Latest news with #Wadiyars
India.com
23-05-2025
- India.com
Know The Legacy Of Royal Families In Mysuru City And Their Contributions
The northern Karnataka city Mysuru holds the reputation as the 'Cultural Capital of Karnataka' due to its historical and traditional magnificence. The Wadiyars who led the Kingdom of Mysore over several centuries retain responsibility for most of Mysuru's rich cultural history. The royal dynasties established an immortal impact on Mysuru by transforming its architectural beauty while shaping the cultural fabric and educational foundation alongside their economic reform and administrative achievements. 1. Architectural Marvels The Wadiyar dynasty built their legacy through architectural masterpieces that formed central attractions of Mysuru. Mysore Palace (Amba Vilas) remains one of the top tourist destinations in all of India. The Wadiyars achieved their status of magnificence and vision through their construction of a building which represents Indo-Saracenic design. Besides the Jaganmohan Palace which hosts an art gallery, Mysore houses the Lalitha Mahal Palace that was built as a British dignitary guesthouse. The royal family members added vital public infrastructure elements to Mysuru by building roads, establishing bridges and water distribution systems which formed the base for contemporary urban development. 2. Promotion of Arts and Culture The royal families used their resources to support all forms of art as well as music performances and dance shows and literary activities. Through their sponsorship Mysuru developed into an essential center for promoting classical Indian arts. Through the Sri Chamarajendra Academy of Visual Arts institutions they show dedication toward developing artistic talents. Royal financial support enabled both Carnatic music to develop combined with Bharatanatyam traditional dance forms in Mysuru. Extensive royal patronage turned Dasara (Navaratri) into a major festival which draws over thousands of people in an annual festival celebration that still continues today. 3. Advancements in Education The Wadiyars diligently worked toward advancing education as one of their main accomplishments. The progressive ruler Maharaja Krishnaraja Wadiyar IV established various educational institutions as one of his main achievements. The University of Mysore emerged in 1916 while Mysore Medical College operates as one of India's oldest medical education facilities. Through their educational institutions they offered superior teaching which maintained accessibility for students from different social groups. Through prioritizing education Mysuru evolved into an institution that fostered intellectual and learning activities. 4. Industrial Development and Economic Growth Industrial development of Mysuru received essential support from the Wadiyar dynasty. Their leadership encouraged silk production along with both sandalwood processing and metalworking operations when the nineteenth and early twentieth century arrived. The royal sponsorship brought into existence both the Mysore Sandal Soap Factory and the Mysore Paper Mills as industrial enterprises. Mysuru achieved an economic milestone thanks to Sir M. Visvesvaraya who led the Wadiyar dynasty by bringing electricity to the region. Industrialization served as the foundation which made Mysuru economically meaningful into the future. 5. Philanthropy and Social Reforms National affluence as part of royal family tasks focused on charitable programs designed to help disadvantaged social classes. The royal family backed programs to enhance medical facilities and sanitary projects and living arrangements for the destitute population. Throughout the kingdom hospitals together with dispensaries operated to offer reasonable medical assistance to people. Under the guidance of the Wadiyars the kingdom implemented both child marriage prohibition and supported widow remarriage as part of their social reforms programs. The Wodeyars supported social justice movements and equality efforts that unfolded among the Indian colonies. Conclusion The Mysuru royal families left behind a unique historical heritage that combines classic tradition with widespread contemporary values. The Wadiyars shaped Mysuru's identity and guaranteed its success by deducing their influence through architecture and arts as well as education and industry and philanthropy and environmental efforts and governance activities. The vision along with dedication of the royal families continues to shine through Mysuru which exists today as a thriving city. The jury system has inherited the Wadiyar spirit which continues to guide community foundations created throughout their royal lifetime. Mysuru celebrates its cultural heritage with full awareness of the prominent role royal families played in developing this remarkable community.
