Ancient palace emerges from drought-hit Iraq reservoir

A 3,400-year-old palace has emerged from a reservoir in the Kurdistan region of Iraq after water levels dropped because of drought.

The discovery of the ruins in the Mosul Dam reservoir on the banks of the Tigris River inspired a spontaneous archeological dig that will improve understanding of the Mittani Empire, one of the least-researched empires of the Ancient Near East, the Kurdish-German team of researchers said in a press release.

"The find is one of the most important archaeological discoveries in the region in recent decades," Kurdish archeologist Hasan Ahmed Qasim said in a press release.

The palace would have originally stood just 65 feet from the river on an elevated terrace. A terrace wall of mud bricks was later added to stabilize the building, adding to to the imposing architecture.

Ivana Puljiz, an archeologist from the University of Tübingen's Institute for Ancient Near Eastern Studies, describes the palace, known as Kemune, as a carefully designed building with mud-brick walls up to two meters (6.6 feet) thick.

Some of the walls are more than two meters high, and various rooms have plastered walls, she added.
The team also found wall paintings in shades of red and blue, which were probably a common feature of palaces at the time but have rarely been found preserved.

"Discovering wall paintings in Kemune is an archaeological sensation," she said in a press release.
"Kemune is only the second site in the region where wall paintings of the Mittani period have been discovered," Puljiz told CNN in an email.

Ten clay tablets covered in cuneiform, an ancient system of writing, were also discovered and have been sent to Germany for translation.

"From the texts we hope to gain information on the inner structure of the Mittani empire, its economic organisation, and the relationship of the Mittani capital with the administrative centers in the neighboring regions," Puljiz told CNN.

Archeologists first became aware of the site in 2010 when water levels in the reservoir were low, but this is the first time they have been able to excavate.

However, the site was submerged shortly after the dig, Puljiz said, adding: "It is unclear when it will emerge again."

Qasim also worked on another project with the University of Tübingen, uncovering a Bronze Age city in northern Iraq in 2016.

The team unearthed the city, which lies beneath what is now the small village of Bassetki in the autonomous region of Kurdistan, close to territory that was held by ISIS.

Days after the dig was completed, Iraqi security forces began their push to take Mosul back from ISIS.

Measuring a kilometer in length and 500 meters across (about 1,000 yards by roughly 550 yards), the ancient urban area features grand houses, a palace, an extensive road network and a cemetery.

(Source: CNN)

Glow of innocence

Gita Haldankar was 16 when she posed for the iconic ‘Lady With the Lamp’ painting. At 100, she is still a picture of elegance

A thing of beauty is a joy forever/Its loveliness increases; it will never/Pass into nothingness, wrote John Keats in the 19th century. In the 21st century, the lines ring true for Gita Krishnakant Uplekar, who as a 16-year-old beauty posed for her father, S.L. Haldankar, the renowned painter. Seeing her in a Nauvari sari holding a lamp during Diwali celebrations, he immediately decided to capture the image on his canvas and thus was born ‘Lady With the Lamp’, aka ‘Glow of Hope’ painting. The painting is now displayed at the Sri Jayachamarajendra Art Gallery at the Jaganmohan Palace in Mysuru.

Gita is now 100, but she continues to be a picture of grace and elegance, and shutterbugs simply can’t have enough of her. “Recently, we celebrated her 100th birthday with a grand feast for 150 people and the guest of honour was Shahu Maharaj of Kolhapur,” says her son Raj Prakash Krishnakant Uplekar.

Timeless beauty: Gita with a copy of the painting | Amey Mansabdar

Although Gita’s vision has blurred and she is a little hard of hearing, she remembers the events leading to the painting vividly. “It was the day of Diwali and I was lighting lamps on our big terraced flat. When my father saw me with a lamp, wearing my mother’s sari [I used to wear only skirt and blouse], he told me that he would make my portrait,” says Gita, at her home in Kolhapur. “Immediately after Diwali, he made me stand for the portrait in his studio downstairs. Later, the Maharaja of Mysore bought the painting for Rs 300.”

