh Johri Mal have distillation units at all these places.

Attars have their medicinal and climatic uses too. Unlike the alcoholic deodorants and sprays, attars have never been classified separately for men and women. The subtle blending of the various aromas is like the creation of a melody – the top note, middle note and the end note. And like various the various ragas, the use of attars match the season of the year. Spring and summer are for the bright, happy, flowery fragrances. And especially for the very hot summer months, there is the sharp clean freshness of Khus. The cool taaseer (tendency/character) of the Khus protects from the hot surface winds. The Gill essence is more exotic. It captures that ever fresh aroma that emanates from the earth after the first summer showers. It is made by creating same conditions in the still (degh) that prevails when when the first rains of the season falls on the parched land after a long summer. Just like Khus and Gill are cooling and appropriate for use during the summer, Hina and Musk are ideal for winters becuase of their hot taaseer.

People using foreign perfumes keep changing from brand of perfume to another, sans satisfaction. A very specific fact about attars is, that people keep using the same fragrance for years together – in fact for the whole life !
A little bit of trivia now!

After the bewitching model Naomi Campbell fell for the attar Mehndi, the fragrance is in vogue in the Parisian fashion seminaries.

The ex-President of India, Late Dr. S. Radhakrishnan was fond of attar Majmua and ex-President Late Dr. Shankar Dayal Sharma, used to wear attar Chameli while attending formal functions. Maulana Abul Kalam Azad was also fond of attar Majmua.

The queen of all attars happens to be Rooh Gulab. It was discovered by Noorjahan, the wife of Mughal emperor, Jahangir. Once while she went for her morning bath, she found an oily layer over the water which was kept to cool overnight with rose petals in it. When it was distilled later on her orders, it turned out the costliest attar.