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governing
feudal houses with Ajmer-Merwara – a British domain situated
in the Center. Among the twenty-one States were Udaipur,
Dungarpur, Banswara, Pratapgarh, Shahpura, Bundi, Kota, Sirohi,
Karoli, Jaisalmer, Jaipur, Alwar, Jodhpur, Bikaner, Kishangarh,
Jhalawar, Datan, Bharatpur, Dholpur, Tonk and Palanpur. The
feudal houses were Kushalgarh and Lava, of these, Datan and
Palanpur were amalgamated in Gujarat while the rest formed the
modern state of Rajasthan. The geographical features of the
state have affected the people making tem not only hardy but
also tenacious and chivalrous. Rajasthan is the land of
warriors and heroes, saints and holy men patriots and martyrs.
It was only with the amalgamation of the states in 1947 the
note was taken of the arts and crafts that had been nurtured
under the patronage of the princes and feudal lords. These, it
was realized, were specimens of a distinctive culture. Modern
Rajasthan cherishes these rich traditions that are still alive
in the works of art and literature.
Architecture
It is apparent from the archaeological remains at Kalibanga,
Ganeshwar, Ahar, Noha, etc., that planned lay-out of towns and
construction of buildings had started from the time of the
Indus Valley Civilization (in nearly 3,000 B.C.).
Architectural ruins of the Epic age and the subsequent Maurya,
Gupta and Rapt eras are found scattered in many places. It is
remarkable that from the 12th century works on architecture
came to be written. Among these is the renowned Apraitoricha.
Architecture further gained in originality and beauty through
the renowned architect, Shilpi Mandan, who wrote extensively
about this sphere of art in his works, Prasad Mandan,
Rajvallabh, Debmurti Prakran and Vastu Mandan. The tradition
was carried on by his brother Natha who wrote Vastu Manjiri
and by his son, Govind, the writer of Kala Niddhi and Dwar
Dipika.
Forts and Palaces
The forts of Rajasthan are amongst the foremost in the
country, incorporating the special features elaborated in
ancient texts on construction of forts. Thus there are the
‘Kavsees’ and ‘Jeev rakha’ that have the advantages of both
sentinel towers or bases and embrasures. Noteworthy among the
rock fortresses, ‘Giri Durg’ of Rajasthan is Chittorgarh,
Kumbhalgarh, Ranthambore, Siwana, Jalore, Mehrangarh
(Jodhpur), Taragarh, Aamer, Rajgarh, Dausa and Kuchaman.
Outstanding among the ‘Jal Durgs’ (i.e. forts erected in
water) is Gagron fort near Jhalawar, built on the confluence
of the rivers Ahu and Kali Singh. Besides these, there are
some well-known forts constructed in level plains, like the
forts of Jaisalmer, Junagarh (Bikaner), Nagaur and Chomu. It
is not only the architecture beauty, the imposing structure
and reputed invincibility of the forts, but also the legends
of chivalry associated with them that attract the tourist.
Fergusson, a lover of art, marveled at the beauty of the many
palaces of Rajasthan. While the palaces built by the Rajputs
have small rooms and a simple design, the influence of Mughal
art and architecture led to the construction of richly
decorated large edifices, with Diwan-i-aam, jharokas
(decorative windows) and gardens with fountains and ponds.
With the advent of the British, palaces that were built within
the ramparts of the fort came out of this enclosure. While
almost every palace has its own unique beauty, there are some
that stand out for the enduring beauty of their murals,
frescoes, fine stone carvings and their ornamentation. The
‘havelis’ (mansions) at Jaipur, Jaisalmer, Karoli, Bharatpur,
Kota, Ramgarh, Nawalgarh, Fatehpur, Mukundgarh, Mandawa,
Pilani, Sardarsahar, Ratangarh, etc. are examples of
architectural excellence. While some are admirable for the
exquisite stone latticework, others are of interest for their
murals or the harmony of design.
Temples
Rajasthan shares the composite culture of ancient India. Both
near the Chittor and at Bairath near Jaipur there are ruins of
the Buddhist period. And it was here again that the temple of
Vishnu was built when the country came under the sway of the
Vaishnav cult. Even in its ruins that stand today, on the
banks of the river Bedach, can be seen that wonder which was
the first Vaishnav temple of India. Rajasthan nurtured almost
all the leading religions of India. Here were established
large center of Buddhism, Jainsm, Vaishnavism and Shaivism.
