Latest news with #Rigveda
Indian Express
22-07-2025
- Entertainment
- Indian Express
Painting the rain: How Indian art obsesses with the monsoons
'áchā vada tavásam gīrbhír ābhí stuhí parjányam námasâ vivāsa / kánikradad vrsabhó jīrádānū réto dadhāty ósadhīsu gárbham / … ájījana ósadhīr bhójanāya kám utá prajâbhyo 'vido manīsâm' (Sing with these songs thy welcome to the Mighty, with adoration praise and call Parjanya/ The Bull, loud roaring, swift to send his bounty, lays in the plants the seed for germination/ Thou hast made herbs to grow for our enjoyment: yea, thou hast won thee praisefrom living creatures) –Parjanya Sukta, Rigveda The rain motif has always reigned supreme in Indian cultural productions. It has inspired poets and artists alike, while also being the subject of Vedic hymns sung to propitiate the rain gods to send in timely showers. The cultural significance of the monsoons is also rooted in their influence on the Indian economy. The phrase 'the Indian budget is a gamble on the monsoon' has often been repeated by economists and finance ministers in India, ever since senior British official, Guy Fleetwood Wilson, made it popular in 1909. At first glance, the representation of monsoons in South Asian art would appear to be dominated by a specific set of motifs and symbolic structures—passionate lovers in the rain, young women braving clouds and lightning to meet their loved one, peacocks, lush greenery and playful animals. In their book, Monsoon Feelings: A History of Emotions in Rain (2018), historians Imke Rajamani, Margrit Pernau, and Katherine Butler Schofield write that although these recurring themes and symbols in Indian art would lead one to assume that the monsoons elicited the same kind of emotions across time and region, that, in fact, was not true. 'Monsoon feelings have a history, which encompasses both continuity and change,' they write. They also point to the rise and decline of the Indus Valley Civilisation, which they write is attributed to changing patterns of monsoons. The monsoons, the emotions associated with them, as well as their representation in the arts, are influenced by where and when one experiences them. They are also affected by processes of migration, integration and transcultural conflations. Take, for instance, the kingdom of Bikaner, which has historically been one of the driest states of India. However, as noted by art historian Molly Emma Aitken in her article, 'Dark, Overwhelming, yet Joyful: The Monsoon in Rajput Painting', 'the ceilings and walls of its Junagadh Fort burst with monsoon clouds and driving lines of rain, with white cranes flying across wall panels of monsoon black.' Here, monsoon was celebrated for being auspicious and bearing the promise of fertility. Yet there are other paintings from North India that serve as reminders of the despair that too much rain can bring and the need for divine interventions in such situations. An example is a 16th century folio from the Harivamsa showing Lord Krishna holding up Mount Govardhan to shelter the villagers of Braj. Abhisarika Nayika braving the rains A favourite figure in monsoon art is that of Abhisarika Nayika, one of the ashtanayikas or the eight types of heroines in classical Indian aesthetics. In paintings, Abhisarika Nayika is depicted as the fearless woman venturing into the stormy night to meet with her lover. She is shown as a pale figure in a dark, rainy, demon-infested night, mindless of the obstacles on her way, including that of vipers entangled around her legs. The rain and lightning in these paintings are the symbol of an obstacle to love, but also of the heroine's boldness and passion. The coming together of lovers in the rains Yet another popular monsoon scene in medieval Indian paintings is that of lovers embracing each other to find safety, while rains break out all around them. They frequently featured the devotional imagery of Lord Krishna and his consort Radha. Ragamala paintings The monsoons went on to have a far more permeating presence in the 17th-century paintings of musical modes that came to be called Ragamala paintings. This style of painting that originated in 17th-century Rajasthan depicted variations of Indian musical modes or ragas. Accordingly, in these paintings, each raga is personified by a colour and a mood, and illustrates the season of the year or the time of the day when the raga is supposed to be sung. The monsoon was associated with several ragas, and it was believed that singing them well could bring on the rain. 