LAUNG A CONDIMENT IN ANCIENT HINDU LITERATURE

Monday, 8 April 2013

LAUNG  A CONDIMENT IN ANCIENT HINDU LITERATURE (a short note)

Dr. Satish K. Kapoor

Laung or clove is the dried unopened, highly odoriferous and acrid flower-bud and twig-tip of Eugenia Caryopylate (Syzgium aromaticum; Eugenia aromatica; Carophyllus aromaticus) of the Myrtaceae family. lt is believed to be the native of Moluccas and of China but has been widely used as a condiment, preservative and medicine ancient times. Laung also known as Lavanga is cultivated in South lndia mainly in Tamil Nadu and Kerala. lts popular Sanskrit names are: Deva Kusuma (divine flower), Chandana Pushpaka (having fragrant flowers like sandalwood) and Shri Prasuna (sacred to the goddess Lakshmi). lt finds mention in the Raghuvamsha (6.57) of Kalidasa, in Charaka Samhita (sutra 5.74) and Sushruta Samhita (sutra 46.484) and in many nighantus or medical lexicons. Due to its disinfectant and bactericidal properties it is mixed With aromatic substances for use as an oblation in the sacrifical fire. The Agnihotra (fire- offering) performed exclusively With laungs and ghee is highly recommended by tantrics for material and spiritual benefits. Holy men sanctify laungs and small cardamons to be served as prasad. ln addition to its use in culinary preparation (viz sweetmeats, pickle, curry chutney, etc.) the spice is chewed to perfume the breath, clear the throat or ward off flatulence or vomitary condition. Laung is tucked into tambula - rolled betel leaves coated With lime and catechu paste and filled With shreds of areca nut and other ingredients - and served to guests as - mark of hospitality. Some people mix laung or two in tobacco and smoke the contents through a hubble-bubble. in Western lndia a matrimonial custom (now virtually obsolete) enjoined on the bride and the bridegroom to jointly cut a laung by their teeth in the presence of family members With a view to providing social sanction to their new relationship. ln the Ayurveda, Laung is regarded as bitter (katu), Pungent (tikta), light (laEhu), stomachic (agnidipaka), tasteful (ruchikari), carrninative (udara vataghana), antineuralqic (vatashulaghana),  by Dr. Satish K. Kapoor expectorant (kaphanihsaraka), curative in dental diseases  (da ntarogahara),  diuretic  (rnutrajanana), aphrodislac (vrishya), anti-emetic (chhardinigrahana), analgesic (vedanhara), refrigerant (trishnanigrahana), sore-healer (vranaropaka) and cleanser (vranashodhaka), anthetmintic (krimighana) and useful to the eyes (netrahitakari). Laung subsides the three somatic doshas - vayu, pitta and kapha (tit. wind, bile and phlegma) and is put to various uses in powdered drugs, infusions, pastes, elixirs, madiicated spiriuons liquids medicated ghee oil, boluses and pills. Ayurvedic medicicines with laung as the main ingredient (viz Lavangadi Churna, Laung Chatuhsama, Lavangadi-vati and Lavangodaka) are traditionally served to cough, asthma, colic, hiccup, ttphoid fever and nervous debility. lts oil is carminative, anti-spasmodic anti septic and a mild anaesthetic. Externally, it is applied in cases of toothaches, skin diseases, migraine, arthritis and rheumatism. lt is also used as a flavouring agent in relishes, preserves liqueurs and perfumes, as a disinfectant, in soaps and dentifices and for the synthesis of vanillin, an alkaloid derived from the plant Vanilla.  (OCR- Machine Typing. E&OE)

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CHAUDHRY UMAR SINGH GETS NOSTALGIC

CHAUDHRY UMAR SINGH GETS NOSTALGIC

by S. Mubarak Singh

We were driving on the great GT Road, which is famed to have been built by Sher Shah Suri. This road which connected Delhi with Peshawar was then known as "the Jarnaili Sarak". Thus spoke with pride one passenger to another, as we travelled by a Deluxe, bus to Delhi.

The heat in the bus was oppressive. Children Often moistened their dry lips with their tongues: a few were crying with thirst. The passengers implored the driver to halt the bus for a while, so that they might get a drink of water from a wayside hand-pump. The driver, a kindly man stopped his vehicle. Water is indeed the elixir of life in the hot weather in India. The heat at the very opening of summer of that Year was indeed scorching. Since almost all the passengers, about forty men and women, had to quench their thirst, the bus had to stop for a considerable time.

I stood under a tree, watching a harvest-combine which was harvesting and threshing wheat in a field about four hundred Yards away. This interesting machine moved forward harvesting, the crop at the far- end, while a bag full of Properly threshed grain, was delivered at the other end. ln the: meantime a cart, laden with the harvested crop and driven by a peasant came and stopped close to me . 'Look Banta Singh, 'said this farmer from his seat in the van of the cart, 'how lucky these Chaudhuries are: they need no longer harvest , garner and thresh the crops with their hands; this machine does all see things in no time.' These words reflected the farmer's regret at his inability to purchase a harvesting combine. A touch of jealousy towards the Chaudhuries and a Yearning to possess a similar machine were easily discernible in his words.

