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‘Translating Chitampalli's work will bring wider recognition he deserves'

‘Translating Chitampalli's work will bring wider recognition he deserves'

Time of India27-06-2025
Nagpur: Padma Shri Maruti Chitampalli, fondly known as Aranya Rishi, and revered for bringing Maharashtra's forests alive through his words, was paid heartfelt tributes in Nagpur on Friday.
The condolence meeting organised by Vidarbha Sahitya Sangh (VSS) at Ameya Hall turned into an emotional homage, with speakers unanimously describing Chitampalli as a literary figure of global calibre whose legacy deserves to transcend linguistic boundaries.
VSS president Pradeep Date presided over the meeting. On stage were prominent editors and personalities, including Shrimant Mane (editor, Lokmat), Shailesh Pande (editor, Tarun Bharat), Shripad Aparajit (editor, Maharashtra Times), Pramod Kalbande (editor, Sakal), ornithologist Dr Anil Pimpalapure, retired forest officer Kishor Mishrikotkar, and former information officer Anil Gadekar.
Speakers drew comparisons between Chitampalli's writing and world-renowned nature writers like American naturalist Henry David Thoreau and English author Ruskin Bond. Yet, as many pointed out, while Chitampalli's works are of international standard, they have remained 'local' purely because they are available only in Marathi. "Translating at least ten of his select works into other languages would be the truest tribute we can pay him," several speakers suggested.
Dr Anil Pimpalapure described Chitampalli as a writer with extraordinary observational skills and gentle, nuanced prose. "He worked tirelessly to bridge the gap between environmental science and society," he said. He proposed naming the Ambazari Biodiversity Park in Nagpur after Chitampalli as a fitting tribute.
Retired forest officer Kishor Mishrikotkar reflected on Chitampalli's unique ability to teach people how to 'walk through and read the forest'.
"If you want to understand the jungle, you must walk through it on foot. He taught us how to write in a simple, scientific, and evidence-based manner," Mishrikotkar said. He proposed naming the Navegaon Tiger Project after Chitampalli, instituting an award in his name, and establishing a memorial at Navegaon, his karmabhoomi.
Shripad Aparajit called Chitampalli a true 'Vansakha' — a friend of the forest — and emphasised that compiling a comprehensive collection of his writings would be the ideal homage.
Shrimant Mane highlighted Chitampalli's pioneering concepts like jungle reading and forest reading and credited him for bringing medicinal uses of trees to public awareness. Pramod Kalbande said Chitampalli's work helped people understand forests, birds, animals, and ecological intricacies, calling for more scientific study of his writings.
Shailesh Pande observed that Chitampalli lived as an integral part of the forest ecosystem.
In his presidential remarks, Pradeep Date said Chitampalli carved a 'green path' in Marathi literature through his intimate connection with nature. In his introductory address, Anil Gadekar traced Chitampalli's remarkable journey, recalling how Vidarbha embraced his literature and how VSS once honoured him by naming him the president of its literary convention.
The condolence meet saw participation from various literary and environmental personalities, including Vilas Manekar, Dr Pinak Dande, Ashutosh Shewalkar, Prakash Edlabadkar, and Teerthraj Kapgate.
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Hyderabad, the capital of the state of the same name, is celebrated for its swords and other arms. The population, which is about 500,000, consists of mixed elements, and is full of warlike spirit and nearly everyone carries a weapon. Hyderabad is one of the greatest centers of Mohammedanism in India.' The caption appears to be saying a lot about the city in general. It is presented as a repository of martial tradition and religious identity. The mention of 'warlike spirit' and a population where 'nearly everyone carries a weapon' lends the image of curious fascination about civilised primitivism. The reference to Hyderabad as 'one of the greatest centers of Mohammedanism in India' also flattens the city for an European viewership who would have read 'Mohammedan' as a marker of both exotic difference and imperial anxiety. 