India.com
21-05-2025
- General
- India.com
How Mughal & Rajput Architecture Blend In Mysore City's Monuments
Mysore stands as the 'City of Palaces' as it displays numerous architectural masterpieces which showcase the cultural heritage of India. Mysore stands in the southern Indian state of Karnataka where people of multiple origins have consistently blended because of its central position and its royal endorsement. The architectural monuments of Mysore demonstrate an outstanding dominance of Mughal and Rajput style compatibility among various influences. Through this architectural blend India demonstrates its architectural adjustability while showcasing various dynastic contributions to local aesthetics. Historical Context As a result of centuries of Wadiyar Dynasty rule Mysore absorbed specific royal influences that transformed its architectural design. With native South Indian origins and influence the Wadiyar dynasty had strong admiration for both the Mughal magnificence and the Rajput warrior heritage. Throughout the 16th to 18th centuries the Wadiyars built peaceful relations with the Mughal Empire despite its Mughal control of most of northern India. The relationships between Mysore and Mughal officials enabled mutual sharing of artistic concepts which ultimately enabled Mughal architectural characteristics to integrate into local structures. The Mysore warrior class experienced parallel influences from both the chivalry traditions of the Rajputs along with the martial ideal that shaped their architecture. Mysore showcases integrated architectural design through its important monuments including palaces and temples which share Islamic architecture and Hindu craftsmanship elements alongside Rajput and Gothic architectural components in their elaborate structures. Mysore Palace Among all blended architectural structures the Amba Vilas Palace also known as Mysore Palace remains the most prominent instance in which Mysorean architecture blends different styles. During a 15-year construction period supervised by British architect Henry Irwin (1897-1912) the palace achieved its mystic appearance through merging Islamic and Christian and Hindu and Rajput architectural designs. The palace structure maintains similarity to Indo-Saracenic architecture while borrowing its design elements from both Mughal and Rajput architectural traditions. The central dome of Mysore Palace carries Mughal architectural elements. Carvings and rounded surfaces on the building reproduce the domed shapes that decorate locations including Taj Mahal and Humayun's Tomb. Unlike Mughal buildings' single-colored marble facade the Mysore Palace displays rich colors along with gold accents due to Rajput style preferences. Jharokhas or overhanging enclosed balconies serve as distinctive Rajput architectural features which are prominently featured in this structure. The projecting windows functioned for ventilation as well as security needs while creating ornate architectural beauty on the building exterior. Mysore Palace presents its jharokhas through intricate lattice design elements which reveal the characteristic Rajasthan fort and haveli craftsmanship. The building design of the palace uses South Indian motifs including lotus flowers and peacocks together with Persian-inspired floral patterns. The Wadiyars displayed their expertise by uniting different architectural influences so their tradition remained distinct yet comprehensive. Chamundi Hill Temple The Chamundeshwari Temple located on Chamundi Hill represents a perfect fusion of Mughal and Rajput architectural elements. These divine worshippers of Goddess Durga erected their temple during the 12th century which received maintenance from Wadiyars throughout successive years. The Dravidian gopuram gateway tower of the temple displays stepped pyramid characteristics which signify Dravidian architecture. The entrance of the temple displays Mughal design elements through its arched doorways as well as cusped arches. The shrine builders actively integrated Islamic design conventions for a Hindu temple space. Within the temple complex visitors encounter mandapas which bear similarities to Rajput palaces by using pillared halls. Arts depicting mythological narratives decorate every column to match the decorative schemes of traditional Rajasthan forts. Multiple artistic traditions truly demonstrate Indian reverence for handcrafted beauty throughout different parts of the national territory. Lalitha Mahal Palace As a perfect representation of combining Mughal and Rajput architecture within colonial structures, Lalitha Mahal stands in Mysore today as a remarkable testament. The Viceroy of India created the palace as his guesthouse and its design incorporates elements of Italian Renaissance together with English Tudor architecture. Despite its outer appearance the building contains luxury interior design elements dedicated to Indian royal lifestyle. The grand staircase of the palace shows the same flying curved shape that Mughal designers employed in Fatehpur Sikri. Frescoes spread around the walls present courtly life and hunting scenes which demonstrate typical Rajput miniature style. This artistic combination establishes an exclusive aesthetics which expresses Mysore's diverse royal population. Conclusion The Mysore monuments preserve permanent elements of cultural fusion that unite Mughal refined aesthetics with Rajput courageous traditions and South Indian religious attributes. The buildings at these sites represent historical accounts of diplomatic dealings and trade activities alongside communal appreciation between multiple social groups. Art and culture successfully overcome all limits to establish immortal achievements which keep inspiring numerous successive generations. People who visit Mysore today witness the craftsmen's mastery through these architectural styles which perfectly blend together. When we pass through Mysore Palace corridors and ascend to Chamundi Hill Temple we find a lasting tribute of Indian cultural plurality embodied in stone and mortar.
