Jun
18

Hantya Jagar: Folksongs for Folk Ritual Performance for calling Dissatisfied Souls

Hantya Jagar: Folksongs for Folk Ritual Performance for calling Dissatisfied Souls

Folk Literature of Ravain/Rawaeen, Yamuna-Tons Valley Region, Uttarkashi, Garhwal -23

Jagar Gatha (Lyrical Prose Folk Ritual Sayings) from Ravain/Rawaeen, Yamuna -Tons Valley, Uttarkashi, Garhwal Region-16

Folk Songs/Folktales collection by late Dr. Jagdish Prasad ‘Jaggu’ Naudiyal

Translation, Interpretation by: Bhishma Kukreti

In Garhwal, Kumaon, there is very important folk ritual performance of Hantya Jagar. Ranbhut Jagars are also Hantya Jagar.
Once, Kukreti explained Hantya Jagar as –“‘Hantya’ means the unfulfilled desire of deceased one. Many times, the future teller speaks that there is ‘Hantya’ problem for the bad days of a family or families the family perform the ‘Hantya’ Ghadela ritual. The Jagri (Ghadela performer) first sings the following songs before the stories of Hantya Jagar. In the initiating chants the Jagri calls the souls of deceased died by accidents or with unusual death. Jagri and his assistant play the Daunru and bronze plate.”
It is said that when a person dies by accident or dies in early age or dies without fulfilling a specific desire, the soul of said person does not get eternal piece. The said dissatisfied soul wants ritual performance from the family.
When the future teller suggests the family member arranges Hantya Pujai (ritual for satisfying dissatisfied soul). There are many folk songs in tale form for Hantya Jagar (calling dissatisfied soul). The Hantya Jagars are always with pathos or sadness.
The following is one of the Hantya Jagar folk song from Ravain/Rawaeen region of Garhwal (Yamuna -Tons valley).

रवांइ, उत्तरकाशी गढ़वाल क्षेत्र के प्रचलित लोक गीत- 23

रवांइ, उत्तरकाशी क्षेत्र से जागर या धार्मिक अनुष्ठान के लोक गीत/कथायें -16

(मूल -डा जगदीश ‘जग्गू’ नौडियाल)

( इंटरनेट प्रस्तुति एवं अतिरिक्त व्याखा – भीष्म कुकरेती )

रवाईं में हंत्या जागर -भाग -१

मामी तेरी छुटी पड़ी चाखोल्युं की टोल।
तेरो होलो केसों मामी इजा को पराण।
तेरो होलो केसों मामी इजा को पराण।
त्वेको आयो पड़ी मामी काल सी ओ बाण।
काल सी छिपदो मामी रीट दो सी ओ बाण।
सोची होलो मामी तै हरस देखऊं।
यख मं बैठी रो तेरो बांको माणिस।
के कालन डालि मामी जोड़ी मां बिछाऊँ।
भैर भीतर मामी देखी ज तू अ क्वैक।
देखी भाळी जाई मामी आपड़ो बागीचा।
Jagari (Ritual Priest) after calling the female soul and soul entering into a body of the person –
O dear! Bird herds are separated from you.
O dear! How would be your motherhood without your children?
O dear! How did the death come for you?
O dear! The death came hiding and surrounding you.
O dear! The death was searching you and you were thinking that you would see the happiness of family.
O dear! Your dear husband is sitting here.
O dear! The death separated you from your husband.
O dear! You see here and there everywhere in your house, see your garden and then satisfyingly go for ever.

Copyright for interpretation @ Bhishma Kukreti 18/6/2013

References:
Dr Jagdish Prasad Naudiyal, Uttarakhand ki Sanskritik Dharohar (Ravain Kshetra ke lok Sahitya ka Sanskritik Adhyayan
2-Sudha Chandola, Some Goddess Rituals from Non Narrative folk songs of India
Xxx xx
Folk Literature of Ravain/Rawaeen, Yamuna -Tons Valley Region, Uttarkashi, Garhwal to be continued…24
Jagar Gatha (Lyrical Prose Folk Ritual Tales) from Ravain, Yamuna-Tons Valley, Uttarkashi, Garhwal Region to be continued…17
Xx xxx
Notes on Hantya Jagar: Folksongs from, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Radhi-Danda, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Yamunotri, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Kharsali, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Janki Chatti, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Hanuman Chatti, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Ful Chatti Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Gangnani, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Barkot, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Naugaon, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Lakhamandal, Chakrata, Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Purola, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Folksongs from Jarmola Dhar, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Traditional songs from Mori Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Traditional songs from Naitwad, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Traditional songs from Anhol, Dehradun Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Traditional songs from Tyuni, Dehradun, Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls; Hantya Jagar: Traditional songs from Arakot, Uttarkashi Garhwal, for Folk Ritual Performance for calling Dissatisfied Souls

