A Wandering Mind

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.