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Hans India
18-05-2025
- Entertainment
- Hans India
A blend of tradition and modernity
Translation is largely a creative and technical process. In fact, it is an age-old literary and cultural activity that has enriched both ancient and modern Indian literatures. Ancient texts like 'The Ramayana', 'The Mahabharata' and 'The Bible' are popular in translation. Regional literatures, in particular, are also available in translation. Inarguably, translation acts as a bridge between the past and the present and establishes a cultural link between one language and another. English, among other languages, has made such activity possible. This critical book, deftly edited by eminent Indian scholar P. V. Laxmiprasad, explores the different dynamics of the poetry of acclaimed Indian poet Raamaa Chandramouli. As a litterateur, Chandramouli has donned many hats and made remarkable contributions to different genres of literature. Besides being a poet of extraordinary merit and potential, he is also a novelist, storywriter, scriptwriter, and a shrewd literary critic. His poetry has been translated into English by academicians, professors, and scholars of great repute. His chief collections—'As the Window Opens', 'Fire and Snow', 'Whither and Other Poems', and 'Inferno'—immortalise him in the realm of literature. 'The Poetry of Raamaa Chandramouli' is all about the zest for life and its absence. It is abundantly rooted in the ceaseless struggle between the rich and the poor; the ruler and the ruled; poverty and wealth; individual and society; tradition and modernity; and traditional occupations and technology in life. The poet has been a true mirror to his times, depicting society with utmost candidness. His significance as a poet is also evident in the way he addresses the crucial issues of two generations of readers. Another hallmark of his poetry is his deep knowledge of technical education and classroom pedagogy. As a Professor of Mechanical Engineering, he is gifted with the prowess to delve deep into the subtle aspects of the world. A restless traveller in his poetic journey spanning over two decades, Chandramouli has attempted to shed light on the social milieu against all odds, thus embarking upon an ideal and visionary world bereft of all evils and sins. The efforts of P. V. Laxmiprasad as the editor of this book are indeed commendable and must be wholeheartedly acknowledged. Chandramouli moves from life to literature in search of invisible meaning. His poetry reflects an existential quest to unravel the metaphysical meanings of life. Poets are seers and visionaries. Poetry without images and symbols is merely prosaic and thus fails to resonate with readers. Much to our gratification, Chandramouli's poetry is replete with soul-stirring poetic features. It conjures vivid images on the landscape of the mind—ethereal, original, and breathtakingly beautiful. These images are largely evocative and warm the cockles of the readers' hearts. The poet touches on a few nostalgic reminiscences of his native place, reflecting his profound sensibility and deep sensitivity. He conveys subtle expressions through refined imagery and delicate symbols. The poet in Chandramouli is a true visionary, a mystic, an ideal citizen, a champion of women's rights, a crusader for peace, and an advocate of life and its values. Thus, he can be aptly deemed a profound philosopher of worldly wisdom. Tradition and modernity coexist in his poetry, endearing him to the apostles of the Muse from both generations.