And while these have disappeared without a trace in other
states, Rajasthan has preserved the legacy of these artistic
creations that are an expression of the faith of the devotees
of various religions. And therefore, several temples built
from the Gupta age to the 19th century can be found here
today. One of the earliest temples on which the date of its
construction is inscribed is the temple of Sheetleshwar
Mahadeo at Jhalarapatan. The major part of the temple was
constructed in 689 A.D. from the 8th to the 10th century,
temples in the Gurjar – Pratihara style were built at Lamba,
Buchkala, Mandore, Abhaneri, etc. The Sachiyaya Mata temple at
Osian is an excellent example of this style of architecture.
Subsequently, the Chouhans built magnificent temples at
Kaikeend, Harshnath, Nadol etc. In the south-eastern region,
the temples at Badol, Ramgarh, Menal and Kansua need special
mention. In Rajasthan there are numerous Jain temples. Among
the principal ones are Mahavir Mandir at Ghanerao,
Parshavanath Mandir at Sadri, Navlakha Mandir at Pali and
Adinath Mandir at Narlai. Others are found at Nadola, Abu and
Ranakpur. The Adinath temple at Dilwara built in 1031 A.D. by
Vimal Shah is considered unparalleled for its ornate pillars,
finely carved marble roof and the lincaments and forms of the
statues ingeniously chiseled to express a wide range of
emotions. It has, therefore, been considered an exquisite
architectural achievement. Challenging comparison is the Jain
temple at Ranakpur which is called by various names like
Choumukha Mandir, Trailokya Deepak, Chaturbhuj Vihar, etc. It
is said that the piety of Rajasthan may be seen enshrined in
stone in the Surya Mandir of this temple. Fourteen miles to
the north of Udaipur, on the road to Nathdwara stands the
temple of Lord Sri Eklingji built by Bappa Raval. It has stood
through the centuries in its beauty and splendid isolation a
witness to momentous historical events.
Sculpture
The tradition in the art of sculpture in Rajasthan can be
traced back to the Kalibanga civilization that flourished 4000
years ago. Many earthern statues were discovered in kalibanga,
Ahad and Gilund. From time to time there are several other
statues, (eastern, stone and metal) of ancient times, that
have been excavated in different parts of Rajasthan. Most of
these relate to the Puranic or Jain religions. One of these is
the beautiful forty – two inch statue of Yaksh of the
pre-Gupta era. Equally significant are the finds in Raid,
Bairath and Nagar. One of the marvels of ancient sculpture is
the statue of Mahishasurmardini. The statues of the pre-Gupta
era are either in the Gandhara or the Mathura style. But there
are also those of the Gupta period that have been found in
excavations at Mukundara, Krishnavilas, Bhinmala, Mandore and
Pali. The Vishnu, Krishna and Balarama pieces at Kama and the
Goverdhandhari Krishna at Mandore are considered invaluable
pieces of art. Also inimitable are the Shiv-Parvati at Rang
Mahal, Sambhar, the Shiva statues at Kalyanpur and the Durga
at Naliyasara. This art developed finesse after the Gupta
period. The statues at Bharatpur, Karoli, Mainala, Dabok and
Dholpur being expressions of varied emotions and states of
mind, the rasas. The statues at Kiradu have been widely
appreciated for the portrayal of ‘Sringar’ (adornment), and
love and for their ornamentation. The statues are embodiments
not only of beauty of form but also of spirit. These in the
temple of Dilwara at Abu and also the ones at Jodhpur,
Lordrava and Jaisalmer have been highly commended for their
exquisite craftsmanship.
The advent of the Vallabh community in Rajasthan gave a new
direction to sculpture. Amongst the creations that show their
influence are Srinathji (Natdwara), Dwarkadeeshji (Kankroli),
Mathureshji (Kota), Govindadevji (Jaipur), Ratnabihariji and
Dauji (Bikaner) etc. A distinctive feature of the culture of
Rajasthan is that its legacy in sculpture is a composite of
various religions : Buddhism, Jainsm, Shaivism and the
Vaishnav. It is sculpture of a very high caliber like Sri
Maliram Gulabchand, T.P. Misra, Gopichand Misra, Ramratan
Mishra, Rajendra Misra, Mukutbihari Natta, Omprakash Natta,
Anandilal Verma, Ayyaz Mohd., Gangaram, Usha Rani Hooja,
Haridutt Gupta, Devi Singh Rathore to whom Rajasthan owes its
place of pride in the field of this art.