'Over the course of the 17th century, the ragamala painting became a favourite among Mughal and Rajput connoisseurs,' writes Aitken in her article, adding that among these, it was the Raag Megh Malhar, depicting the monsoons, which went on to become an important precursor to a radical shift in the way Rajput and Mughal painters dealt with aesthetics. Barahmasa painting The Barahmasa is a poetic tradition that emerged in medieval North India. It usually revolved around the theme of a woman longing for her lover, and described her emotional state in context of the season of the year. The Barahmasa, as the name suggests, refers to the '12 months'. With time, the genre lent itself to other forms of art, including dance, music and paintings. The Barahmasa paintings began developing during the Mughal rule and were at their peak during the 18th and 19th centuries. Among these paintings, the ones depicting the monsoon months are known to be the most evocative, with passionate rendering of colours and textures to show young lovers staring at clouds, or the lush countryside. Kalidasa's Meghaduta The classical Sanskrit poem, Meghaduta, by Kalidasa has lent itself as a theme to artists painting the monsoon. The poem tells the story of a yaksha who longs for his wife and uses a cloud as a messenger. In Kalidasa's poetic description, the beauty of the Himalayan landscape comes to life in the rainy season, with rivers flowing gracefully and elephants playing in the forests. Kalidasa's Meghaduta was particularly popular among artists of the late 20th century. As noted by Rajamani, Pernau and Schofield in their book, 'since the late 19th century, monsoon arts became increasingly nationalised.' Kalidasa's Meghaduta was increasingly applied in these arts to evoke national pride. A 1960 stamp, for instance, depicts the yaksha instructing the messenger cloud. He releases flower petals in the monsoon winds, which are shown to be collected by a group of cranes who carry the message towards the cloud. Notable among the painted works depicting Meghdoot are those of Ramgopal Vijaivargiya, Shailendranath De, and Harihar Lal Mead. Adrija Roychowdhury leads the research section at She writes long features on history, culture and politics. She uses a unique form of journalism to make academic research available and appealing to a wide audience. She has mastered skills of archival research, conducting interviews with historians and social scientists, oral history interviews and secondary research. During her free time she loves to read, especially historical fiction. ... Read More
Time of India
22-07-2025
- General
- Time of India
The Skyward Path: Resilience and Inner Ascent
In an age where constant notifications, instant opinions, and endless comparisons have become the norm, staying calm and detached isn't just a choice– it's a survival skill. More and more people today are realising that emotional detachment, when done right, can lead to greater peace, clarity, and long-term happiness. But detachment doesn't mean being cold or indifferent. It means knowing where to place your attention and where to hold back. It's about protecting your mental energy, choosing your battles, and not letting every outside opinion or outcome define your worth. Here's a look at how to practise this in your daily life, without disconnecting from what truly matters. In every human soul lies a longing, not merely to survive, but to live with divine purpose. Ancient Indian wisdom speaks of this as the upward movement of consciousness. The sky has always symbolised this higher aspiration, not as an object of admiration but as a metaphor for spiritual evolution . The journey of skyward soul mirrors the flight of the highflyers, not in wings, but in wisdom. The eagle's ascent becomes an inner template for the seeker. Not because of its physical might, but it embodies qualities revered in Indian spiritual tradition: vision, courage, and detachment . These qualities are not to be admired from afar, but to be internalised. Vision is the starting point. In the Katha Upanishad , Nachiketa seeks not transient pleasures, but truth that liberates. Similarly, the spiritual aspirant must develop an inner eye to see beyond circumstances and illusions. Like the eagle that surveys from above, we are called to live with heightened awareness. This means making decisions based on long-term wisdom, not short-term gratification. In daily life, it's as simple as pausing before reacting, listening before speaking, and asking, "Does this choice align with my dharm?" Resilience is next. Life is not without storms. But as Isaiah in the Hebrew Bible avers, "They who wait for the Lord shall renew their strength; they shall mount up with wings like eagles." The Bhagwad Gita instructs, "Be steady in pain and pleasure." This steadiness is cultivated not in ashrams alone, but in the heart, thanks to everyday trials. The chaos of workplace, friction of relationships, pressures of deadlines; and every challenge becomes an invitation to rise, to respond with calmness and clarity instead of impulse. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Top 15 Most Beautiful Women in the World Undo Then comes solitude. In Indian wisdom, silence is not emptiness but presence, but is considered a spiritual practice because in quietude, the soul hears what noise conceals. The sages retreated to forests not to escape, but to listen. Today, solitude might mean a few minutes of mindful silence before dawn, as Rumi says, "The quieter you become, the more you can hear." The unknown too must be embraced. The Rigveda exhorts, "Let your soul stand cool and composed before a million universes." This is not poetic fantasy but practical spirituality. Eventually, the spiritual path lifts us beyond dualities. Fear, desire, comparison, ego; all begin to fall away. We stop identifying with the surface and start living from our essence. Tao Te Ching echoes this truth: "When you let go of what you are, you become what you might be." We move from ego identity to true Self. This is not renunciation of life, but the deepest embrace of it. We begin to live in the world in the spirit of karm yog with every breath as a step toward liberation. The symbol of Garud, the celestial mount of Vishnu, embodies this path. Garud does not fly aimlessly; he carries divine purpose. He is the fearless one, truth bearer, embodiment of dharm. The Garud Puran tells us that detachment, devotion and discernment are the wings of spiritual flight. The Gita says, "Withdraw your senses like a tortoise withdraws its limbs." This is not denial but mastery. In Garuda's soaring, we are reminded to carry the divine in all we do. The skyward path is not a distant ideal. It is a way of being accessible, practical, and profound. Authored by: Ullhas Pagey Can divine grace lead to lasting peace? Teachings of Bhagavad Gita from Chapter 2, Verse 65
Time of India
13-07-2025
- Science
- Time of India
Saraswati revival mission gains momentum; Rajasthan forms panel
Ambala: The multi-state mission to revive the ancient Saraswati river, led by the Haryana Saraswati Heritage Development Board (HSHDB), is making steady progress. After the successful implementation in Haryana and efforts in Himachal Pradesh and Uttarakhand, the Rajasthan govt has now joined the cause. With the support from the HSHDB, the Rajasthan govt formed a dedicated advisory panel on June 18 to work on the reservation and revival of the Saraswati river in the state. The committee includes representatives from key institutions, including ISRO and the state's water resources department. The initiative gained traction after a meeting at ISRO's Birla Institute in Jaipur on April 28, where HSHDB vice-chairman Dhuman Singh Kirmach met Rajasthan's irrigation minister Suresh Rawat, officials from the water resources department, and scientists from ISRO. The HSHDB proposed collaborative work to reintroduce water flow to parts of Rajasthan through the ancient Saraswati system. Acting on the proposal, Rajasthan has committed to work in tandem with the HSHDB. Meanwhile, the HSHDB intensified its efforts in Uttarakhand and Himachal Pradesh. It began comprehensive geo-archaeological and hydrological studies of the Tons river, a major glacier-fed stream originating from Bandarpunch glacier near Dehradun in Uttarakhand. Historical and scientific evidence suggests that the Tons river may have been a key tributary of the mythical Saraswati river described in the Rigveda. Kirmach recently visited Dakpathar barrage near Dehradun, where the Tons river merges with the Yamuna. Data is being collected from revenue records and scientific surveys, including inputs from geologists, hydrologists, and paleo-channel researchers. The Geological Survey of India (GSI) and other institutes have also expressed interest in the study, particularly the suggestion that the Tons river may have originally flowed westward into the ancient Saraswati system before tectonic shifts diverted it towards the Yamuna. Kirmach claimed that according to multidisciplinary research, including satellite imagery, geomorphological studies, and ancient texts, the Tons river, along with glacier-fed streams like Pabar, Rupin, and Supin, were once integral part of the Saraswati system. He further said the archaeological and hydrological data pointed towards a scenario in which rivers such as the Yamuna and Sutlej were part of the Saraswati system until 10,000-16,000 years ago. The HSHDB already demonstrated success in Haryana, where water was channeled through a 400-kilometre stretch from Adi Badri at the Himachal border to the Ottu headworks near Rajasthan border by connecting seasonal rivers during the monsoon. The goal is to expand this revival from the glacier source in Uttarakhand all the way through Himachal Pradesh, Haryana, Rajasthan, and finally to the Rann of Kutch in Gujarat. As part of ongoing efforts, Kirmach also held discussions with researchers at the Wadia Institute of Himalayan Geology in Dehradun.