Haldankar, who hailed from Sawantwadi in Sindhudurg district of Maharashtra, was persuaded to go to Mumbai by his headmaster, who saw his talent early on. Though it was a life of hardship initially, Haldankar carved a niche for himself. “He went on to establish the Haldankar Fine Arts Institute in 1908, as well as the Art Society of India, along with a few friends, in 1918,” says Sampada Haldankar, his granddaughter. “He also received two commendation certificates from the Royal Society of British Artists, London, and the Governor’s Prize by the British Government of Bombay Presidency in 1910, 1927 and 1932. In Independent India, he was felicitated by Dr Rajendra Prasad, and was made a fellow of the Lalit Kala Akademi.”

Place in posterity: Gita’s brother Vijay Anand Sawlaram Haldankar and his daughter Aradhana pose next to the original painting kept at the Sri Jayachamarajendra Art Gallery in Mysuru.

Haldankar had, in fact, painted the pictures of all his three daughters. He also had four sons. “It was because of the 3D effect of sorts that Gita’s painting received so much critical acclaim,” says Sampada. “A painting of another aunt is displayed at the Nagpur Museum. My father took us to Mysuru to see the painting, and when he said he was Haldankar’s son, everybody was so excited to have us there. We were told that ‘Lady With the Lamp’ gets several visitors each day, besides the Raja Ravi Varma Gallery, of course, which is right next door. Only this painting is on display in that particular room. They switch off the lights and because the painting has a 3D effect, you actually feel that the light is glowing on her face. It is when the lights are switched off that the real effect is felt, and you can see the orange colour of the flame on her fingers.”

Most people mistake it for one of Raja Ravi Varma’s works. “It is a pre-Independence watercolour painting by Haldankar and he deliberately created a watercolour painting, and not an oil painting because he wanted to show that a watercolour painting could be made without any errors,” says Sampada, who grew up in a house full of paintings, with models walking in and out at all times. “In fact, it was over there that my father’s brother, Gajanan Sawlaram Haldankar, did a beautiful painting of Sam Manekshaw.”

Gita with son Raj Prakash Krishnakant Uplekar and daughter-in-law Rajlakshmi | Amey Mansabdar

According to Professor Prabhakar Kolte, who went to and later taught at J.J. School of Arts, the painting is a “wonderful study of light and human form. Light was his subject and his reason for expression. He wanted to paint the light and not the model is what I feel,” says Kolte. “Haldankar’s treatment of the sari is very personal. He is deeply concerned with the texture of the sari, and that can be seen in the strokes for the folds.”

Poet and art critic Ranjit Hoskote says “Works like Haldankar’s passed into a popular vocabulary of art partly because the paintings were reproduced extensively. Images such as ‘Lady With the Lamp’ came to embody a new emerging modern Indian art in the popular consciousness.” Also, watercolour portraits and landscapes happen to be one of the traditions of J.J. School of Arts, where Haldankar studied, says Hoskote.

Mumbai has paid its dues to Haldankar by naming a road after him. A few years ago, the French government expressed interest in acquiring the painting for a handsome sum, says Sampada, but the Maharaja of Mysore politely declined saying that the painting would never leave his art gallery.

(Source: The Week)

What connects Ratnagiri and Burma’s forgotten royals?

Travelling is an exercise which enables you to explore places and find hidden gems and information, which you never knew about.

For example, did you know that Ratnagiri, a coastal town in Maharashtra, has a link with Myanmar?

Yes, it sounds a little odd, but this is a fact. In the late 19th century, the last king of Burma—Thibaw Min—was living in exile in the sleepy village of Ratnagiri.

The evidence of this is the Thibaw Palace in Ratnagiri, which was built to accommodate King Thibaw and his family, who were deported from Burma (now Myanmar) by the British in 1885.

The Thibaw palace is a beautiful red-brick structure strategically located on top of a hill. It is interesting to note that King Thibaw who lived in Ratnagiri for 31 years, spent less than half of these years in this palace.

The information chart at the palace mentions that the British had sanctioned Rs 1,25,000 for the construction of the palace in the early 20th Century. Construction started in 1906, and the king and his family moved into the palace in 1910.

While it was being constructed, King Thibaw took a great interest in seeing the structure come to life.

This is why, the palace, built of laterite and lava rock, on a 20-acre property, has traces of Burmese architecture.