Jun
18

History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Lakhamandal Region (250-635 AD)

History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Lakhamandal Region (250-635 AD)

History of Garhwal, Kumaon, Haridwar (Uttarakhand) – Part 75

By: Bhishma Kukreti

Lakhamandal, Kalikut (Kalsi) of present Jaunsar Bawar and Ravain regions were important pilgrim places and trade centers in North India from Mahabharata till Panwar dynasty took over Garhwal.
The archeologists excavated various valuable historical materials from Lakhamandal and nearby areas.
One of the important inscriptions ‘Ishwara Prashasti’ (Size: 2’, 10.5×1’x9’’) is found in Lakhamandal temples.
It seems that after the death of her husband, widow Ishwara came to her parent home in Lakhamandal and arranged ‘Ishwara Prashasti’ in the memory of her husband. There many theories about existence of Sainhpur.
Dr. Dabral seems to be more logical that Singhpur/Sainhpur was near Srughnapur (Sudhgaon of today’s Saharanpur) and near to Kalsi too. Ishwara would have married to a chieftain of Sainhpur/Singhpur and she came back to parent place when she lost her husband.
Dabral suggests that that one name of Srughna pur was Sainhpur and a Singhvarman king established a kingdom there by his name. In later stage, the name of kingdom/chieftain area or Janapada became Sainhpur.
There are twenty two ‘sholkas’ in the inscription.
There are names of following kings in Ishwara inscriptions of Lakhamandal –

S.N.—-King Name ——————-Relation with last King —————Title given in inscription
1—-Shri Senvarman—————-Establisher of Kingdom————–Rajarshi
2—-Shri Aryavarman —————Son ——————————Nripati
3-Shri Devvarman—————- Son —————————————Nripati
4— Shri Pradiptvarman ——————- son ———————————– Bhupal
5- Shri Ishwarvarman ————————- Son ——————————– Bhupati
6- Shri Vridhivarman ——————-son ———————————- Raja
7- Shri Singhvarman ——————-son ————————————Rajsingh
8 –Shri Jal ——————————–son ———————————Nripati
9- Shri Yagyavarman —————– son ———————————– Mahipati
10- Shri Achalvarman ——————son ——————————– Rajarshi/ Ghanghal
11- Shri Divakarvarman —————–son ———————— Nripatish, Mahaghanghal, Bhad /Bhatt?
12- Shri Bhashkarvarman ————– Brother ———————– Nripatipal/ Ripughanghal

Rajarshi Shri Senvarman
Senvarman was either founder of Yaduvansh in Sainhpur or Yaduvansh got familiarity after Shri Senvarman. According to Jaysawal, the initiation period of Yadyvansh of Senvarman is around 250AD. The Yaduvansh might have ended around 635 AD.
The praiseworthy word ‘Rajarshi’ suggest that he was disciplined king.
Nripati Shri Aryavarman
Aryavarman has strong character.
Shri Devvarman
Shri Devvarman used to eradicate the fear of his subject, was donor, anxious in winning for his family, and was destroyer of enemies. That means there were a couple wars in the time of Shri Devvarman.
Shri Pradiptvarman

Shri Pradiptvarman was an angry man and did not pardon his enemies. He had pride.

Shri Ishwarvarman

Shri Ishwarvarman was a religious king.

Shri Vridhivarman
Shri Vridhivarman was a prosperous king and was helpful.

Shri Singhvarman

Shri Singhvarman was strong king, was dangerous for enemies and soft for others. He was donors.
Shri Jalvarman
Shri Jalvarman was peaceful in nature

Shri Yagyavarman

Shri Yagyavarman was religious king.

Ghanghal means Bhad (Brave)
Ghanghal word is used to praise the last three kings. This Ghanghal word seems to be local words for brave man in that time.
Shri Achalvarman Ghanghal was peaceful but used to punish enemies in wars.
Shri Divakarvarman was Mhaghanghal or strongest king.
Shri Bhaskarvarman Ripughanghal

Shri Bhaskarvarman Ripughanghal was very strong king. It is praised in ‘Ishwara Prashasti’ that he won other kingdoms. It seems that he campaigned to win over the territories of south Uttarkashi.
He had only one queen that is Jayavali. Jayavali was daughter of king Kapilvardhan.
Ishwara Queen
Ishwara was daughter of Shri Bhaskarvarman Ripughanghal and Jayavali. Ishwara was married to Chandragupta the crown prince of Jalandhar. She was widowed in her young age. She came to her parent house after her husband death. She built a temple there in Sainhpur Lakhamandal. She built the temple for keeping forever the fame and name of her husband Chandragupta.