Painting
Art critics like Anand Coomaraswamy, Percy Brown and N.C.
Mehta have considered Rajasthan’s contribution in the sphere
of painting as significant. The earliest specimens of
paintings in this states are found in the caves of the Chambal
Valley, and the excavations/ruins of Kalibanga and Ahad. These
include lines deciphered on pots, utensils and seals. Complete
pictures and paintings are no longer in existence as, compared
to other forms of ornamentation these perish faster with the
passage of times. There are, however other sources that help
to trace the progress of this art. The Buddhist Lama, Taranath
in ‘Buddha Dharma indicates that there were accomplished
painters in this desert region. The art of painting had
developed in Gujarat and this arid land ‘the Maru Desh’ prior
to the 13th century. An evidence of this is the exposition of
the ‘Kalpsutra’ style in the Jain literature of the time.
Different styles of painting developed under the patronage of
the rulers in the princely states of Rajasthan. Noteworthy
among these are the styles of painting evolved in Jodhpur,
Bikaner, Alwar, Jaipur, Kishangarh, Mewar and Bundi. The
styles are identified by the difference in the use of color
and border, portrayal of birds and animals, the human form and
features, the shape of the eyes and ornaments. For instance,
in the paintings of Jodhpur and Bikaner, the predominant color
is a bright yellow, in Jaipur green, in Udaipur red, which in
Kishangarh, bright saffron in Bundi and bright green in Alwar.
For the scenic setting, the Jodhpur and Bikaner artists chose
a mango tree, the crow the kite and the camel, Jaipur and
Alwar a peepul trees and the peacock, Kota and Bundi, a palm
tree, the deer and the lion. The smooth flowing lines of the
eye in Jodhpur paintings give it an almond like shape, in
Jaipur it is elongated like a fish, in Udaipur large and
liquid like the eye of a deer, arched like the bow in
Kishangarh, like a mango leaf in Bundi and like the little
khanjan bird in the Bikaner style of painting. Initially, the
influence of the Ajanta style is noticeable in the paintings
but after the 17th century the influence of the Mughal style
is evident. Later there was an admixture of the Punjabi style
and when, subsequently, the Rapt rulers joined forces with the
Mughals in their military expeditions to southern India, the
influence of the South too crept in. the styles in Rajasthan
undoubtedly had some basic similarities. Originally, the Mewar
painters drew a round face with a pointed nose and ‘deer eyes’
or ‘meenadkshi – like eyes’. The Marwar School while retaining
these facial features gave the forms vestments and ornaments
in the Mughal style. Both in Nathdwara and Bundi, the facial
features and forms were drawn in the Mewar style, with Bundi
painters giving the background of mountains, streams and
trees. The exquisite Kishangarh paintings have a clearly
distinguishable style. The art developed in the time of Samand
Singh who was also known as Nagridas. Nagridas was greatly
influenced by the Vaishnav sect and the women popularly known
by the name ‘Banithani’. Nagridas and Ban thani were painted
together like Radha Krishna. But it is ‘Nihal Chand’s potrait
of Bani thani that is generally considered to be a masterpiece
of Rajastani painting. In the opinion of connoisseurs of art
if stands comparison with the world famous Mona Lisa. Along
with divergences, and touches of originality and paintings in
Rajasthan share certain common features. These are the use of
bright colors and the choice of themes like the Ragas, the
seasons and scenes from the Bhagwat Gita, the Ramayana and the
Geet Govinda. All the styles initially were influenced by the
Ajanta paintings and later by Mughal ones. The art has been
modernized through the efforts and creations of artists like
Master Kundan Lal Mistry, Muller (a German artist), Bhattu Lal,
Bhoor Singh Shekhawat, Nandlal Verma, Shivnarain ‘Chaugan’,
Ramgopal Vijayvargeya, Devakinandan Sharma, Vishnudutt Sharma,
Gopal Ghosh, Dwarka Prasad Sharma, Sakhalkar, Parmanand Choyal,
V.C. Girl, Jyoti Swaroop Mohan Verma, Premcand Goswami, Vidhya
Sagar Upadhyaya, Sumahendra, Radhavallab Suresh Sharma, Shail
Choyal and others.