Time of India
13-07-2025
- Science
- Time of India
Saraswati river revival mission gains momentum: Rajasthan forms committee, Uttarakhand-Himachal link under study
. AMBALA: The multi-state mission to revive the ancient Saraswati River, led by Haryana Sarasvati Heritage Development Board (HSHDB), is making steady progress. After successful implementation in Haryana and efforts in Himachal Pradesh (HP) and Uttarakhand, the Rajasthan government has now joined the cause. With support from the HSHDB, the Rajasthan government formed a dedicated advisory panel last month, on June 18. The committee includes representatives from key institutions, including Isro and the state's Water Resources Department. This initiative gained traction after a meeting in Jaipur at Isro's Birla Institute on April 28, this year, where HSHDB vice chairman Dhuman Singh Kirmach met with Rajasthan's irrigation minister Suresh Rawat, officials from the water resources department, and scientists from Isro. The HSHDB proposed collaborative work to reintroduce water flow to parts of Rajasthan through the ancient Saraswati system. Acting on the proposal, Rajasthan has committed to working in tandem with the HSHDB. Meanwhile, the HSHDB has intensified its efforts in Uttarakhand and HP. It has begun comprehensive geo-archaeological and hydrological studies of the Tons River, a major glacier-fed stream originating from the Bandarpunch Glacier near Uttarakhand's Dehradun. Historical and scientific evidence suggests that the Tons River may have been a key tributary of the mythical Saraswati River described in the Rigveda. Kirmach recently visited the Dakpathar Barrage near Dehradun, where the Tons merge with the Yamuna. Data is being collected from revenue records and scientific surveys, including inputs from geologists, hydrologists, and paleo-channel researchers. The Geological Survey of India (GSI) and other institutes have also expressed interest in this study, particularly the suggestion that the Tons river may have originally flowed westward into the ancient Saraswati system before tectonic shifts diverted it toward the Yamuna. Kirmach claimed that according to multidisciplinary research—including satellite imagery, geomorphological studies, and ancient texts—the Tons River, along with glacier-fed streams like Pabar, Rupin, and Supin, were once integral parts of the Saraswati system. He further added that archaeological and hydrological data point toward a scenario in which rivers such as the Yamuna and Sutlej were part of the Saraswati system until 10,000–16,000 years ago. The HSHDB has already demonstrated success in Haryana, where water has been channelled through a 400-kilometer stretch—from Adi Badri at the Himachal border to the Ottu Headworks near the Rajasthan border—by connecting seasonal rivers during the monsoon. The goal is to expand this revival from the glacier source in Uttarakhand through HP, Haryana, Rajasthan, and finally to the Rann of Kutch in Gujarat. As part of ongoing efforts, Kirmach also held discussions with researchers at the Wadia Institute of Himalayan Geology in Dehradun, whose initial assessments align with the theory that the Tons was historically part of the Saraswati drainage system. Satellite imagery and paleo-drainage maps have revealed ancient channels similar to the current path of the Tons, further supporting this hypothesis. Although traditionally identified with the dry Ghaggar-Hakra riverbed in Punjab and Haryana, the revival mission now seeks to piece together the larger Saraswati system using glacial sources and satellite data. The involvement of agencies like GSI, Isro, and state governments marks a significant shift from myth to actionable hydrological and archaeological reconstruction. This project, led by HSHDB and strongly supported by Haryana CM Nayab Saini, could redefine regional river networks and revive a river revered in Vedic scriptures as the life-giving Saraswati. CM Nayab Saini also wrote a letter to Uttarakhand CM Pushkar Singh Dhami on June 3, this year, asking him to appoint a nodal officer for this project and issue directions to concerned departments for information related to Saraswati River and its possible tributaries such as revenue records, cultural activities, temples, fairs, traditions, archaeological and heritage sites related to Saraswati-Sindhu civilisation and other important information.
NDTV
03-07-2025
- Politics
- NDTV
PM Modi Tells Ghana MPs India Has 2,500 Political Parties, Leaves Them Stunned
Prime Minister Narendra Modi started his five-nation tour, with the first stop being Ghana, a country in West Africa with deep ties with India. The Prime Minister was conferred with Ghana's highest state honour - 'Officer of the Order of the Star of Ghana'. The Prime Minister also addressed the Parliament of the country, during which he shared a fact about India that stunned the members of the house. The Prime Minister, in his address, highlighted India's diversity and the vastness of the democracy. During his speech, the Prime Minister said that there are 2,500 political parties in India, leaving the MPs stunned by the fact. The Prime Minister then said there are 22 official languages in India and thousands of dialects spoken in the country to explain the strength and uniqueness of the Indian democracy. The Prime Minister also mentioned Vaishali and the Rigveda to talk about the Indian culture, explaining why every guest is welcomed with an open heart whenever they come to India. During his address, the Prime Minister also said a strong India will contribute to a more stable and prosperous world as he pushed for credible and effective reforms in global governance in the wake of changing circumstances. "As the world's largest democracy, India is a pillar of strength for the world. A strong India will contribute to a more stable and prosperous world," Prime Minister Modi, who is here on a two-day visit, said. Noting that India is the fastest-growing emerging economy, Modi said that on the foundations of a stable polity and governance, India will soon become the third-largest economy. Prime Minister Modi underlined that the world order created after World War II is changing fast. "The revolution in technology, the rise of the Global South and the shifting demographics are contributing to its pace and scale," he said, adding that the changing circumstances demand credible and effective reforms in global governance. From Ghana, Prime Minister Modi will travel to Trinidad and Tobago on a two-day visit from July 3 to 4. In the third leg of his visit, Modi will visit Argentina from July 4 to 5. In the fourth leg of his visit, the Prime Minister will travel to Brazil to attend the 17th BRICS summit, followed by a state visit. In the final leg of his visit, he will travel to Namibia.