Vasudev Bhatt the poet of excellence
There are twenty two Sanskrit Shlokas in Ishwara inscription. These Shlokas express that the poetry creator was great poet (court poet). The poetry creator describes his details on the last stanza. His name was Vasudev Bhatt, whose father name was Bhattskand and his grandfather name was Kshemshiv Bhatt. It is written there at the end – ‘ Bhattvasudev ainan prashstikarodayodhyesh:’. That means this poet had relation with Ayodhya. It may be possible that Vasudev Bhatt was from Himachal and his forefathers might have migrated to Kullu from Ayodhya.
Ishwarnag
Ishwarnag the son of Nagdatt erected and incised the ‘inscriptions. He was great craftsman. Ishwarnag wrote there that he was from Roditak. Bhullat states that Ishwarnag was from Rahtak. Dr. Dabral refused to agree upon this theory.
No difference between ‘B’ and ‘V’ letters

There are mistakes in carving ‘Ba’ and ‘Va’ letterings. Garhwalis still don’t differentiate between ‘Ba’ and ‘Va’ as Basant is also written/pronounced ‘Vasant. That shows that Ishwarnag was from Lakhamandal region only. ’

Education
There was arrangement for education.

Social beliefs
The character of Ishwara states that on that time women used to follow one husband system in the region. Bhaskarvarman had only one wife.

Shaivism
The temples and inscriptions definitely prove that Buddhism was totally declined in this period and Shaivism was on rise.
Yagya and other rituals were necessary to get prosperity, children. Disciplinary, truthful life had values in society.

Copyright@ Bhishma Kukreti 18/06/2013
References:
1-Jayswal, Andhkaryugin Bharat
2-Shiv Prasad Dabra, ‘Charan’, 1968, Uttarkhadn ka Itihas, Bhag –1 and 3
3-Rahul Sankrityayan , Garhwal
4-Vasudev Upadhyaya, Gupta Samrajya ka Itihas
5- Raj Pruthi, 2004, The Classical Age
6-Dinesh Saklani, 1998, Ancient Communities of the Himalayas
7-Arun Kumar Mishra, 1992, The Trading Communities in Ancient India:
8- Indian Archeology Review, 1968-69
9- Archeological Survey Catalogue, Chamoli and Dehradun Circle on Internet (Notification number 1669/1133-M/-27/12/1920
10 Chhabda
11-Vatsa and Agarwal article on U.P. Historical Society, July 1944

(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)

History of Garhwal – Kumaon-Haridwar (Uttarakhand) to be continued… Part -76

Xx xxx xxx

Notes on History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Gauraghati, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Kwasi, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Juddo, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Chimri, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Nagthat, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Bratkhai, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD);

Jun
18

Motiya Saun aur Ganga Saunyani: Jhoda type Folktale/ Folk Dance-Song illustrating importance of Deity Jhankarsem

Motiya Saun aur Ganga Saunyani: Jhoda type Folktale/ Folk Dance-Song illustrating importance of Deity Jhankarsem

Folklore, Folk Legends, Folk Myths of Kumaon-Garhwal, Haridwar, Uttarkahnd-60

Folklore, Folktales, Folk Ballads, Folk Stories of Human Behavior, Human Emotions, Human Relationship, Human Psychology, Human Sensitivity, Human values, Human Sacrifices, interpersonal bond from Haridwar, Garhwal, Kumaon (Uttarakhand) – 7

(The write up is dedicated to Dr. Krishna Nand Joshi for his extensive works on Kumaon-Garhwal Folk Literature)

By: Bhishma Kukreti

The present folktale in folk song form is popular folk story. The story is sung in folk song form and dancers dance in Jhoda/Jhora dance type. Classes of folk song experts name this song as agriculture or work folk song.

