Ashok Ogra
There are purveyors of history who think facts are only an inferior form of fiction. They give free reign to their fancy in piecing the past together. Historians warn us not to look for any method in it. To start with, we cannot even reduce the known facts to a pattern, much less hope to understand them. However, Avtar Mota in his latest book the essays that may change your beliefs manages to arrange the evidence that he has gathered – according to a plan- to illuminate the reader by presenting the lesser known facts of our past.
The book is a compilation of 15 essays written by Mota for various publications and journals. According to the author these essays are based on ‘objective research and study’ and are aimed at addressing the uneven and unfair treatment that some of our historical figures and events have received in our history books.
For instance, how little is known about the kingdom of Emperor Lalitaditya Muktapida ( 724-760 CE) of Kashmir or of the enormous contribution and public welfare work done by Dogra rulers in the J &K. Or the role played by Biju Patnaik in saving Kashmir from falling into the hands of Pakistan in 1947-48.
Mota writes: “Lalitaditya Empire stretched from Hindukush Mountains in modern Afghanistan to Assam, Rajasthan, Gujarat and parts of central India and even to some part of Southern India. Lalitaditya went up to the shores of the Caspian Sea and crossed Pamirs. He marched to Tibet and China.” The ruler also built Martand Sun Temple and founded the township of Parihasapura near Srinagar. Unfortunately, like many other Kingdoms – Cholas dynasty, Vijayanagar empire etc- Lalitadiya has received scant mention in our books.
He credits the Dogra rulers for several developmental projects including Banihal Cart road, Jhelum Valley road, laying of railway track between Sailkot and Jammu, introducing electricity, education etc.. and focusing on eradicating social evils like banning prostitution, widow remarriage and child marriages. What is a great revelation is that Dogra rulers had opened temples to Dalits – something that few states are still grappling with even after 75 years of independence.
However, when highlighting the above work it is important to remember that almost all over the country most princely rulers barring few exceptions had initiated several such measures in their kingdoms- mid nineteenth century onwards. For instance, Maharajas of Travancore, Baroda, Holkar family of Indore … were far ahead of their counterparts in introducing projects and schemes with far greater impact and benefits to their subjects.
For halting the onward march of Tribal Raiders in 1947, he credits Maqbool Sherwani who misled the raiders when they asked him for directions to Srinagar and was subsequently killed; Brig. Rajinder Singh who engaged the enemy for four days and later died of a bullet injury; and Bjiu Patnaik who flew the first sortie to Kashmir carrying 17 soldiers of Sikh regiment at the crack of dawn on October 27, 1947. Incidentally, it was Biju Patnaik who was deputed by Pandit Nehru to airlift and rescue two Indonesian freedom fighters- Sultan Sariar Khan and Muhhamad Srihatta – from a remote hideout in Indonesia and flew them to India. The author informs us that Biju Patnaik was married into a Punjabi business family of Srinagar.
It is in the chapter erotic art in ancient and medieval I Kashmir that the author truly displays an eye for detail and a research bent of mind. “In Kashmir, the portrayal of amorous love was not confined to the stone sculptures and terracotta plaques or shallow plates. It can be seen in literature more specifically poetry. Bilhana, the 11th century Sanskrit poet of love from Kashmir gives details of many practices prevalent in Kashmir during that period. He makes mention of Devdasis (female dancers in a temple) in Kashmir. According to him, a temple near present-day Pattan had a Nityamanda (dancing hall) where Devdasis danced and presented some posture that glorified amorous love.”
However, to fully appreciate and understand the ancient art of Kashmir, it is important to observe it within the context of the civilization that produced it.
Mota makes us believe in the richness of our past though some of his conclusions may not survive the test of historical scrutiny when events surrounding the integration of J&K Riyasat with the Union of India are still debatable. For instance, in the chapter Captain Diwan Singh on Maharaja Hari Singh, he offers a different perspective: “Even before Pakistan sponsored Tribal raid, Maharaja wanted to accede to India and was waiting for clearance from leaders essentially Pandit Ji.”
The book carries interesting nuggets of information in essays such as Kashmiris and India’s freedom struggle and Kashmiris contribution to Indian Cinema. He introduces us to four Zutshi sisters of Lahore- Man Mohini, Shyama, Janak Rani and Chandra Kumari- who were in the fore forefront of freedom movement; Mir Abdul Majeed originally from Fateh Kadal, Srinagar who was addressing a mammoth crowd on 13th April, 1919 when forces of Gen Dyer opened indiscriminate fire.
The author throws light on the Gilgit Manuscripts- thought to be the remnants of a great Buddhist library dating from 5th up to 7th century AD. Lotus Sutra is the key part of this manuscript. Mota introduces the reader to Alchi (Leh) Wall Paintings: “Unlike other Buddhist monasteries located mostly on hilltops, Alchi is an inconspicuous looking mud structure. However, the art treasures of this monastery in the shape of wall paintings and sculptures are unique and exceptional.”
One cannot deny the value of some of the clues that Mota provides in his essays. In support of his premise that Upanishads and Adi Shankara had influenced Ghalib, the author reproduces his various couplets: “Kab Ki Tum Bin Koyi Nahin Majood, Phir Yeh Hangama Aey Khuda Kyaa Hai ” (When nothing here exists without you, Then wherefore all this tumult, O Lord).
The essays in the book are gems that history chooses to forget, and make us aware how the silence around these stories is a grievous wrong that our reading and memories may recalibrate.
Being a keen observer, Mota cannot afford to be absent from the scene of action. He provides juicy encounters when visiting and exploring the various cities of the US. He notices this signage in a New York subway station: “Diamonds may not be always forever. For divorce/bankruptcy call us…” A beggar who comes up with an enticing saying: ” Any Change ? Or, Can you spare a dollar sir.”
We readily admit that we do not know all that we want to know of the past. To that extent, this book succeeds in lightening up many dark corners of our past. Isn’t that the first step towards discarding some of the old beliefs that are driven by hearsay or are based on scanty information, and embracing new ones that are presented with strong evidence, reason and argument? For pulling that through this self published book by the author deserves congratulations.
(The author works for reputed Apeejay Education, New Delhi)
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