The Hindu
30-04-2025
- General
- The Hindu
A graphic novel that brings to life Francis Buchanan's survey of south India
Dr. Sashi Sivramkrishna's recently published graphic novel, A Journey into the Furnace of History: The Dying Embers of Ancient Iron-Smelting in India, has an origin story that spans nearly two decades. The kernel for this book, which documents Sashi's own attempts to retrace the journey of the Scottish physician, botanist and surveyor Francis Buchanan through the erstwhile Mysore State, emerged in the early 2000s when he was working on a documentary on the curse of Talakadu. 'It is an interesting story about the Mysore Maharajas combined with two natural phenomena,' says the Bengaluru-based economist and the chairman of the Foundation to Aid Industrial Recovery (FAIR), a not-for-profit society that focuses on helping the country's under-managed sectors. This 400-year-old curse, which is believed to have been uttered by Queen Alamelamma, the queen of the once-strong but now crumbling Vijayanagara Empire, when the Wadiyars dethroned her husband and took over Mysore, had three parts to it: Talakadu would become a desert, the river Malangi would turn into a whirlpool, and the Mysore Kings would bear no heirs. Although he is someone who 'could not believe that curses come true…I am quite a rationalist', he thought of investigating this story, going into the project with an open mind. 'Wherever we went, in Mysore and places around it, people generally believed in it,' he recalls. And while there appeared to be some anecdotal evidence, with many of the Mysore rulers failing to beget heirs and having to adopt, 'it all seemed very confusing,' says Sashi, who researched the subject, with a colleague, for a year and a half, 'getting stuck along the way, because there was very little evidence about all this.' Meet Buchanan In 2005, as part of his research, Sashi visited the library of the Mythic Society on Bengaluru's Nrupathunga Road, looking through some references, when he came across Buchanan's three-volume survey titled A Journey from Madras through the Countries of Mysore, Canara, and Malabar, published in 1807. Buchanan, who became a medical officer with the British East India Company in 1794, had been commissioned to survey South India in 1800, following the death of Tipu Sultan and the British's decisive victory over the Kingdom of Mysore. While going through the survey, he discovered this. 'Buchanan had visited Malangi, and he does talk about some curse and states that Talakadu was covered in sand,' says Sashi, who went on to make a film about the curse in 2005. 'That was my introduction to Buchanan.' Sashi then found himself delving deeper into Buchanan's work, becoming increasingly fascinated by this survey. 'Normally, when you look at history, it is about battles and wars,' he says. 'But here, Buchanan touches upon people and the day-to-day life in these places. He talks about farmers, agricultural labourers, people weaving blankets, things we don't usually learn as part of our history education.' That is when he decided that he wanted to trace Buchanan's journey, travelling back and forth, between Bengaluru and the places chronicled in Journey from Madras through the Countries of Mysore, Canara, and Malabar, trying to understand whether the occupations Buchanan had described continued to exist and in what form. Iron smelting As Sashi, accompanied by other researchers, travelled to places such as Channarayana Durga, Yelladakere, Chikkanayakanahalli and Gattipura, and talked to the people who inhabited them, they became deeply intrigued by one of the occupations described by Buchanan: iron-smelting. In South India, where iron has been smelted since at least 2000 BCE, going by artefacts at very early iron age sites, they couldn't help but wonder why the traditional craft of smelting has largely disappeared, says Sashi, who worked with Mahadev Nayak, Amalendu Jyotishi and GJ Lingaraj on this project. 