कुमाऊं, गढ़वाल ,हरिद्वार की लोक गाथाएँ -60
गढ़वाल , कुमाऊं , हरिद्वार, की मानवीय संवेदना आधारित लोक गाथाएँ -7

गंगा सौन्यानी और मोतिया सौन (एक झोड़ा गीत नृत्य कथा )

(सन्दर्भ : डा.कृष्णा नन्द जोशी, कुमाऊँ का लोकसाहित्य )
(इंटरनेट प्रस्तुति एवं व्याखा : भीष्म कुकरेती )
सौन की डुंगरा में मोतिया सौन,
उंकी रानी गंगा सौन्यान।
तिन जो थ्या अपुत्री थ्या
तनुलै देवता का नाम ले ढुंग्या पुज्यान।
अर तीर्था का नाम लै रोड़ा नायान।
तबलै तिनरो पुत्र भ्यो।
बारै बीसी बरस को मोतिया सौन।
सात बिसी बरस की गंगा सौन्यान।
गंगा सौन्यानी नौ पाटी नवाली।
पानी भरन राति राति गैन।
तैकि सोरी भेड़ी वा तैकि जाइज्याद।
को बंटवारा करन मरै छना।
उन बात गंगा सौन्यानी का काना पड़ी गैन।
तब सौन्यान चुपचाप हात धोइ बरैन।
और तांबा को घड़ो भरि बरनै
अपना घर सौना की डूंगार खी वापिस ऊंछिना।
तब बाट मनि उनरो हियो भरि भरि ऊंछ।
और रूनी रूनी घर पूजी वटे
मोतिया सौन थे सब बात पुछीन।
और दिन भरी . विलाप में काटी बटे
रात खिन एक कमरा में दुसरा में पडिगयान।
दुया रात भरि , सोच में पडि भुकरी रुंनाम

Motiya Saun and his wife Ganga Saunyani lived in Son ki Dungri. They were childless. They worshipped every stone and took bath into all rivers and rivulets. However, they could not father child.
Both were quite old. Motiya was two hundred forty years old and Ganga was one hundred forty years old. One day, Ganga went to Naula (water source). Her women relatives were discussing about the distribution of Property Motiya-Ganga.
Without speaking with women she returned back home. Ganga Saunyani was very much upset with relative behavior. In night, Ganga Saunyani saw dream. In dream she saw a Jogi (sage) who told her that they worshipped stones and rivers but they did not visit Jhankarsem, The Sage told Ganga Saunyani that when she and her husband would perform Jhankarsem they would get a son. In dream, the sage to make her sure told that a rotten tree would be green by morning.
In morning Ganga Saunyani and Motiya Saun saw that the tree was green. By looking at the tree both became young.
Then both with all worshipping items, started journey towards Jhankar. They took with them the priest for performing animal sacrifice and drum player Dharma Das.
They both performed ritual at the temple of Jhankarsem. After some time, they got a son.

Copyright (Interpretation) @ Bhishma Kukreti, 18/06/2013
Folklore, Folk Legends, Folk Myths of Kumaon-Garhwal-Haridwar (Uttarakhand) to be continued…61
Folklore, Folktales, Folk Ballads, Folk Stories of Human Behavior, Human Relationship, Human Psychology, Human Sensitivity, , Human values, Human Sacrifices, interpersonal bond from Haridwar, Garhwal, Kumaon (Uttarakhand) –8