S. Mubarak Singh, who passed away last month at the age of eighty, was a muti-dimensional personality. He had harmonised in himself a host of talents and qualities and what emerged from this combination was a rare and an uncommon man, who was greatly admired and loved by all who happened to meet and know him. Even his political rivals had nothing but praise and plaudits for him because they were sooner or Iater won over by his deep humanism, his transparent honesty, his uncompromising loyalty to his ideals, his flaming patriotism and his unquenchable thirst for wisdom and knowledge. But above all, his disarming warmth and affection, which exuded naturally from him, like fragrance from a freshly-' blossomed rose, befriended him to every one. - He held various important and key positions in life being the syndic -of senator of Punjab, Punjabi and Guru Nanak Dev Universities, President of Amritsar Municipal Committee, Chairman of Ludhiana improvements Trust, a Member of the Punjab Public Service Commission etc,' and adorned them all with a new decorum and dignity by his exemplary spirit of devotion and decency. He picked  up the seeds of a wide range of experiences from every where and scattered them in different settings and situations making life all the more rich and abundant for himself and others.

 Indian politics attracted him right from the days of Indian struggle for Independence. He made  occasional jaunts into the realms of creative writing, as literature wielded a strange fascination for him, which later became his first love. This led him to start the two magazines 'Art of Lving' and Modern Practical Psychology, which were the first regular journals to be issued from Punjab, won high praise from discerning critics and writers. Pb. Monitor reproducing here a story for their readers, written by him a few Years ago. lt centres  around a home 'spun character, Chaudhry Umar Singh who plied a horse carriage, and is drawn from real life (He told me once). The language is direct, racy and lucid and the story remains etched in one's memory long after it has been read and enjoyed. ----Raj Kumar Kapoor (Consultant Editor, Modern Practical Psychology)  

The passengers were now ready to resume their journey. The driver blew the horn and' the passengers rushed to occupy their seats. ln this era of change in India, certain elements of our old way of life coexist with the new inventions of the modern age. The old gives way to the new, since the desire to acquire new modern things is strong in every heart, But after some time the novelty of the new wears off; boredom ensues and the discarded past rises once again surrounded by a new halo of charm. lt is the magic of the old that beckons us from: alar, and then excavations are undertaken 'and old mounds rifled in a search for old designs in architecture, old pottery, coins, busts and other articles of decoration and toilet, which had served men and women of bygone ages. Available history is mute why excavation are resorted to in order to gain and exact knowledge of life in centuries gone by. The bus was now nearing Delhi. Where as many people may have an overpowering Passion for Delhi, I have developed a sort of phobia for this city, A feeling of uneasiness begins to creep over me, while I am still at a distance from it. The reason for this is my aversion to noise and the hustle of Delhi. ln Delhi everybody appears to be fleeing - fleeing about in all sorts of conceivable conveyances- cycles, scooters, cars -fleeing as if before a pursuing doom. Tranquility and repose are things entirely lacking in the people's lives. The slow and relaxed gait seems to have become a thing of the past, unknown to the denizens of the modern age. The slow easy movement is shunned with a vehemence worthy of aversion to an evil. As planned I spent two days in Delhi. But even my most assiduous attempts to quit according to schedule this city of screechy din and distances for my more calm and peaceful heaven of Amritsar could not prevent an overstay of a third day. What follows happened on the third day.

I had been waiting for a bus at the Marina Hotel Bus-stop, An overloaded bus arrived and I was the flabbergasted witness of a miracle: against all apparent possibilities a few passengers did manage to push and elbow their way into the vehicle. A second bus, equally over-flowing with jam-packed humanity managed to escape, filling the long waiting gueue. Losing all patience and strength for a longer wait, I decided to hire a tonga to Subzimandi, which was then my destination. A bargain was struck at one and a half rupees. Under the force of an old habit, soon after boarding the tonga, I enquired of the tonga-driver whether he was a refugee. Whenever I traveling a tonga or rickshaw, I voluntarily enter into tete-a-tete with the driver as a pastime. And I have found from experience that the opening is almost invariably with the question of his being a refugee or otherwise. 'No sir, I am not a refugee, but a local.' What is your name? 'Umar Singh: Chaudhury Umar Singh.' The importance of the honorific 'Chaudhury' in his name was made unmistakably clear to me. Umar Singh was without long hair and beard: I guessed he might be a Jat. Are you a Jat? 'Yes sir ,l am a Jat. My forefathers have been living in Mehrauli for several generations.' Umar Singh appeared to be of a fairly ripe age. He did not pride himself with having a well-fed body: as a matter of fact. he seemed to be Wing with his pony to claim the palm for the leanness of the body and the inadequacy of the flesh to cover their bones.

ln the matter of dynamics they both appeared to favour a slow, relaxed movement as against the breathless speed of modern Delhi. The ramshackle condition of the cab notwithstanding, the company of Chaudhury Umar Singh was pleasing to me. Since his family had been associated with Delhi for several generations, I had a natural desire to know from him something of the Delhi of earlier days. I wished to know if Delhi had always been a city of robots cursed to lead a life of strain and speed. I broached the subject thus: Umar Singh, how old might you be? 'l am now over eighty, Sardar Sahib, and have been driving tongas for over fifty two year, 'replied Umar Singh with unconcealed pride.