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But of course, she is not just Miss Chanda—she is Miss Chanda of Hyderabad. Her identity is inseparable from the exotic geography she is meant to evoke. The title alone transforms her from an individual into a representative type, a kind of visual ethnography meant to educate or titillate a foreign audience. Much like the portraits of arm sellers and street scenes, this image offers a version of Hyderabad through its people—yet what it frames is not Miss Chanda's life, but her legibility as an object of curiosity. If Miss Chanda was granted partial visibility through the privilege of a name—only to be reabsorbed into the grammar of exotic femininity—then the next figure's visibility was never in question. Possibly the earliest known postcard of a named Indian ruler (with several to follow) features Mahboob Ali Khan, Asif Jah VI, the sixth Nizam of Hyderabad, and one of the richest men in the world at the time. This postcard marks a shift from anonymous 'types' discussed so far, to named power. But it does so on very specific colonial terms. The Nizam is dressed in full court regalia, the embroidery on his coat ornate, his belt tight across his waist, a heavily jewelled cap crowning his head. The postcard is highly stylised, composed like a studio portrait. The paradox that we must not forget is that despite his opulence and sovereign authority, he is a part of a collection titled 'Souvenir of East Indies', built for exotic European consumption. Also read: What makes someone a Hyderabadi—Irani chai, biryani, Nizam nostalgia, or Dakhni? Bazaars, Boats & Buildings The human figure was not the only object of fascination. The city's monuments, too, featured prominently in this visual archive. A series of postcards from the early 20th century turns its gaze toward Hyderabad's architectural grandeur, most notably the Charminar, the Golconda Fort, and the Mecca Masjid. Each of these postcards, whether of streets, mosques, palaces, or tombs, offers a distinct image of the city. Hyderabad, The Char Minar by Johnston & Hoffmann (Kolkata, c. 1903), for instance, is less about the iconic monument itself and more about the bustling bazaars and the sea of curious onlookers that fill the frame. The bustling bazaars of Hyderabad form the subject of Street at Hyderabad by Unknown Publisher, c. 1905, and the famous Sarojini Naidu poem that reads: 'What do you sell, O ye merchants? Richly your wares are displayed. Turbans of crimson and silver, Tunics of purple brocade, Mirrors with panels of amber, Daggers with handles of jade.' – Sarojini Naidu, In the Bazaars of Hyderabad In The Mosque of Machii-Kaman by Austrian artist Josef Hoffmann, the stock elephant and the lively figures in the courtyard animate the centre of the frame. Possibly the earliest known postcard of Hyderabad, it was created by Hoffmann during his visit to India in 1893–94, when he was in his sixties. In contrast, the postcard titled Tombs at Golconda, Hyderabad adopts a more pastoral tone: a boat gently approaching the rocky shore, softening the memory of empire into picturesque leisure—into a scenic tourist fantasy. These postcards draw a picturesque theatre of the exotic. Hyderabad becomes a living museum, ready for the European gaze and imagination. What then remains of these images, more than a century later? For all their colonial underpinnings, they also inadvertently preserve a trace of local memory: a glimpse of a street, a face, a forgotten name. To read these postcards today is to inhabit a complicated temporality—one in which the empire looks, but we, too, look back. This essay, then, is not an attempt to salvage truth from image, nor to dismantle colonial visuality in totality. These postcards may have once said, 'I have been here,' but today they ask instead, 'What was here—and for whom?' (Note: All postcards have been sourced from online blogs and archives. The following set is drawn from Paper Jewels, a free-access postcard collection: Miss Chanda of Hyderabad; Arms Sellers, Nizam von Hyderabad; The Char Minar; In the Mosque of Machii-Kaman; Tombs at Golconda, Hyderabad; James Bazaar Street, Secunderabad; and Street at Hyderabad.) Souvik Nath recently completed a Master's degree in English Literature from the University of Hyderabad. His research interests centre on colonial modernity and its textual manifestations. Views are personal. (Edited by Ratan Priya)

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