Curtsey and references

Dr. Krishna Nand Joshi, Kumaon ka Lok Sahitya (Folklore texts of Kumaon)
Dr Trilochan Pandey, Kumaoni Bhasha aur Uska Sahity(Folklore literature of Kumaon )
Dr Shiva Nand Nautiyal, Garhwal ke Lok Nrityageet (Folk Songs and Folk dances of Garhwal )
Dr Govind Chatak, Garhwali Lokgathayen (Folklore of Garhwali)
Dr. Govind Chatak, Kumaoni Lokgathayen (Folklore of Kumaoni)
Dr Urvi Datt Upadhyaya, Kumaon ki Lokgathaon ka Sahityik Adhyayan (Literary review of Folklore of Kumaon)
Dr. Dip Chand Chaudhri, 1995, Askot ka Palvansh , Gumani Shodhkendra, Uprada, Gangalighat
Dr. Prayag Joshi, Kumaon Garhwal ki Lokgathaon ka Vivechnatmak Adhyayan (Critical Review of Folklore of Kumaon and Garhwal)
Dr Dinesh Chandra Baluni, Uttarakhand ki Lokgathayen (Folklore of Uttarakhand)
Dr Jagdish (Jaggu) Naudiyal, Uttarakhand ki Sanskritik Dharohar, (Partially Folklore of Ravain)
Ramesh Matiyani ‘Shailesh’ 1959, Kumaun ki Lok Gathayen
Abodh Bandhu Bahuguna, Dhunyal (Folklore and Folk Songs of Garhwal)
Shambhu Prasad Bahuguna, Virat Hriday
Kusum Budhwar, 2010, Where Gods Dwell: Central Himalayan Folktales and Legends
C.M. Agarwal , Golu Devta, 1992, The God of Justice of Kumaon Himalayas
N.D .Paliwal, 1987, Kumaoni Lok Geet
E.S. Oakley and Tara Datt Gairola 1935, Himalayan Folklore
M.R.Anand, 2009, Understanding the Socio Cultural experiences of Pahadi folks: Jagar Gathas of Kumaon and Garhwal
Dr. Pradeep Saklani, 2008, Ethno archeology of Yamuna Valley
Shiv Narayan Singh Bisht, 1928, Gadhu Sumyal, Banghat , Pauri Garhwal
Kumaon: Kala, Shilp,aur Sanskriti www.himvan.com/webpages/dana.htm
Anjali Kapila (2004), Traditional health Practices of Kumaoni women
Bhishma Kukreti, Garhwali Lok Natkon ke Mukhy Tatva va Vivechana
Helle Primdahi, 1994, Central Himalayan Folklore: folk Songs in Rituals of the Life Cycle
Hemant Kumar Shukla, D.R. Purohit, 2012, Theories and Practices of Hurkiya Theater in Uttarakhand, Language in India Vol.12:5: 2012 Page 143- 150
Dev Singh Pokhariya, 1996, Kumauni Jagar Kathayen aur Lokgathayen
Madan Chand Bhatt, 2002, Kumaun ki Jagar Kathayen
Bhishma Kukreti, Garhwal ki Lok Kathayen, Alaknanda Prakashan
Bhishma Kukreti, Notes on History, Folk Literature of Haridwar
Xxx xxx
Notes on Jhoda type Folktale/ Folk Dance-Song from Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Nanda Devi range, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Ganghet, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Danya, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Jageshwar Dham range, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Umeri gaon , Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Gangolhat, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Gonap, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Khirmande, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Goniyagad, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Baghbira, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Itola Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Havabagh, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Binsar, Kumaon, illustrating importance of Deity Jhankarsem; Jhoda type Folktale/ Folk Dance-Song from Satri, Kumaon, illustrating importance of Deity Jhankarsem

Jun
18

History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Lakhamandal Region (250-635 AD)

History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Lakhamandal Region (250-635 AD)

History of Garhwal, Kumaon, Haridwar (Uttarakhand) – Part 75

By: Bhishma Kukreti

Lakhamandal, Kalikut (Kalsi) of present Jaunsar Bawar and Ravain regions were important pilgrim places and trade centers in North India from Mahabharata till Panwar dynasty took over Garhwal.
The archeologists excavated various valuable historical materials from Lakhamandal and nearby areas.
One of the important inscriptions ‘Ishwara Prashasti’ (Size: 2’, 10.5×1’x9’’) is found in Lakhamandal temples.
It seems that after the death of her husband, widow Ishwara came to her parent home in Lakhamandal and arranged ‘Ishwara Prashasti’ in the memory of her husband. There many theories about existence of Sainhpur.
Dr. Dabral seems to be more logical that Singhpur/Sainhpur was near Srughnapur (Sudhgaon of today’s Saharanpur) and near to Kalsi too. Ishwara would have married to a chieftain of Sainhpur/Singhpur and she came back to parent place when she lost her husband.
Dabral suggests that that one name of Srughna pur was Sainhpur and a Singhvarman king established a kingdom there by his name. In later stage, the name of kingdom/chieftain area or Janapada became Sainhpur.
There are twenty two ‘sholkas’ in the inscription.
There are names of following kings in Ishwara inscriptions of Lakhamandal –

S.N.—-King Name ——————-Relation with last King —————Title given in inscription
1—-Shri Senvarman—————-Establisher of Kingdom————–Rajarshi
2—-Shri Aryavarman —————Son ——————————Nripati
3-Shri Devvarman—————- Son —————————————Nripati
4— Shri Pradiptvarman ——————- son ———————————– Bhupal
5- Shri Ishwarvarman ————————- Son ——————————– Bhupati
6- Shri Vridhivarman ——————-son ———————————- Raja
7- Shri Singhvarman ——————-son ————————————Rajsingh
8 –Shri Jal ——————————–son ———————————Nripati
9- Shri Yagyavarman —————– son ———————————– Mahipati
10- Shri Achalvarman ——————son ——————————– Rajarshi/ Ghanghal
11- Shri Divakarvarman —————–son ———————— Nripatish, Mahaghanghal, Bhad /Bhatt?
12- Shri Bhashkarvarman ————– Brother ———————– Nripatipal/ Ripughanghal