Dropping many other questions, I put this one directly to him: 'Umar Singh, you have seen old times; what were the people like then? A sigh escaped his lips. 'Sardar Sahib, those were fine days; people were honest by and large. Some black sheep were of course there, but they were negligibly few: ah, people were wonderful then.' He continued, 'When I was eighteen years old, bajra, jowar and maize were selling at two and quarter maunds for a rupee, gram was about the same; wheat was a little dearer, selling at one and three quarters maunds a rupee. How about milk? 'Milk! that is a strange query, Sardar Sahib. Milk was then not something salable: selling milk was considered dishonourable, sinful like selling one's own children,' he said. 'This should mean, milch cattle were common in households,' I commented. 'A good cow, yielding about eight seers of milk could be bought for about twelve rupees. A buffalo costing sixty rupees was a wonder, a rarity, which made everyone admire it,' he replied.

'What was your fathers occupation?' I put another question. “He was a postman getting six rupees,' he replied. 'Six rupees!' I exclaimed in surprise. 'Sardar Sahib, one rupee's worth of grain was sufficient for all of us for a whole month; ghee was selling at three seers a rupee-the best quality dreamable, whose fragrance would travel over miles when used for cooking wedding dishes,' replied Umar Singh. I noticed that Umar Singh drew a long breath, as if he were trying to detect once again that delectable fragrance in the air. At the same time he moistened his dry lips with a slick movement of his tongue. 'lf money was so valuable, money-lending transactions must have been registered on stamped court papers.' 'Stamped papers were unknown then: transactions were made through word of mouth. People trusted one another and the pledged word was never broken.' Umar Singh no longer required the provocation of my queries, the pent up memories of the old Dyllie days sought relief in the Chaudhury's spontaneous overflow of thoughts.

'There were then no watchers; the crowing of the cock at dawn was the signal to get up and yoke the bullocks to the plough" Bidis and cigarettes were unknown -hookah as considered .....' At this moment a huge car flying almost at eighty or ninety miles per hour whizzed past us. Jokingly I said to Umar Singh, 'Cars must have been a common sight then?' He also laughed and said, 'Sardar Sahib, your queries are indeed quaint Talk of cars? Even this present type of tonga was something then unknown. There were Ekkas, like those you see in Mathura. Cars was a rarity then. The first car in Delhi was owned by the Gurwala Rai Sahib; people came to see it from long distances and they wondered to see it move without bullocks or horse. Believe me, sir, Gurwala Rai Sahib was the pride of the land: the Roshanara Gardens belonged to him.' Umar Singh's eyes glistened as he spoke. His mention of the Rai Sahib carried as of a savour of a very close relationship with that gentleman. lt is a strange vice of the poor. that, though starving, they would talk proudly of the rich in a tone of personal identity.

With a mischievous intent l said, 'Of course there was electricity in those days.' Umar Singh smiled and said, 'Even the municipality was not there, let alone electricity. Sarson oii was used for lighting; even kerosene came into vogue after many years. This area through which we are passing (it was Karol Bagh) was then a wilderness. People even in groups would hesitate to pass through it in day time.' Suddenly his face turned pale, and he said, 'Sir I am reminded of an old incident. I was then about seventeen-on the threshold of youth, full of the spirit of defiance of even the highest in the land . A pal of mine, who lived six or seven miles away from here had broken his leg by a fall from the house roof. I started from my house to enquire after his breath- a staff in my hand and a couple of rupees in the folds of my Dhoti round the waist.

Then pointing to all building he said, 'Over there used to be a high earthen mound near which grew a tall Neem tree. When I reached this place it was pretty dark. There I saw two persons armed with lathies with faces covered. I tried to turn round to avoid them when one of them said, 'Young man come up, we won't let you go, even if you tried, and with these words they strode towards me with long step, I also gripped my staff firmly. ln the meantime three other associates of those brigands appeared. Finding an encounter with the five of them futile and my escape also barred, I asked them what they wanted. One of them said, 'Lay down all that you possess including your clothes.' One of them had already relieved me of my staff. I pulled two rupees out of the folds of my Dhoti and handed them over to his companion. One of them relieved me of my Dhoti also. Then one of those standing a little away said, 'That'll do, let him go.' 'l then took to my heels so fast that I reached home all gasping. Thereafter never ventured alone in this direction. Even now I feel a shudder down my spine as I pass this way. The loss of the two rupees was most painful since they were worth two hundred rupees these days.' Umar Singh's trembling, born of fear, had merged with the shaking of the tonga. Noting a few women pass that way, and wishing to rid Umar Singh of the fear born of the horrible memories of that event, I said, 'Umar Singh, what sort of women were there then?' 'Women then were entirely different from these butterflies these days, 'replied Umar Singh.' Cinemas and hotels were unknown in those days. Women today care only for cinemas, hotel and saries. An educated man told me yesterday that cosmetics and make-up articles alone cost hundreds of thousands of rupees these days, he continued. Then with a sigh he concluded, 'Cursed is me to have been destined to see these times.

'Since we were approaching Subzimandi, I put a hurried question on a topic in which I had a psychological interest. 'Were there prostitutes in those days, Chaudhury Sahib?' Umar Singh thought for a while and said, Yes. But they lived a dignified life. They allowed themselves to be kept only by respectable persons. To- day they are so cheap without any code of conduct or morals: sincerity is something unknown now.