Music
In his famous work the History of Persia Malcolm the well
known historian recounts that in the 5th century the Emperor
Bahram Ghor of Iran attacked India and carried away with him
twelve thousand musicians. He further notes that it could only
have been Rajasthan and Gujarat that could have survived such
devastation. In Rajasthan, the royal houses accorded a place
of honour to musicians. Rajasthan also has he distinction of
having produced several treatises on music, e.g. Hamir’s ‘Shringarhaar’,
Kumbha’s ‘Sangeetraj’. Pundrik Vithali ‘Raagmala’, Ustad Chand
Khan’s ‘Swasagar’, Pandit Bhavbhatt’s ‘Murli Prakash’, Dwarka
Prasad’s Bhatt’s ‘Raag Chandrika’, Radha Krishna’s ‘Raag
Ratnakar’, Krishnanand Vyas ‘Raag Kallpadrum’. In the temples
of Nathdwara, Kankroli, Jaipur, Kota, etc. ‘haveli sangeet’
with all its traditional distinctive features is still alive.
The couplets and verses of Mira, Daadu, Charandas and other
poet devotees have been set to music in the different ragas.
The contribution of Rajasthan singers in the ‘Dhrupad’ style
cannot be ignored. Through the encouragement of the court
musician Bahram Khan, the Daagar Gharana (school of music) in
‘Dhrupad Dhamas’ came into existence and flourished in the
time of Maharaja Swai Man Singh. The famous singer of old,
Manrang is considered to be the fonder of the Khayal style of
the Jaipur gharana. The art prospered through the dedicated
efforts and innovative variations of several gharanas of music
like the Allahdiyan Khan gharana, Soniya gharana, Bikaner
gharana, Agra gharana, Qawal Bachhon gharana and others. The
melodious ‘Maand Raga’ is also a creation of Rajasthan. In our
time, Allahjillai Bai of Bikaner and Gavri Devi of Jodhpur
have each added the charm of a freshness and individuality in
their exposition of monad. In Rajasthan, Dholi, Mirasi, Langa,
Dhadhi, Kalawant, Bhaat, Rao, Jogi, Kanad, Vairagi, Gandharva,
Bhopa, Bhavai, Rana, Kalbelia, etc. are castes of professional
musicians and singers. Folk instruments devised on simple
principles of sound reveal the ingenuity of the creators. The
wide varieties of the instruments provide music suitable for
all occasions and festivals. The main folk instruments are
Sarang, Jantar, Ravana – hatha, Ektara, Apang, Kamayacha,
Bansuri, Algoja, Pungi, Shehnai, Satara, Mashq, Nad, Morchang,
Tota, Bankiya, Shankh, Singi, Mridang, Dholak, Dhol, Nagada,
Narpat, Maadal, Chang, Khanjari, Matka, Daph, Damru, Taasa,
Manjira, Jhangh, Thali and Khartal.
Dance
The Origin of Kathak can be traced to Rajasthan. The style (of
dramatizing and enacting a story in dance form) developed
through the presentation of Puranic tales in temples. Here the
Jaipur Gharana particularly that of Sanwal Das made a
significant contribution in the development of the dance form.
While the ghoomar is popular all over Rajasthan there are
other regional folk dances too: the gidar and Chang Nritya of
Shekhawati, the Gair of Marwar – Mewar, the Dandia of Marwar,
the Dhol nritya of Jalore, the Agni nritya of Bikaner and the
Bum nritya of Alwar-Bharatput. The Chari dance, Bhavai,
Teratali and Kachchi ghori are the enchanting dances of some
of the nomadic tribes.