Rajarshi Shri Senvarman
Senvarman was either founder of Yaduvansh in Sainhpur or Yaduvansh got familiarity after Shri Senvarman. According to Jaysawal, the initiation period of Yadyvansh of Senvarman is around 250AD. The Yaduvansh might have ended around 635 AD.
The praiseworthy word ‘Rajarshi’ suggest that he was disciplined king.
Nripati Shri Aryavarman
Aryavarman has strong character.
Shri Devvarman
Shri Devvarman used to eradicate the fear of his subject, was donor, anxious in winning for his family, and was destroyer of enemies. That means there were a couple wars in the time of Shri Devvarman.
Shri Pradiptvarman

Shri Pradiptvarman was an angry man and did not pardon his enemies. He had pride.

Shri Ishwarvarman

Shri Ishwarvarman was a religious king.

Shri Vridhivarman
Shri Vridhivarman was a prosperous king and was helpful.

Shri Singhvarman

Shri Singhvarman was strong king, was dangerous for enemies and soft for others. He was donors.
Shri Jalvarman
Shri Jalvarman was peaceful in nature

Shri Yagyavarman

Shri Yagyavarman was religious king.

Ghanghal means Bhad (Brave)
Ghanghal word is used to praise the last three kings. This Ghanghal word seems to be local words for brave man in that time.
Shri Achalvarman Ghanghal was peaceful but used to punish enemies in wars.
Shri Divakarvarman was Mhaghanghal or strongest king.
Shri Bhaskarvarman Ripughanghal

Shri Bhaskarvarman Ripughanghal was very strong king. It is praised in ‘Ishwara Prashasti’ that he won other kingdoms. It seems that he campaigned to win over the territories of south Uttarkashi.
He had only one queen that is Jayavali. Jayavali was daughter of king Kapilvardhan.
Ishwara Queen
Ishwara was daughter of Shri Bhaskarvarman Ripughanghal and Jayavali. Ishwara was married to Chandragupta the crown prince of Jalandhar. She was widowed in her young age. She came to her parent house after her husband death. She built a temple there in Sainhpur Lakhamandal. She built the temple for keeping forever the fame and name of her husband Chandragupta.

Vasudev Bhatt the poet of excellence
There are twenty two Sanskrit Shlokas in Ishwara inscription. These Shlokas express that the poetry creator was great poet (court poet). The poetry creator describes his details on the last stanza. His name was Vasudev Bhatt, whose father name was Bhattskand and his grandfather name was Kshemshiv Bhatt. It is written there at the end – ‘ Bhattvasudev ainan prashstikarodayodhyesh:’. That means this poet had relation with Ayodhya. It may be possible that Vasudev Bhatt was from Himachal and his forefathers might have migrated to Kullu from Ayodhya.
Ishwarnag
Ishwarnag the son of Nagdatt erected and incised the ‘inscriptions. He was great craftsman. Ishwarnag wrote there that he was from Roditak. Bhullat states that Ishwarnag was from Rahtak. Dr. Dabral refused to agree upon this theory.
No difference between ‘B’ and ‘V’ letters

There are mistakes in carving ‘Ba’ and ‘Va’ letterings. Garhwalis still don’t differentiate between ‘Ba’ and ‘Va’ as Basant is also written/pronounced ‘Vasant. That shows that Ishwarnag was from Lakhamandal region only. ’

Education
There was arrangement for education.

Social beliefs
The character of Ishwara states that on that time women used to follow one husband system in the region. Bhaskarvarman had only one wife.

Shaivism
The temples and inscriptions definitely prove that Buddhism was totally declined in this period and Shaivism was on rise.
Yagya and other rituals were necessary to get prosperity, children. Disciplinary, truthful life had values in society.

Copyright@ Bhishma Kukreti 18/06/2013
References:
1-Jayswal, Andhkaryugin Bharat
2-Shiv Prasad Dabra, ‘Charan’, 1968, Uttarkhadn ka Itihas, Bhag –1 and 3
3-Rahul Sankrityayan , Garhwal
4-Vasudev Upadhyaya, Gupta Samrajya ka Itihas
5- Raj Pruthi, 2004, The Classical Age
6-Dinesh Saklani, 1998, Ancient Communities of the Himalayas
7-Arun Kumar Mishra, 1992, The Trading Communities in Ancient India:
8- Indian Archeology Review, 1968-69
9- Archeological Survey Catalogue, Chamoli and Dehradun Circle on Internet (Notification number 1669/1133-M/-27/12/1920
10 Chhabda
11-Vatsa and Agarwal article on U.P. Historical Society, July 1944