'Then suddenly the memory of another event gushed out of him, It is something fantastic, Sardar Sahib, but I must narrate it. My grandfather celebrated the marriage of my uncle with wonderful pomp and show. Dancing and singing girls were then greatly in demand on such occasions. Weddings were great occasions, since marriage without dance and music was not to be thought of I was quite young then, build remember vividly how Shamshaad Bai gave thrilling and superb performances of dance and music, performances which might well put to shame the fairies of Raja Inder. Those days, alas, are gone, never to return, Sardar Sahib.'

We were now close Subzimandi. I gave the fare to Singh and he deposited the coin his pocket without even counting I as they were now worth nothing than a mere pittance. He pulls reins of the horse a couple of times and the animal fell to its accustomed  slow trot soon. The receding sound of the hoofs striking against the cobbled street was heard regularly for time, and then it died away. Chaudhry  Umar Singh and his tonga were lost in the welter of the great metropolis.

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AMRITA SHERGILL THE PIONEER ARTIST

Sunday, 7 April 2013

AMRITA SHERGILL THE PIONEER ARTIST

Any work of art becomes a classic when it speaks to the human being. To create thrilling revelation an artist has to first thaw inner emotions and then reach the grand finale. Amrita Shergill was one such Indian artist who integrated the pictorial idiom of the westand Indian vision to become one of the pioneers of modern painting in India. Her name has been wriften in the archives of Indian art along with in the Gaganendranath Tagore, Jamini Roy and Rabindranath Tagore. Dr. USHA KAKKAR vividly weaves a biographic sketch drawing from the short but tortuous life of this great artist from Punjab who had become a legend in her life time.

 " Art, it is my conviction, must be connected with the soil if it is to be vital." These lines of Amrita Shergiil show a deep sensitive relationship she had with modern India. Even after five decades since her untimely death in 1941, she is recognised as one of the most significant Indian painters. Her best contribution to the development of art in this country was that she liberated Indian art.

AMRITA WITH HER FATHER

Ruby Von Leiden wrote of her, "Art in India was never the same after her comet like appearance". Mulk Raj Anand,a well known writer from Punjab said, "For the first time an Indian painter had the courage to. paint ordinary people, human beings even of the down-trodden world of the hill states of North India. And she reproduced in their agony, the sadness in their faces, and the colours, the grey colours, in the hill noon with the extraordinary sensitiveness."

Amrita's mother, Marie Antoinette, a Hungarian, came to India as a companion to a princess and chanced to meet Umrao Singh Majithia, a strikingly handsome Sikh nobleman. He was the grandson of Attar Singh, the founder of Majithia clan. Umrao Singh was smitten by the beauty of Marie Antoinette and proposed to her. Theywere married in Lahore according to Sikh rites in February, 1912. Soon after they left for Hungary. Amrita Shergill was born on 30th January, 1913 in Budapest, Her mother described Amrita as "a beautiful baby with big eyes who seemed to survey the world with queer astonishment. Her father once recalled, "The most remarkable thing about her infancy seems to me that she never cried as babies do. She watched things and people around her with large attentive eyes.'

 Even when she was a child, she showed every sign of becoming an artist. She would draw or paint on any bit of paper she found. She would paint on the walls and was never interested in a black-pencil. tt had to be coloured. The Shergill family left Budapest in 1912 and settled down at Shimla.

 Amrita was rebellious by nature, she disliked compulsory attendance in the Church of Jesus at St. Mary Convent Schcol where she was sent to study. A non-believer, she denounced the Catholic rituals. When the head of the institution came to  know of it  she expelled Amrita from school. Thus ending her formal schooling. She however spent her time in  painting, playing the piano, and educating herself.

Amrita's uncle Erven Baktay, a good painter himself, straight away recognised her exceptional talent. He suggested to her that she should draw from live models, a practice she followed all through her life. He also suggested that Amrita must be given an opportunity to studying in one of the major schools of  Paris.

 lt was a fulfillment of her cherished dreams. She used to say  that from her very childhood she knew that she was destined to become a painter. But Amrita had a multi-faceted personality. She played the piano superbly, and could have easily become a world famous musician. Music was a sort of escape for her. To be a painter came naturally to her, she herself wrote, "lt seems to me that I never began painting, that i have always painted. And I have always had, with a strange certitude, the conviction. that I meant, to be a painter and nothing else."

SELF PORTRAINT

Amrita along with her parents and younger sister arrived in Paris in 1929. She was introduced to professor Pierre Vaillant. He was much impressed with the work Amrit  showed him and she was admitted to the Grand Chaumiere. She started working there with her usual nonparel zeal. The human form was of special interest to her. She made several sketches of male models. She also met professor Lucien Simon who was teaching at the Ecole Nationale des Beaux Art. Specimens of Amrita's work fascinated him and he helped her in getting admission to that well-reputed institution. She worked there for three years and won the first prize each year for portraits and still-life paintings. A prolific painter, she painted over sixty pictures during the three years of her stay in Paris, commenting on Amrita's work during these years, Karl Khandalavale, a distinguished art critic, wrote, "The Paris sketch-books show Amrita as a talented hard- working student imbibing various influences and occasionally displaying in her drawing a suggestion of that powerful handling of form which she was later to develop." While in Paris, Amrita was highly influenced by Cezanne and Gaugin. Aesthetic virtues and simplicity of form impressed Amrita and inspired her. lt was however Paul Gaugin whose work totally bewitched her and she confessed that she liked him the best of all.

 lt was in the year 1933 that Amrita, began to think seriously of returning to India. She wrote to her father, 'l wish to return primarily in the interest of my artistic development. I now need new sources of inspiration which I think I can find in India, its people, its literature, all of which interest me profusely and which I wish to get acquianted with."lt was here that she managed to evolve her own original style.