Theatre Arts
There is a rich tradition in performing arts, especially folk
theatre which includes performances of Bhopa, Bhand,
Bahurupiya, madaari, Nat, Bajigar etc. The traditional folk
presentations are Khayal, Rammat, Tamasha, Leela, Bhavai, Phad,
etc. In the beginning of the 20th century the establishing of
the ‘Parsi theatre’ gave a new dimension to dramatic
performances. It provided a stimulis to producers like Mehboob
Hasan (in Alwar) who produced a number of plays. Others whose
contribution is significant are Manaklal Dangi, Kahhaiyalal
Panwar and Ganpatlal Dangi. Among radio artists who have come
to the limelight through the Jaipur Radio Station are Om
Shivpuri, Sudha Mohan Mahirshi, Nandlal, Pinchoo Kapoor,
Goverdhan, etc. In 1957, the Government of Rajasthan
established the Rajasthan Sangeet Natak Academy, which further
led to the instituting of various theatre groups like the
Ravindra Manch at Jaipur, the Bhartiya Kala Mandal at Udaipur,
and the building of the first modern auditoriums to promote
the theatre. As a result there are today a large number of
people working in this sphere: Devilal Samar, hamidullah, Mani
Madhukar, Bhanu Bharti, Sartaj Mathur, D.N. Shaini, Vasudev
Bhatt, Ravi Jhankal, Srichand Makhija, Suresh Kaul, Abhay
Bajpai, Devendra Malhotra, Prithvinath Zutshi, N.P. Saxena,
Ahatram Nagir, Mangal Saxena, A.G. Khan, Rizwan Zaheer Usman,
Qayyum Bohra, Madan Mohan Mathur, Arjun Deo Charan, Ramesh
Borana, Rajanand, Dalpat Parihar and others along with these
is Komal Kothari who is associated with presentations in the
country and abroad.
Handicraft
The story of man’s ingenuity and creativity goes back in
antiquity to the Stone Age, but there is late archaeological
evidence of not only earthen pots and pans but also of ivory
articles having been crafted in the far-off historical past.
Some of the traditional crafts are still flourishing today:
Jaipur stands out for its enamel work, though enameling is
done in Nathdwara and Pratapgarh too. Besides, Jaipur
craftsmen are known for making ornaments inlaid with precious
stones and for blue pottery. Famous for paintings and
decoration of large vessels of camel hide is the usta family
of Bikaner. Unbreakable earthen toys and crockery moulded at
Molaila have made their way into the export market. Lakh
bangles are now a part of the ethnic outfit. Block printing in
traditional designs and colors is continued at Balotra, Barmer,
Pali, Jaisalmer, Chittor, Sanganer, Bagru, Kaladera, Jodhpur
etc. and is widely appreciated in the world of fashion today.
While the dyers of Jodhpur have exhibited consummate skill in
preparation of the work of ‘tie and dye’ fabrics in vibrant
colors, there are skilled craftsman in Bikaner, Barmer, Pali,
Udaipur and Nathdwara too. In many areas of Rajasthan
attractive rugs and carpets are woven. The ‘badla’ or
embellished water bottle of Jodhpur is again an elegant piece
of handiwork.
Literature
The efforts of the litteraeurs in Rajasthan in no small way
led to the growth of Sanskrit, Prakrit, Apbhransh, Dingal and
other languages and dialects. Far back in the 7th and 8th
century Chittor was the center of Bhinmal literature. Creative
writing was enrichd by the works of Jinbhatt, Haribhadra,
Ilacharya, Virsena, Jinabhadra Suri, etc. it was at Bhinmal in
the 7th century that the poet Magh wrote Shishupul Vadh. A
brilliantly executed work in literary merit equals the work of
Kalidasa, Bhairava and Dandina. Bhinmal is also the birthplace
of the mathematician and astrologer Brahm Gupta who in
scholarship, is compared to Aryabhatt and Varahinihir. His
well-known works are Brahmsiddhant, Khandkhandya and
Dhyangraha.
In the 14th century literature flourished through the efforts
of Jain scholars. Among king’s Maharana Kumbha stands
unrivalled. His reputation rests on his work Sangeet Raj and
Sangeet Mimansha, the Jaidev’s celebrated Geet Govind. His
rein witnessed the growth not only of Sanskrit and Prankrit
but also of Rajasthan literature and language. With Maharana
Kumbha, royal patronage of the arts and literature became a
tradition, which bore rich fruit in the time of Amar Singh and
Raj Singh. In the reign of the former, were written the
Sanskrit texts. Amarsar and Amar Bhushan and it was in the
reign of the latter that Ranchod Bhatt wrote Amar Kavya, a
comprehensive work about the achievement of the ruler as well
as about the culture of the time: dress, ornaments, festivals,
etc Sadashiv’s Raj Ratnakar, written in the 17th century is
also a work of considerable important.