'We met people who told us that smelting would happen even in the 1930s and 40s; they remember their grandfathers doing it,' he says, adding that, in India, there is usually a certain continuity of tradition, with things rarely disappearing completely. 'So I started looking for answers to why and when iron smelting disappears from this region,' says Sashi, who was involved in this research till 2010 and has published it in several academic journals, including Environment and History and Economic and Political Weekly. To make his research more accessible and to document his own journey, in 2022, he thought of putting it together into a graphic novel, which eventually became A Journey into the Furnace of History, beautifully illustrated by the Kolkata-based illustrator and a graphic novelist himself, Harsho Mohan Chattoraj. 'I got in touch with a friend in Kolkata who introduced me to Harsho, a renowned artist in this space,' he says. They worked together, with Sashi sending him old pictures, and Harsho slowly creating them, panel by panel, he recalls. 'I wrote the whole script, having an idea of what it needed to be, panel by panel. I could visualise the novel because I come from a documentary space,' he says of the 210-panel-long novel, which took about two years to create and was officially released in 2024. A complex history A Journey into the Furnace of History not only captures Sashi's journey through the region but also offers insights into Buchanan's thoughts, perspectives and experiences, and examines the craft, tradition and legacy of iron-smelting. Starting with a description of an encounter with a blacksmith, Marappa, who takes Sashi and his colleagues to an iron-smelting site a little outside Channarayana Durga, the book touches on other fascinating insights about this tradition, including how Tipu Sultan's ongoing battle with the British upped demand for iron, how tribes like the Asur and Agaria played a massive role in the development of this technology, the origin of the famous Wootz steel or ukku and the surprising relationship between smelting and deforestation. 'From these findings, a larger narrative of iron smelting evolved,' states the book's introduction, pointing out that Indian environmental history has missed the scale and importance of proto-industrial development in South India, viewing medieval economies as agrarian, consisting of self-sufficient villages. And yet, the centrality of a war economy in the feudal period and the need for arms and ammunition were too large to be brushed aside, continues the introduction, which goes on to argue that there is a need to rethink our environmental history by 'integrating military and mettallurgical history, with elements of anthropology, economics and sociology.' Making charcoal Since iron smelting requires larger amounts of wood to make charcoal, the fuel for the activity, it leads to excessive deforestation, says Sashi, who believes that while many environmental historians attribute the destruction of forests in India to a colonial enterprise, connected to the advent of railways, the reality is a bit more complicated. 'Typically, environmental history is not connected to iron and steel, but imagine armies of 50-100,000, carrying a sword, shield…elephants with armour… canons,' he says, pointing out that even making a small canon would require 1000-1500 tonnes of wood to make. In Sashi's opinion, there is a desperate need to connect the environment, the military, the social and the political history of the nation, and to reach a larger audience, which the graphic novel attempts to do. 'We can write technical or academic papers and get them published, but how many people are interested in reading them?' he asks. Graphic novels, on the other hand, are well suited to convey research and are also very accessible, in his opinion. Besides, he admits, he has personally always loved graphic novels. 'I grew up on Batman, Tintin. Even my knowledge of Indian history started with comics,' he says. 'Comics have always been able to communicate with me, so I thought if I made one, I could communicate with others.' To know more about the graphic novel or to get a hard copy, log in to the FAIR India website