After her arrival in India in Decernber 1934, Amrita went straight to Amritsar an.d spent the first few months there in her ancestral home Majithia House. As an artist, Amrita felt that her arrival in India signified an almost a revolutionary change. She realised her artistic mission then,"... to interpret the life of Indians and particularly the poor Indians, pictorially; to paint those silent images of infinite submission and patience, to depict their angular brown bodies, reproduce on canvas the impression their eyes created on me; to interpret them with a new technique, my own technique that transfers what might otherwise appeal on a plane that is emotionally cheap to the plan which transcends it and conveys something to the spectator who is aesthetically sensitive enough to receive sensation."

ln India Amrita first made an impact when a few of her paintings were displayed at the annual exhibition of the Shimla Fine Arts Society. Almost every one who had 'eyes to see' realised that Amrita was no ordinary painter. How ever it was in the year 1936 that the press in India began to take serious notice of Amrita Shergill as a significant and extraordinary painter. After spending several months in Shimla she shifted to Saraya, in the district of Gorakhpur, the winter retreat of Majithia family. lt was while she was in Saraya that she €came to know that she had won two prizes at the fifth annual exhibition of the All India Fine Arts Society which was held in New Delhi.

The next exhibition of her work was held on 20th November, 1936 in Bombay. Some of her best paintings at display were: Group of Young Girls, On the Terrace, Child Wife, Hill Women, Portrait of My Father, and Villagers. An art critic wrote about her work, "She chose to depict only the dark side of life as though she wishes to be an interpreter of the terrible misery that abounds in our country and which seems to have a profound impression on her life."

From Bombay Amrita went to Ellora and Ajanta. She was entranced by the place and the caves. She found Ellora magnificant and Ajanta curiously vibrant and lovely. This visit had made a tremendos impact on her "After that she set out on her south-Indian Odyssey. First of all she went to Hyderabad and held an exhibition of her work. She was highly admired for evolving new style as well her unique technique.

Even Jawaharlal Nehru was highly impressed when he came to her exhibition and later wrote to her, "l liked your pictures because they showed so much strength and perception". Her South Indian Trilogy is regarded as her greatest achievement. The first in the South Indian Trilogy, was Bride's Toilet', the second was 'Brahmchari' and the third picture of the series was 'South Indian Villager Going to Market'. ln this Trilogy her art found full fruition as a colourist. Kar KhandalaVale in a review said, "Judged by any standards these three paintings are amongst the greatest painted not only in India but during the century."

Besides the Trilogy, she made two more paintings' Elephants Bathing in a Green Pool' and ' ln the Ladies Enclosure'. She was awarded the first prize for the best picture in oils and the gold medal for the best picture by a lady artist at an exhibition organised by the All india Fine Arts and Crafts Society in New Delhi.

Amrita had decided to marry Victor Egan, her childhood playmate and her first cousin. He was a trained medical man.

Although it was Amrita's mother who had in the first instance, suggested that she and Victor should get married, when Amrita told her parents that she had finally made up her mind to marry him, her mothers reaction was hostile. Amrita's mother wanted her to marry someone rich and important, but Amrita was not interested in marrying anyone for his wealth, social position and status. She had decided to go to Hungary and get married.

Victor's mother did not oppose and they got married on 16 july,1938 in a civil court. Lost in her own world Amrita had no sense of realities of life. The couple however maintained a balance since Amrita was always in the air where as victor was totaly earthbound. Amrita painted at least eight pictures during that period, some of which are in the National Gallery of Modem Art.

The situation in Europe was getting ominous at that time. There was likelihood of a war breaking out at any moment. So the young couple decided to leave Hungary with whatever little money, they had and succeeded in reaching India.

It was decided that they would live in shimla. The idea was that Victor would set up medical practice and Amrita would paint. Somehow things did not work out. Amrita's cousin invited them to come to Saraya and stay with them. They went there but an uncertain future made Amrita very depressed. She painted two pictures at that time - 'Ancient story-Teller' and 'The swing'. Ancient story Teller' is among the best pictures she had painted since her return to India and even won an award at an exhibition organized by the Indian Academy of Fine Arts, Amritsar. At Lahore, Amrita and Victor had accommodation in the vicinity of the Mall, the most fashionable part of Lahore then. lt was while staying in Canal Park at Lahore that she had her first meeting with the Russian painter Svetoslev Roerich, who had made India his home. He described her as an artist of outstanding promise. Their home became a meeting place for select group of people. She got much enjoyment out of meeting people whom she liked or whom she considered sufficiently cultured. She could not stand mediocrity.