The rulers of Marwar too encouraged the literati, Maharaja Gaj
Singh having honored fourteen poets, bestowing on them the
award Lakh Pasaav. It was under his patronage that Hemkavi
wrote Gunbhasha and Kesavdas, Gunrupak. Maharaja Jaswant Singh
was not only a royal benefactor of artists but also scholar
himself. The poets Suratmishra and Narhridas and the historian
Nainsi were his contemporaries. The reign of Abhay Singh
produced three notable figures, Jagjeevan, the author Abhay
Uday, Karnidan, the author of Surajprakash, and Virbhaan, the
author of Raj Roopak. The time of Man Singh is considered the
golden age of literature. The court poet Bankidas at this time
composed Manaj Somandar and Nankidas reBatan that have great
importance in the history of literature of Sanskrit and
Rajasthan. Among poets who wrote in Dingal are Issar Das and
Dursa Arha. Issar Das wrote both devotional poetry as well as
fiery war poem celebrating the exploits of heroes in warfare.
Bikaner too gave birth to a royal scholar – Rai Singh who
wrote Jyotish Ratnakar and Mahotsav. More notable is his
composition Krisna Rukmani reveli that has been considered a
classic. Other works of a high order are Ganganand maithil’s
Karnbhushan and Maharana Anoop Singh’s Anoopvivek, Kamprabhod
and the commentary on Geet Govind. In his court was the
musician Bhavv Bhatt (son of Shah Jehan’s renowned court
musicians Janardhan Bhatt) who wrote treatise on music.
Jerawar Singh encouraged critical study of ancient classics
and during his reign were written commentaries of Vedaksar,
Rasikpriya and Kavipriya and in the reign of Gaj Singh was
produced Gopinath’s Granthraj. Another man of letters, Dayal
Das is honored for his memorable work Khayaat.
A landmark in the history of literature in Rajasthan, is Suraj
Mal Mishra’s history Vansh Bhashkar. Mishra is considered the
precursor of a new awakening in literature. His Veer Satsainis
an incomparable poetic exhortation rousing men, to chivalry
and valour (a veer rasa poem). Man Singh of Amer was known for
his munificence to men of letters. The story goes that when
the poet Gung wrote a promissory note for a thousand rupees in
favor of a beggar and sent him to the king, Man Singh reproved
him for being niggardly. It was also the talk of the town that
Man Singh’s confident; the poet hapoji had a hundred
elephants. Of Maharaja Jai Singh who was famed to be a
linguist, it was said that he presented a gold coin for each
couplet composed for Bihari Satsain. Sawai Jai Singh was an
astrologer and mathematician. The treatise that he wrote in
1733 Jeej Muhammedshahi after discussions with scholars in
Europe and Arabia is considered a treasury of astronomical
knowledge. In his court was an assemblage of learned men. The
library of manuscripts and ancient texts at Jaipur is his gift
to posterity. Each state can boast of a scholar or a ruler who
contributed to the advancement of literature, e.g. in 16th
century Dungarpur lived the famous scholar Bhatt Somdutt and
in Kishangarh the renowned poet who wrote in Brijbhasha, Nagri
Das. Amongst rulers there were Somar Singh and Kushal Singh of
Banswara known for their patronage of the arts. The poets of
renascent India today are Umardan Lalas, Ganeshilal Vyas,
Kanhaiyalal Sethia, Satyaprakash Joshi, Gajanan Verma, Meghraj
Mukul, Rewatdan Charan, Kishore Kalpana Kant, Mauj Dipawat,
Chandra Singh, Gangaram Pathik and others.
Religious Traditions
One of the characteristic features of Indian culture is the
importance of religious beliefs in the life of the people.
Owing to its geographical situation, this state has, since
medieval times, been able to preserve the various royal houses
and the arts and culture, religion and literature nurtured by
them. The wilderness of the vast desert areas and the mountain
ranges discouraged invaders and gave people the security
needed for the flourishing of the arts. Besides, all religions
and sects, alien to the State, also found a place of refuge
here. Along with this, the cults of the many saints and folk
deities of Rajasthan have enriched the lives of the people,
imparting to it a unique spirituality. A glance at these
deities shows how religious belief is closely knit with the
life of the people.