(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)

History of Garhwal – Kumaon-Haridwar (Uttarakhand) to be continued… Part -76

Xx xxx xxx

Notes on History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Gauraghati, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Kwasi, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Juddo, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Chimri, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Nagthat, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD); History Aspects of Yadava/Yadu Dynasty of Sainhpur or Singhpur of Bratkhai, Chakrata, Lakhamandal, Dehradun, Garhwal (250-635 AD);

Jun
18

ब्लेम गेम ट्रेनिंग सेंटर याने भगार लगाणौ प्रशिक्षण केंद्र

गढ़वाली हास्य -व्यंग्य
सौज सौज मा मजाक मसखरी
हौंस,चबोड़,चखन्यौ
सौज सौज मा गंभीर चर्चा ,छ्वीं

ब्लेम गेम ट्रेनिंग सेंटर
याने भगार लगाणौ प्रशिक्षण केंद्र

चबोड़्या – चखन्यौर्या: भीष्म कुकरेती

(s = आधी अ, आधी अ//s= क, का , की,, कु के ,को आदि)

अचकालौ जटिल जिन्दगी मा मनिखौं तै परिवार मा , शिक्षण संस्थानों मा , समाज मा , नौकरी मा, व्यापार मा, राजनीति मा अर सबि जगा ब्लेम गेम, दोषारोपण खेल या भगार लगाणो खेल खिलण हि पोड़द। बगैर ब्लेम गेम का अचकाल कुत्ता बिरळ बि ज़िंदा नि रै सकदन।
पण भारत मा व्यवसायिक स्तर का ब्लेम गेम ट्रेनिंग सेंटर नि होण से हुन्यार युवाओं तैं बड़ी तकलीफ होणि रौंद। इलै हमारी शिक्षण संस्था ज्वा भ्रस्टाचार करणों बाद बि पकड़ मा नि आण, स्पॉट फ़िक्षिंग या मच फ़िक्षिंग करणों बाद बि संसद सदस्य कनै बणन जन प्रशिक्षण का वास्ता कुख्यात च, चर्चित च अब एक नया कोर्स लाणी च। ये नयो कोर्स को नाम च हाउ टु ब्लेम अदर्स शेमलेसली फॉर युवर मिस्टेक्स या अपण दोष दुसर पर कनकै लगाण (अपण पूठो गू दुसरो पूठ पर लपोड़ण) या बेशर्मी से दूसरों पर दोषारोपण कैसे किया जाता है।
ये कोर्स मा सिलेबस प्रशिक्षार्थी हिसाब से डिजाइन करे गे। ये कोर्स मा निम्न विषय छन -
१-ब्लेम गेम की परिभाषा अर इतिहास जां से विद्यार्थी सीख सकुद यदि तुम से गलति ह्वे गे तो कनकै अपण तौळ वाळ पर भगार लगैक पदोन्नति पाए जांद।
२- ब्लेम गेम कु कु खेल सकदन को कोर्स- ये कोर्स से सबसे जादा फैदा कौंग्रेस विरोधी विचारधारा का राजनीतिज्ञों तैं होलु। इखमा हम सिखौला कि जब धुर कौंग्रेस विरोधी राजनैतिक पार्टी या नेता कॉंग्रेसौ खुकली मा बैठो तो अपण कॉंग्रेसौ खुकली मा बैठणो दोष कै तरां से साम्प्रदायिक ताकतों पर लगाये जै सक्यांद . ये कोर्स मा लालू प्रसाद यादव , मुलायम सिंह यादव , बहन मायावती , करुणा निधि, अजित सिंह वल्द चौधरी चरण सिंग, नीतेस कुमार की जीवनी वीडिओ ग्राफी की सहायता से पढ़ाए जालि।
३- खावन प्यावन हौरुं क अर मार खावन गौरुंक – इखमा मा हम सिखौंदा कि दोषारोपण से दुसरो नुकसान कनै करे जांद। ये कर्स मा उदाहरणो साथ हम दिखौला कि कन मनमोहनी कौंग्रेस को रीफौर्म से मंहगाई बढ़द, बेरोजगारी बढ़द तो कॉंग्रेसी दोषारोपण करदन कि चूँकि भारतीय लोग मिनरल वाटर, विटमिन युक्त भुजि खाण गीजि गेन तो गरीबी , मंहगाई, बेरोजगारी मा इजाफा ह्वे ग्यायि