Amrita died on 5th of December, 1941 at a very young age leaving behind a new and unexplored field of contemporary painting for the future Indian artists. On 7th December she was cremated as her parents had decided that it would be a Sikh funeral. A brief religious ceremony under the Sikh rites was held where the last rites were performed by Amrita's father. There are several versions about the cause of her sudden and tragic death. Some say that she was poisoned. Others say that her husband did not call a doctor till it was too late. Perhaps he had over wearing self-confidence in his ability to treat her. Anyway it is all speculation. The melancholic eyes of her subjects shall for ever stir up the passion in several hearts and she would reach out to the souls of many through mute images of her plastic art expressing gravity of human anguish.

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OMENS THE PUNJABIS BELIEVED IN

OMENS THE PUNJABIS BELIEVED IN

 Whether we are believers  or not most of us are superstitious at heart. A cat crosses our path and we become apprehensive about the work for which we are going. Similarly, clattering keys or cutting nails in the day time is inauspicious. Such beliefs can be found in almost all societies across the caste, culture, creed or gender. Whatever may be the psychological reasons omens have become a part and parcel of the socializing process. Everyday we might be learning about some new omen whereas a few are forgotten with time. Dr. UMA ARORA Provides a fascinating and wide range of omens which were painstakingly collected by Jeff Ebbetson.

Some of these are generally Prevalent throughout lndia and others are specifically connected with agriculture and the Punjab region. Explore through this wonder world of omens but do not take them to Your heart in blind faith. Good and bad omens are innumerable. Chief among good omens is the dogar, or two water-pots one on the top of the other. For good luck this should be kept to the right, as should the crow, the black buck, and the mantis; but the snake to the left. A mantis is the horse of Ram, is very auspicious, and always saluted when seen.

To sneeze is auspicious, as You cannot die for some time after. So when a person sneezes, friends grow enthusiastic and congratulate, saying 'live a hundred years' or 'God bless you!' On the other hand the same  sneezing is always a bad omen especially among Hindus and a sneeze from any one near a Person will always prevent starting on a journey or any important business. The person will sit down for a while before recommencing. Should he fail then he will attribute it to the sneeze" interestingly after sneezing one may eat, drink or sleep, only one must not go on a visit.

For some black is unlucky, and if a man goes to build a house and charcoal turns up at the first stroke of the spade, he will abondon the site.

Owls signify desolate homes; and the koil (Eudynyms orientalis) is also especially unlucky.

NUMBERS

Similarly numbers too have their place in this interesting field of omens. Almost all odd numbers are lucky but three and thirteen are unlucky, because they are the bad days after death. That is why if a man, not content with two wives, wishes to marry again, he will first marry a tree, so that the new wife may be the fourth and not the third.

The number five and its all quot parts run through most religious and ceremonial customs. The shrine to Bhumia ;s made of five bricks; five sticks of sugarcane are offered; with the first fruits of the juice, to the god of the sugar-press, and so on; while offerings to Brahmans are always 1, 1/4, 2, 1/2, 5, 71/2, whether rupees or sers of grain.

WAHDEY  (MULTIPLY)

The dimensions of wells and well-gear on the other hand are always fixed in so many and three quarter cubits; and no carpenter would make or labourer dig you any portion of a well in round number of cubits. ln Sialkot wahde (apparently from wadhan, to increase) is always used in counting for ten. Contrarily, 12 is lucky, and complete success is called Pao bara. Likewise 52 also appears to be a happy number.

Numbers have their other peculiarities as well. ln certain areas three persons to act together as a council or committee is unlucky. Trekon janian di majlis khoti, i.e. a committee consisting of three numbers is unlucky. On the other hand to be five in council is thrice blessed, for the proverb goes, 'panchon men pir, panj pardhan or Panjo men parmeshar, the belief is that there is god in the 5 leaders, or in 5, i.e. their decision is final.

1 is neither lucky nor unlucky, though it is a multiple of 3 which is quite disastrously unlucky. 5 is very lucky and all odd numbers (except 3) like 1, 5, 7, 11, 13, 17, 21, 25,31, 41, 51 or 101 are considered fortunate. Bodily affections too have their significance as omens. A movement of the right eyelid or a singing in the right ear means joy; to the left, grief.

BODY PARTS

 A movement of the flesh in the right upper arm or shoulder means that you will soon embrace a friend, but one in the left portends a debilitating sickness. A tingling in the right palm means a monetary gain, in the left it means money to be paid away. ln the sole of either foot tingling denotes a journey.

 Shaking one's leg while sitting on a chair or couch means loss of money. Yawning is very unlucky. Biting one's tongue means that some one is telling tales against one.

Twitching of the right eye is a lucky omen in Kangra, and the general science of its omens is summed up in the following lines: 'lf the lower left lip twitch, know there will be a blot on the happiness. lf the upper lid twitch, say all will be delight and pleasure. lf the outer lid, it will be wealth and gain: but if the inner, loss. For the right it will be the reverse.'

ANIMALS AND BIRDS

ln rural areas animals become a means of omens. The panch 'kalian or horse with 5 white blazer, one on the forehead and one on each foot, is apparently lucky, and the hero's horse is often named Panchkalian in folk tales.

 So too when buying a buffalo, cow or bullock it is a good sign if it defecates, but do not buy if it urinates. lf a buffalo lows (aring di) it is a good omen, but the reverse if a by-stander sneezes.