The palace itself is a modest structure, in terms of scale and size, compared to the other palaces in the country. However, it draws a fair share of an audience during the annual arts festival organised by the Ratnagiri Arts Circle.

When I visited the palace, I was expecting a museum which spoke about King Thibaw and the way he lived. However, there is not enough information available to visitors, and there are very few items on display.

A room on the first floor is dedicated to the king. There is also a chart which gives out basic information about his life. I learned that he belonged to the Konbaung dynasty, and was very well lettered in Buddhist scriptures. He had also published law books and created a code of conduct for his officers and town heads. It also stated that in Burma, he spent the royal money for freeing slaves and for their rehabilitation.

His reign ended when Burma was defeated by the forces of the British Empire in the Third Anglo-Burmese War, on 29 November 1885, and he was captured and exiled (along with his family) to Ratnagiri.

Today, the Thibaw palace is a state-protected monument. In case you are intrigued with this story, you should read the book, ‘The King In Exile: The Fall Of The Royal Family Of Burma,’ by Sudha Shah, which chronicles the poignant life of the last king of Burma.

(Source: TBI)

Once Bajirao-Kashibai's love nest 'Shaniwar Wada' is now the most haunted place in Pune!

We all have watched the grandeur of Shaniwar Wada in the Bollywood movie Bajirao Mastani. But ever wondered what happened to the palace after the death of Peshwa Bajirao and Mastani? What happened to Nana Saheb? What happened to Kashibai? Here's an interesting article on the Speaking Tree which says it's one of the most haunted places in Pune:

1. Shaniwar Wada haunted by Peshwa Narayanrao's ghost?

This 18th century edifice was put together in the honor of Peshwa Bajirao Ballal Balaji Bhat for his great courage and triumphs towards the Maratha Empire. Build in 1730, on the banks of River Mutha, in the city of Pune, Maharashtra, this was the seat of Peshwas until 1818, when the latter lost its control to East India Company.

2. Peshwa Bajirao Ballal Bhat

Peshwa Bajirao himself laid the foundation of his soon-to-be residence on Saturday, January 10, 1730; hence the name ‘Shaniwar Wada’ which was an amalgamation of Marathi words, Shaniwar (Saturday) and Wada (residence).

3. Construction of Shaniwar Wada

For the complex, Teak was imported from the jungles of Junnar, Stones were brought from Chinchwad, and Limestone from the belts of Jejuri. With a total cost of Rs. 16,110 (an empire’s treasure of those times) and over two years later, it was completed and handover to the Peshwa Bajirao’s family.

4. Most haunted place of Pune

The palace which was build up to nurture and witness memories and heroic tales saw nothing, but treachery, pain and ill-fate of those who resided within these walls. Not just this, it is believed that such is the fate of this fort that at present day it is the most haunted palaces of Pune.

5. Curse on Shaniwar Wada

In its first year, Shaniwar Wada saw an early and unfortunate death of Peshwa Bajirao I, betrayal for his first wife Kashibai, an incomplete love story of Bajirao-Mastani (his second wife) and treachery by the hands of Nanasaheb (Bajirao-Kashibai’s first born).

6. Betrayal by blood relations

The structure which was once renowned for its architectural brilliance, is now dreaded for supernatural activities on the full-moon night. Locals believe that the fort is haunted by the ghost of Bajirao’s grandson Narayanrao, who was brutally killed on orders of his relatives.

7. Peshwa family tree

Even before his father’s (during Peshwa Bajirao I’s serious illness) death, Nanasaheb claimed his power on the Maratha throne and hold on Shaniwar Wada. Three of his five sons who survived infancy death were, Vishwasrao, Madhavrao, and Narayanrao.

8. Battle of throne

After Nanasaheb’s death, Vishwasrao earned the power of throne, which angered former’s younger brother Raghunathrao (fondly called Raghoba) and his wife Anandibai.

9. Death of Vishwasrao and Madhavrao

During the third battle of Panipat, against a triumvirate of King Ahmad Shah Durrani of Afghanistan, the Rohilla Afghans of Doab, and Shuja ud Daula, the Nawab of Awadh, Nanasaheb’s eldest son Vishwasrao led the Maratha Army, while his second son Madhavrao played the chief strategist.