४- ग्रुप ब्लेमिंग या भगार लगाणम कवारौळि प्रयोग – इखमा हम संसद या विधान सभाऊं क्लिप दिखैक पढौला कि सामूहिक घ्याळ , सामूहिक कवारौळि से अपण गलती को ठीकरा हैंक पर कनै फोड़े जांद।
५- लीगल ब्लेमिंग – यो ख़ास ख़ास विद्यार्थ्युं वास्ता एक क्रैश कोर्स च- जन कि कपिल सिब्बल, अरुण जेटली जन नेता ये कोर्स से फैदा उठे सकदन । इखमा हम सिखांदा कि संवैधानिक संस्थाओं जन कि कोंट्रोलेर जनरल ऑफ ऑडिट या चुनाव कमिसन की खुले आम कै तरां से न्यायिक पद्धति से धज्जी उड़ाए जै सक्यांद।
६- भैंसों गुस्सा मकड़ा पर – यु कोर्स केवल कॉंग्रेस्यूं वास्ता ख़ास बणाये गे। इखमा हम सिखौंदा कि जब राहुल गांधी या सोनिया गांधी को नेतृत्व मा पार्टी चुनाव हारि जावो तो सरा दोष अपणी पार्टी का कार्यकर्ताओं पर कन लगाये जाण चयेंद।
७-चिराग तले अन्धेरा मा दोषारोपण का दिया – ये कोर्स मा हम सिखौंदा कि दिल्ली मा या कै बि राज्य की राजधानी मा जथगा बि अपराध ह्वावन तो नक्सलवाद , माओवाद, आतंकवाद , सम्प्रदायवाद या विदेशी ताकतुं पर कै तरह से दोषारोपण करिक जुमेदारी से बचे सक्यांद।
८- त्यार पड़ददान पाणि भीड़ी छौ तो मीन त्वै थंचकाण – आपन भेड़िया-मेमने की कथा त पौढि होलि। इं कथा को गढ़वाळीकरण च बल एक बिठ (सवर्ण ) का हाथ कै तै पिटणो खयाणा/ खुजल्याणा छा वैन एक हरिजनौ नौनु घपेल दे अर कारण बथै बल चूंकि ये हरिजनों पड़ददान कबि पाणि धार भीडि छौ त मीन ये नौनु तै पीट। ये कोर्स मा हम सिखौला कि संस्था , संस्थानों मा अपण गलत्युं दोष निवर्तमान अधिकारियों पर याने अपण दोष कै हिसाब से इतिहास पर लगाण चयेंद।
९- जै डाळि फल खावो वीं डाळि तैं इ गाळि द्यायो – ये कोर्स मा सीख च बल जै बि संस्थान मा काम कारो अपणो पापौ सारा दोष संस्थान पर डाल़ो जन कि मनमोहन जी कोलेसन सरकार का स्वामी छन अर सरा दोष कोलेसन पर लगाणम उस्तादुं उस्ताद छन।
१० -कबि बि जुमेवारी नि लीणों तरीका -ये सैलेबस से हम सिखौला कि तुम से कथगा बि भयंकर आग लगि जावो कबि बि अपण गलती नि मानण, अफु तैं जुमेवार नि बथाण अर तर्कसहित सरा दोष अपण विरोधियों पर (खासकर जु समणी नि ह्वावो या जै तैं खुज्याण नामुमकिन ह्वावो ) लगै दीण चयेंद
११ -दंगऴयाण से पैल भगार लगाणौ कौंळ – ये कोर्स मा हम अमेरिकी अधिनायकवाद का क्लिप दिखैक पढौला कि दुसरो देस पर कब्जा करणों बान पैल कै तरां से कै बि देस पर दोषारोपण कै हिसाबन करण चयेंद कि संयुक्त राष्ट्र बि अमेरिकी अधिनायकवाद को समर्थक ह्वे जांद।
इनि निर्द्वंद दोषारोपण करणों सौ से बिंडी तरीका हम शिक्षार्थियों तैं सिखौला।
व्यवहारिक ज्ञान सिखाणों बान हमर कोलेबोरेसन राजनैतिक पार्टी अर ब्यवसायिक घरानों दगड़ च। हमर संस्थानम दोषारोपण का विशेषग्य नेता, अधिकारी अर उद्योगपति विजिटिंग प्रोफ़ेसर छन।

Copyright @ Bhishma Kukreti 18/06/2013
(यह लेख सर्वथा काल्पनिक है )

Older posts «

Copy Protected by Chetans WP-Copyprotect.