A kite settling on the roof of a house is unlucky. A cat or a crow throwing water over itself denotes a coming guest.

 lf an owl hoots thrice on a man's house he must guit itfor 3, 7 or 11 days, placing thorns at its door. To re-enter the house it is essential to feast brahmans, sacrifice a goat and offer a broken coconut.

 It is believed in general that dogs are peculiarly gifted, for they can see evil spirits moving about and so their howling is a portent of evil. lf out hunting a dog rolls on its back then game will be plentiful, but if it lies quietly on its back in the house it is praying for help and some calamity is imminent! When out shooting it is very unluckY to meet a garur, a name applied in the Punjab to a small king-fisher with bright blue plumage, which is let out of its cage at the Dasehra as a sacred bird.

WHILE COMMENCING A JOURNEY

The perils of travel have led to the development of something like a science of angry in regard to it.

Before starting on an important journey a   Hindu will consult a Brahman as to what day will be propitious and if he cannot start on that day he will send on a paitra, a small bundle of necessities, to some place near the gate by which he intends going, and start himself within the next two days. When starting on a journey if a Brahman or Dumna is met, or any one carrying an empty pot (ghara) or basket (kilta), the omen is unfavourable, and the traveler turns back. lf a child is met or a person carrying full ghara the omen is favourable. lf when setting out on any purpose you meet a person carrying an empty ghara, it is an ill omen, but good if the water-pot is behind you. So too it is unpropitious to meet a person carrying wood, but the reverse if he comes behind you. For a journey or any work of importance a Brahman is consulted to ascertain the saf or lucky moment, and if the person is unable to start journey on the day and at the time fixed, his walking stick or bundle is put outside the door, and this is looked upon as equivalent to his departure.

To meet a sweeper (Chuhra) is lucky, the more so if he has a basket or a broom in hand. Also it is still more fortunate to meet a sweeper carrying fifth, or a coffin, when setting out on  business.

 After seeing a bier or touching a scavenger good Hindus will bathe.

 It is a general belief in Punjab that if you proceed on a journey or are walking out and you are called back at starting, you must stop. So strongly is this believed to be unlucky that relations will send things accidentally left after a traveler instead calling him back. .

lf while going anywhere with an object you meet a jackal, it is a good omen, but two are better: provided the animal does not cross your path - then your object will be frustrated.

To hear a jackal barking is, in Dera Ghazi Khan, most unlucky. lt is known as bhunkan. ln Rohtak it is lucky to hear a jackal howling on the left, but not on the right, and the jackal should not be spoken of by his proper name as giddar but as Jambu.  

In Bahawalpur to hear a donkey bray behind when one is, starting on a journey, or a partridge call on the left is an omen that the journey will fail in its object. But a partridge calling on the right is lucky. lt is a good omen to see the bird, called mamohala, on the right hand early in the day and later on the left, and vice versa

Good or bad, omens are believed by all so if a thief, when going to steal, hears a pheasant on the left he considers it a bad omen and returns.

lf a maina or laali is heard warbling on the roof, it is understood that a guest is expected. A crow on the coping of the house-wall denotes that a relation is coming on a visit, or at least that news from one will soon arrive. On the other hand, if a woman gets hurt she will pit it down to having heard a crow cawing on the coping. A kite sitting on the house is unlucky, so a black handi or scare-crow is usually hung on the loftiest part of the roof. Similarly, it is a bad omen for a marriage procession to hear the roar of thunder or meet with a gale of wind on their way to the bride's house.

ln some regions it is also lucky to meet a married woman, a pot full of water, a corpse in a doli, a cow with calf, a mangoose, ox, a blue jay, a peacock, a kirla (lizard) or a chhipkali (white lizard). To hear the sound of music, a parrot perching on your body, too is auspicious. But it is unlucky to meet an ass, a bull-buffalo, a sweeper with refuse, any one carrying salt or earth, a potter, a Brahman bare-headed or one who does not return your greeting, a widow, an empty pot, a blind or wall-eyed man, a bairagi or a faqir smeared with ashes, an oil- crusher (a Teli) with his pot, a crow, a jackal or a cat.

FOOD

 Food is also connected with omens so eat curd, and go where you please, but do not eat pickle or anything sour when going to visit an official, or you will either fail to see him or not gain your purpose. Students appearing for exams are given specific food on specific days to fare better. Success on a journey to pay such a visit or for any important business may be assured by observing the simple rules: Jo sur chale, wohi pag dije, poti patra kabhi na leege i.e. if you find that your right nostril breathes more quickly that your left start with you right foot, and vice versa: 'never mind books and almanac.' Should you chance to see a useless man do not let them cross you or you will fail in your undertakings.

BRAHMINS

Brahmans too have been linked with omens and in certain hill regions It is lucky to meet a Brahman telling his beads or saluting you with his tilak (sectarial mark) on. Similarly if on the road you meet milk and fish, two Brahmans with books, it is a good omen and all wishes will be granted. Finding gold is unlucky at anytime, and metal found on a Saturday, when it is unlucky to find anything, is given to a Dakaut or Maha-Brahman. No real Brahman takes alms on that day.