The Hindu
21-04-2025
- The Hindu
Retreat like the royals at Fort Rajwada in Jaisalmer
Jaisalmer is arid and parched. Desert brush dot the sands that seem to stretch endlessly. In the city, the barrenness is equally pronounced, which makes the first glance of Fort Rajwada even more impressive. The gates loom large and majestic and the driveway curves past green lawns to stop at ornate double doors, intricately carved in sterling silver. Once you step through them you travel back in time to the land of maharajas, flying carpets and caparisoned elephants. Except, this fort has only been around for two decades. Vinay Khosla, managing director, Fort Rajwada, explains, 'This is a built fort, one among the few hotels of this size constructed in 1999, with an intent to replicate the historic forts of the region.' He adds that it changed hands in 2017, and once it came into their possession, they began upgrading it as a hotel. First, there is the traditional welcome, complete with aarti, tikka and a garland of marigolds. Next, a warm towel materialises on a salver and honestly, it is a little hard to pay attention to these ministrations when the foyer is so captivating. Every visible surface exudes opulence — chandeliers, lush carpets, elaborate wallpaper, plush upholstery and carved stone pillars. The inner doors, again sterling silver, open out into a courtyard walled off with turrets at each corner. A huge marble fountain is flanked by walkways and nooks to the different wings of the fort that house the rooms. Each wing sports a different motif (rosette, geometric, and the like), which is mirrored throughout — from the accents on the room's furniture to the smaller fountain in the centre of that wing. The attention to detail is astounding. Four poster beds, wood and rattan panelling, burnished brass fittings and cut glass lights, add to the continued feeling of stateliness. Once you have settled in and shaken off your travel weariness, the hotel provides sightseeing trips into the city where one can marvel at its stunning historic architecture, and indulge in sampling local wares, arts and crafts. Back at the Fort, arrangements are made for bonfires, folk singers and puppet shows in the evening for the entertainment of guests. Indigenous materials The overall colour scheme at the fort is gold, cream and beige, offset by warm wood and bright home decor. 'For the exteriors, Jaisalmer stone or sandstone indigenous to the region has been used; its hue is why we are called the Golden City. Inside, we've used Botticino and Red Levante, both Italian marble, while the lobby is done up in white Makrana, an exquisite white stone mined in Rajasthan,' says Vinay. Though their wallpaper has been created by multiple award-winning designers, Vinay says the walls and ceiling of their reception area have been done by hand. 'Artisans from various regions of our country, including Shekhawati, took about three years to complete their work in our hotel.' A brightly-coloured 20x20 mural depicting scenes from The Ramayana dominates one wall of the foyer. 'We believe these 35 frames showing different instances from the epic will help guests understand our festivals and the celebration of good over evil,' says Vinay. With a room count of 99, the living spaces in Fort Rajwada have been designed to make guests feel at home. The Elephant and Monkey Lounges complete with well-stocked bookshelves, faux fireplace and antique Persian carpets (monogrammed by the craftsmen), give guests the freedom to socialise in an elegant sitting room. Indian miniatures from the Company School — art done during the time of the East India Company, when European painters came to India with their techniques — line the corridors and a huge Tanjore work of art adorns the landing. Past the first glance 'Service providers are also service receivers,' says Vinay, explaining how they updated the hotel. 'Every product has a life cycle or a shelf life. If the same product is being stretched beyond its use it won't make economic sense in the long run.' According to Vinay, Fort Rajwada deploys sustainable methods for the upkeep of the hotel. 'Stone paint has a limited commercial life, so for us to enhance longevity, various tools and equipment are used on a regular basis.' Being a desert, almost every commodity in Rajasthan is hard to come by and is therefore more dearer than it would be elsewhere in the country. Thankfully, the Fort runs an effective rainwater harvesting and waste composting system. 'With the hotel industry contributing to the world's carbon emissions, it's time for us to take sustainability measures and adopt more eco-friendly business practices,' says Vinay. The writer was in Jaisalmer on the invitation of Fort Rajwada Getting there The best time to visit Jaisalmer is between October and March. As it is a defence airport, flights are limited but one can travel by road from Jodhpur in 4.5 hours. With well-paved roads sporting barely a pothole, even the most sensitive of car sick souls, will not have complaints. Sightseeing in Jaisalmer Jaisalmer Fort, Patwon Ki Haveli and the Jain Temples within the Fort are the main attractions. Many other edifices built using similar styles will captivate those with an interest in history and architecture. Desert safaris and camel rides and camping will appeal to those willing to rough it out. The Jaisalmer War Museum, Desert Culture Centre & Museum, Longewala War Memorial and Thar Heritage Museum beckon history buffs. Gadisisar Sagar Lake, Kuldhara Abandoned Village, Akal Wood Fossil Park and Desert National Park are some other attractions apart from stores selling antique ware and handicrafts of the region.