10. Decline of Peshwa household

Some of his strategies backfired, which led to the killing of Vishwasrao. Holding himself responsible for his elder brother and Peshwa’s death, Madhavrao plunged into depression and later died due to deteriorating health.

11. Crowning of new Peshwa: Narayanarao

Following the death of both Vishwasrao and Madhavrao, their younger brother Narayanrao (only 16-year-old at that time) was appointed as the next Peshwa. And, Raghunathrao was assigned as the regent to take responsibilities of the throne till Narayanrao was minor; this angered Anandibai even more, who by now obsessed to take the power into her own hands.

12. Raghunathrao and Anandibai

Narayanrao was aware of the bitterness of his uncle Raghoba and aunt Anandibai and their ugly fallout with his elder brother Vishwasrao. This hatred among them was fueled by their closest advisers; resulting in Narayanrao ordering Raghoba under house arrest.

13. Raghoba's house arrest

Anandibai turned furious after hearing the news of her husband’s house arrest and plotted revenge on Narayanrao. She planned out a vicious plot to break out her husband and kill Narayanrao, simultaneously. She knew that Narayanrao had been having conflicts with the hunting tribe, Gardi, originally the Bheels from Central India.

14. Raghunathrao's help plea

Once she convinced Raghunath to send a signed letter to Sumer Singh Gardi, leader of the tribe asking for help and capturing Narayanrao saying, “Narayanrao la dhara”, which meant ‘Capture Narayanrao’. Seeing this as an opportunity, Anandibai tweaked the letter, which now read, “Narayanrao la Mara” – ‘Kill Narayanrao’.

15. Bloodiest assassination in the history

On the night of the last of Ganesh Chaturthi, the highly trained and fiercest assassins were sent by the Gardi tribe to Shaniwar Wada. In the cover of night, the invaded the inner chambers of the palace and released Raghunath; killing all who intervened.

16. Narayanrao's death

They then headed for Narayanrao, who was sleeping unaware of what was happening. Hearing the commotion inside his room, he stood up and ran straight for his uncle, to seek his help. But, the Gardi assassins got hold of him and began brutal attacks on him, Narayanrao kept shouting, “Kaaka! Maala vaachva (Uncle save me)”, but no one came to his help.

17. Downfall of Shaniwar Wada

He kept wailing while the assassins tore him into pieces; Raghunath kept mute and witnessed the ordeal. Later Narayanrao’s body which was cut into numerable pieces was taken out in vessels and thrown into the river.

18. Prosecution of Raghunathrao, Anandibai and Sumer Gardi

Soon after Narayanrao’s death, Raghoba and Anandibai proclaimed their power on the Peshwa’s throne and Shaniwar Wada. Later Peshwa administration prosecuted Raghoba, Anandibai and and Sumer Singh Gardi.

19. Visit at your risk

Till today, tourists and explorers are allowed to visit the outer chamber of fort during the day and at night, the place is deserted. Some locals and enthusiasts even lay out camps near the river bank to listen to the wailing cry of help of Narayanrao’s spirit shouting ‘Kaaka! Maala vaachva’ that continues to haunt ‘Shaniwar Wada’.

20. Hindu cremation rituals

As per Hindu customs, a dead individual’s cremation must be done with all rituals to release their spirit from the mortal world. And, as Narayanrao’s body was dismembered and thrown away in the river, his remains were never found and his last rites couldn’t be performed.

21. Spirit of Narayanrao haunts Shaniwar Wada

Locals believe that because Narayanrao’s funeral rites never took place, his spirit till date moves in pain in the mortal world and his soul is trapped within the walls of Shaniwar Wada.

22. Shaniwar Wada horror

It is also believed that once Kashibai’s best friend from childhood had cursed the prosperity of Shaniwar Wada, after her husband was killed by Bajirao on suspicion of being a traitor to the Maratha Empire.

23. Shaniwar Wada cursed?

It is said, that Shaniwar Wada never prospered and was always strangled by the webs of betrayal, dishonesty and bloodshed. The power of throne was such that it saw the Peshwa household falling to pieces.

24. Burned to ashes

And as fate would have it, on February 27, 1828, a major fire broke out inside the palace complex which raged for nearly seven days, destroying everything that marked the legends of Peshwa household. Only the heavy teak gates and deep foundation of the fort survived.