Quarrels are caused by mixing fire from two houses, standing a broom in a corner or allowing a child to turn over a dirty ladle, or by clattering scissors.

ln Punjab it is strongly believed that the loan of a comb or kerchief causes enmity. Or while kneading flour a bit of the dough gets loose, undoubtedly it is remarked, a guest is coming. lf unleavened bread rises while being baked on an iron plate it means that the person for whom it is being made is hungry.

lf, when one is thinking of a person or wishes to see him, he turns up it forebodes long life to him.

With omens there are some charms for crops and cattle as well. lt is believed if a crop of wheat, gram or maize be attached by insects (kungi or tela), a charm (kalam) is recited to avert injury a camel's bone burnt so that the smoke may drift over the crop, a kalam being also read.

The following charms are in use: ".Kungi, Kira, Mula and Bakhra are brothers and sisters (of the same family); by the command of God a wind blew and drove them alla way." This is spoken over sand, which is then sprinkled over the crop. The following verse is recited and blown over the diseased crops:

Kungi, Kra, Bakhra tariye bhain bhira. Roti be nimaz di gai wa udd. 'Kungi, Kira, Bakhra are all three brothers and sisters. The bread of one who does not pray (nimbs) was carried away by the wind." Meanwhile the owner walks round the field, eating fried wheat. lf he meets any one while so doing he gives him the wheat, but not speak to him. When grain has all been threshed out by the cattle the owner digs round it a trench (kara),' which he fills with water. No one may enter this circle, which protects the crop from evil spirits.

Blight is averted by hanging up a pot, on a long stick, in the field, the pot being filled with earth from a saint's tomb. ln selecting a place for a stack of corn, a pit is first dug and the earth excavated from it put back again' lt is believed that if it exactly fills the pit, the place is unpropitious and another place is chosen. But if some earth remains over the corn is stacked and the grain winnowed there.' Many cultivators set up a plough in a heap of corn and draw a line round it with a knife to prevent genii from eating the grain. lf when corn has been winnowed the grain appear less than the husks, it is believed that some evil genii has got into the heap and stolen the grain in a ram or he-goat is killed and eaten jointly by the farmers to expel it' Such genii assume the shape of ants or other insects, and so, when the husks have been separated from the grain, the ground around the heap is swept and no insect allowed to get into it. When cattle etc. are diseased they are commonly taken to a shrine, and in a dream the owner is supported to be told what means will effect a cure; or the mujdwar of the shrine hears a voice from the tomb or the cattle get frightened that they will recover.

 ln the Una the following mantar is used in cases of foot and mouth disease: Suraniit de tre bete, Dar, Dathar, Budhra, Biwi Bai di Pap dubban io dhan wich kare pasdra.

 "suranjit had three sons, Dar, Dathar and Badhra' The sins of Biwi Bai shall sink her down (i.e. she will be annihilated) if she lives at all in this world."

Among the Lammas who too have their own omens, this disease is called maiden and to cure it the shrine of Jetha Bhutta is much resorted to. lf grass does not agree with the cattle the following mantar is recited 7 or 11 times and the mullah blows into each animal's ear:

Kala paththa Pabbar wannan, Zimla wich hik salu Pannan, Na kar Paththa eda manan; Main bhi tei sat Pichhand, Ant nagri, ant gor, Mare naththa te iiwa dhor.

On the other hand Sawant appears to be a benevolent spirit who casts out diseases. 'Bantari gave birth to Sawant beyond the river, whereby ulcers, abscesses, tooth-aches, opthalmia and swellings of the breast departed', runs the couplet. lf the right breast be swollen the left is exorcised and vice versa. ln a somewhat similar way scorpion-bite is cured by proxy' A man goes on the Patient's behalf to the exorciser who blows a spell on the water which the proxy drinks, and then the sufferer recovers.

 lf a Young tree is Peculiarly flourishing or vigorous, it is dedicated lo a pir or even called after his naine, and offerings are made to it. Villagers often visit such a tree in small groups' Gradually the tree becomes the saint himself and to distinguish it a flag is fastened to it. The pir chosen in such cases is the one most implicitly believed in by the villagers- The list can go on and on.

CROWS

The study of omens from crows alone is not only exhaustive but almost a  science:

When going on a journey if a crow caw to the left, Know for certain that you will prosper'

 lf a crow on a journey go before You cawing; It means the crow is saYing that You will get a wife.

lf a crow is, to the right and go cawing to the left, understand that it is telling you that you will lose your wealth.

lf it caw first to the left and go cawing to the right, the crow, is bringing you wealth and honour above all.

lf a crow caw to the left and go upward, your journey is stayed, and you should stop at home and turn its back upon you, it is bringing grief and trouble upon you.

 lf a crow caw stand on one leg with its back to the sun, and preen its wings, some great man will die.

 lf, when you are eating in the field, a crow caw, you will obtain riches our of the earth. if a crow flutter both its wings on high, though you try a thousand Plans You will suffer loss.

lf a cawing crow sit on the back of a buffalo, you will surely be successful in your labours.

lf a crow pick up a bone from the ground and throw it into water, know that in a few days you will beneath the sod.

lf a crow lower its head towards the north, it is bringing on a disturbance and lightning.

lf a crow lower its head to the north and preen its wings, it is exiling You from Your country'

 lf a crow keep on cawing, he is calling a guest from a foreign land.

lf on a journey a crow caw with a piece of meat in its mouth, Trouble is over and you will enjoy the fruit of happiness.

So keep Your fingers crossed and keep adding.

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