A Wandering Mind

During my recent trip to Uttarakhand , I was faced with a problem I had never encountered before. We were passing through Delhi, but we had hardly any time in the city. On earlier visits when I have had to change trains/flights at Delhi, I have always arrived in the morning and left again at night, visiting relatives in between. This time, I was arriving in the city at night, and leaving again early in the morning. There was hardly any time to visit people. I would only have a couple of hours with them before I’d have to leave again. For the first time, we considered booking a hotel, but there again, we were hesitant about the actual hotels, the costs involved, and the logistics of getting from the airport to the railway station and then back again from the station to the airport.  That’s when we remembered reading something about a corporate-managed lounge at Delhi station. We soon figured out that we could book online and pay by the hour. Besides, we also learnt that there wasn’t ju

The first time I visited Pandharpur was back in 2007 . The names Vitthal and Pandharpur, were just names to me. I had heard of them, but that was about it. Seeing the lord standing on the brick, hands on his hips, was memorable, but more memorable was the sight that greeted us as we walked out of the main sanctum of the temple. In the mandap just outside were a group of devotees singing abhangs , and dancing. This was the first time I had heard abhangs , and even almost 15 years later, I can remember the welling of feeling within me, listening to the songs, and how fascinated I was by the sight of the devotees dancing, lost in their love of the Lord. Over the years, as I have read more about Vitthal, and participated in Ashadi Ekadashi programmes at Puttaparthi, that first experience has stayed clear in my mind and heart. Every time I tell my Balvikas students of the saints who sang of Vitthala, it is that experience that I re-live. I visited Pandharpur again, in 2010, but that experie

A little bit of context before you begin reading this book review. I have recently enrolled for an MA in Philosophy at the University of Mumbai. Philosophy is something I have been getting interested in, over the past few years, as those of you who have been reading my blogs and Instagram posts would know. During the pandemic, I thought long and hard about what I wanted to do next, and this is what I eventually came up with. It has been a challenge, getting back into academics as a student at this age, especially in a subject I have no academic background in. However, it has also been very exciting, especially thanks to my wonderful classmates (who, surprisingly, are of all age-groups, including some quite near my own) and my teachers, who have been very supportive and understanding. How well I will do is something that remains to be seen, but so far, I am enjoying this new journey and look forward to where it leads. Now that you know the background , you probably get an idea of how

The Elephanta Caves , located on Elephanta Island, or Gharapuri, about 11 Km off the coast of the Gateway of India, Mumbai, are a UNESCO World Heritage Site. A visit to these caves, excavated probably in the 6 th century CE, is awe-inspiring, and also thought-provoking. Over the years, I have visited the caves a number of times, and also attended a number of talks by experts in the fields of art, history and archaeology on the caves. Together, they help me understand these caves, their art, and the people they were created for, just a little bit better. Every new visit, every new talk, every new article I read about the caves, fleshes out the image of what the island and the caves would have been like, at their peak. I last wrote about the caves on this blog, in 2011, almost exactly 11 years ago. Since then, my understanding of the caves has, I would like to think, marginally improved. Hence this attempt to write a new and updated post, trying to bring to life, the caves of Elephan

A chubby, naked, fair Krishna , holding a butter ball, covered in golden ornaments, Yashoda by his side, an indulgent smile on her face, even as her finger is raised in admonition. Rama and Sita seated on the throne, Lakshmana on one side, Bharata and Shatrughna on the other, surrounded by sages and kings; Rama a distinctive green in colour. These are both popular themes in Tanjore Art. I first saw both these in temples, the Navaneetha Krishna in many homes as well, if not original, at least a recent replica or just a copy. The Ramar Pattabhishekam I have better memories of, having seen it often at the Matunga Bhajan Samaj in Mumbai, as well as at my mother-in-law’s ancestral house in Thanjavur. The latter especially is close to our family’s heart, and it’s an exquisite piece of work, the expressions on Rama and Sita’s faces as intricately done as the gold work that surrounds them. Navaneetha Krishna Beautiful as they are , to me, they are associated with divinity more than just wor

Ayodhya is synonymous with Rama , which is why it is a pleasure to read a book about Ayodhya, where there is no Ram. The events of “Warlord of Ayodhya” occur in the city, when Rama is in exile. It is Bharat who is at the centre of this story, an unwilling character forced to play the lead. While he rules the kingdom with his brother’s sandals on the throne’s footrest, and remembers his brother’s words of advice to him, it is his father he seeks to emulate as king. After all, it is his father who has ruled the kingdom all those years. While Rama is the prince, the rightful heir, it is still Dashrath who is the ideal king in Bharat’s eyes. It is these subtleties that make Shatrujeet Nath’s newest book a riveting read.