Gogaji: Gogaji is the most revered of the five saints
of the land. His father Jeverji Dadrekha was the ruler of
Churu in the 16th century B.C. He was martyred in the struggle
for the protection of cows, the riches of the land. He is,
therefore, represented as a warrior on horseback in icons and
pictures. He is also worshiped in the form of a serpent. It is
believed that if a person bitten by a snake seeks his
protections, the venom is rendered harmless. The place sacred
to him is the Khejri tree and under this his serpent statues
are installed, and hence the well known saying: every village
has a Khejri and every village a Goga. At the Gogamedi fair
commemorating his birth, both Hindu and Muslim devotees from
after, assemble to pay homage to him as ‘Nag-Raj’ – the victor
over the serpent or ‘Goga – Pir’, the saint. A cord with nine
knots, called the ‘Goga rakhdi’ is tied to the plough and the
ploughman’s wrist before he begins his labours of the season.
Tejaji: Tejaji is another hero who laid down his life
for the protection of cows. A gigantic fair is organized at
Parhatsar (Nagaur) to commemorate the day on which his soul
set forth in its journey to its heavily abode. At the fair,
his life story is recounted, byavalas are recited and Khyalas
pertaining to his life are performed. His followers wear
silver amulets depicting him as a warrior on horseback with
his sword drawn while a serpent is shown biting his tongue. It
is believed that Tejaji’s cords tied round the right foot of a
person bitten by a snake completely cures him. ‘Teja Ter’ is
invariably sung throughout Marudhar before the sowing of
crops.
Pabuji: The popular annual fair at Kolu (Phalodi) is
dedicated to the memory of a valiant hero, Pabuji who is
considered an incarnation of Lakshman. He died fighting for
the protection of cows. Pabuji’s high ideals include honoring
womenfolk, protecting pastoral wealth and helping the weak and
desolate. He was also a reformist and opposed untouchabality.
He has been hailed as the god of camels. Of the outbreak of
diseases among camels, Pabuji’s help is sought and on the
eradication of the disease Paabuji’s Phar is sung by Bhopas
and Thorees.
Devji: Devji born in 1243 A.D. is accredited with the
performance of many miracles in Mewar. His devotees are mainly
Gujars who celebrate his birthday singing his praises in
‘Devji Ki Phar’, ‘Baghrawat Devji ki Baat’. Devji is
considered to be an incarnation of bravery and chivalry. A
large fair is held at Dehmali on theday on which Devje
renounced the world.
Mallinathji: Mallinathji became the ruler Mahewa in
1374 A.D. In 1398 he became a disciple of Ugamsi Bhati on the
advice of his wife Roopande. It is believed that he became a
Siddha (an entightened one) and had visions of future events.
He was a monotheist and believed in Nirguna Nirakar God: a
Supreme Being without feature and form. It is after him that
Barmer is known as Malavi. He died at Tilwara (Barmer) on the
banks of the river Looni. A large annual fair is held here
every year around the temple constructed in his memory.
Ramdevji: Ramdevji’s valour became evident at an early
age, when he vanquished the cruel Bhairav and put an end to
the atrocities he had committed on the inhabitants of Pokaran.
He helped in the coming up of the village Runecha which is now
famous as Ramdevra. The largest fair of the state is held at
Ramdevra in the month of Bhadrapad. He is revered on the one
hand by Hindus as an incarnation of Lord Krishna, and on the
other by Muslims as the saint Rama Peer. He opposed casteism
and welcomed the people of lower castes to his cult. Temples
dedicated to him are called “Than” and usually have his
Pagaliyas. His devotees are abundant in Gujarat also.
Harbhuji: While living in Phalaudi, inspired by
Ramdevji, Harbuji shunned weapons and was baptized by Guru
Balinathji. Harbuji was considered to have the gift of
prophetic speech. He was also an ardent reformist. His fame is
testified by the fact that after him Phalaudi came to be known
as harbhanmal.
Mehaji: Mehaji is included among the Panch Peer (the
five holy men) of Rajasthan and is revered widely. Not much is
known about his life.
There have besides these been innumerable holy men who have
from time to time brought about a religious awakening and
tried to improve the quality of life by overcoming social
evils. In this tradition those who stand out are: Sant Dhanna,
Peepa, Jambhaji, Jasnathji, Laldas, Haridas, Niranjani, Daadu
dayal, Mira Bai, Charandas, Ramcharan, Acharya Bhikshu, Khwaja
Muinuddin Chisthi, Shaikh Hamiduddin Nagori. |
