Friday, February 20, 2009

T-004: Tinkle #1

Father of Amar Chitra Katha & Tinkle

Anant Pai, (born 17 September, 1929) popularly known as Uncle Pai, is a renowned educationalist and creator of Indian comics, in particular the Amar Chitra Katha series, which retold traditional Indian folk tales, mythological stories, and biographies of historical characters, and Tinkle, a children's anthology.

Early life

Born in Karkala, Karnataka to Venkataraya and Susheela Pai, he lost his parents at the age of two. At the age of twelve, he came to Mumbai, where he studied in Orient School, Mahim. He studied chemistry, physics and chemical technology at the University of Bombay Department of Chemical Technology (UDCT now UICT) and was a dual degree holder from the University of Bombay (now Mumbai). Endowed with a passion for publishing and comics, his failed attempt at creating a children's magazine (Manav, 1954) was followed by a career as a junior executive in the Times of India books division, putting him in the thick of affairs when Indrajal comics was launched by the Times Group. Indrajal featured reprints of popular American strip characters such as the the Phantom, Mandrake the Magician, and later, indigenous characters like Bahadur and Dara.

The Amar Chitra Katha years

The idea behind starting a comicbook series devoted to Indian culture and history came to Pai from a quiz contest aired on Doordarshan in February 1967, in which participants could easily answer questions pertaining to Greek mythology, but were unable to reply to the question "In the Ramayana, who was Rama's mother?". He left his job and started Amar Chitra Katha the same year, with the help of late G. L. Mirchandani of India Book House, when most other publishers from Allied Publishers to Jaico had rejected the concept. Later, he took on the role of writer, editor and publisher. The series went on to become a publishing milestone for the Indian comic book scene, selling over 86 million copies of about 440 titles.

In 1969, Anant Pai founded Rang Rekha Features, India's first comic and cartoon syndicate, and started the children's magazine Tinkle in 1980. His involvement with the above, and the rapport he shared with his readers earned him the title "Uncle Pai".

Other works

Ramu and Shamu, Kapish, Little Raji, Rekha, Fact Fantasy, Funland and Funtime are some of the comic strips created by Pai, most of which continue to appear in newspapers and magazines. He has written and produced two video films, Ekam Sat (the Vedic Concept of God) and The Secret of Success, in English and Hindi.

Pai's other works include a number of books on personality development for children and teenagers, ("How To Develop Self-confidence", "How to Achieve Success", "How To Develop A Super Memory", UBS Publishers) and a series of audio book versions of Amar Chitra Katha stories, "Storytime with Uncle Pai" (Universal Music India, Dec 2001), where he plays the role of narrator-storyteller.

Awards

  • Karpoorchand Puraskar of Uttar Pradesh Bal Kalyan Sansthan (1994)
  • Yudhvir Memorial Award in Hyderabad (1996)
  • Maharashtra Rajya Hindi Sahitya Academy Award (1996)
  • Dr. T. M. A. Pai Memorial Award in Manipal (1997)
  • University of Bombay Department of Chemical Technology's Distinguished Alumnus Award (1999)
  • Millennium Konkani Sammelan Award, Illinois, U.S.A (2000)
  • Raja Rammohan Roy Library Foundation's Award (2001)
  • Priyadarshni Academy Award (2002)
  • Vishwa Saraswat Sammaan (2003)
(~ From Wikipedia)

Check following links:
  1. http://www.unclepai.com/
  2. http://lambiek.net/artists/p/pai_anant.htm
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Do you remember the first Tinkle?

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It's an Ajay's contribution. Many many thank to him.

Thursday, February 19, 2009

ACK-082: Tales of Yudhishthira

ACK #174 (703)

Yudhisthira was also known as Bharata (Descendent of the line of Bharata), Ajatashatru (One Without Enemies), Dharmaraj. He always had good feelings in his heart even for his enemies.

Virtues like patience, stability, humbleness, tolerance, kindness and love were his strengths. Because of his courteous nature and good conduct, Yudhishthir was extremely popular in his childhood.

He was a master of the spear, and a maharatha, capable of combating 10,000 opponents at a time.

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YUDHISHTHIRA. The eldest of the five Pandu princes, mythologically the son of Dharma, the god of justice.

With the Hindus he is the favourite one of the five brothers, and is represented as a man of calm, passionless judgement, strict veracity, unswerving rectitude, and rigid justice. He was renowned as a ruler and director, but not as a warrior.

Educated at the court of his uncle, Dhritarashtra, he received from the family preceptor, Drona, a military training, and was taught the use of the spear. When the time came for naming the Yuvaraja or heir apparent to the realm of Hastinapura, the Maharaja Dhritarashtra selected Yudhishthira in preference to his own eldest son, Duryodhana. A long-standing jealousy between the Pandava and Kaurava princes then broke forth openly. Duryodhana expostulated with his father, and the end was that the Pandavas went in honourable banishment to the city of Varanavata.

The jealousy of Duryodhana pursued them, and his emissaries laid a plot burning the brothers in their dwelling-house. Yudhishthira's sagacity discovered the plot and Bhima frustrated it. The bodies of a Bhil woman and her five sons were found in the ruins of the burnt house, and it was believed for a time that the Pandavas and their mother had perished.

When Draupadi had been won at the swayamvara, Yudhishthira, the eldest of the five brothers, was requested by his juniors to make her his wife, but he desired that she should become the wife of Arjuna, by whose prowess she had been won. Through the words of their mother, Kunti, and the decision of the sage Vyasa, the princess became the common wife of the five brothers. An arrangement was made that Draupadi should dwell in turn with the five brothers, passing two days in the separate house of each, and that under pain of exile for twelve years no one of the brothers but the master of the house should enter while Draupadi was staying in it.

The arms of the family were kept in the house of Yudhishthira, and an alarm of robbery being raised, Arjuna rushed there to procure his weapons while Draupadi was present. He thus incurred the pain of exile, and departed, though Yudhishthira endeavoured to dissuade him by arguing that the elder brother of a fatherless family stood towards his juniors in the position of a father.

After the return of the Pandavas from exile and their establishment at Indraprastha, the rule of Yudhishthira is described as having been most excellent and prosperous. The Raja "ruled his country with great justice, protecting his subjects as his own sons, and subduing all his enemies round about, so that every man was without fear of war or disturbance, and gave his whole mind to the performance of every religious duty. And the Raja had plenty of rain at the proper season, and all his subjects became rich; and the virtues of the Raja were to be seen in the great increase of trade and merchandise, in the abundant harvests and the prolific cattle. Every subject of the Raja was pious; there were no liars, no thieves, and no swindlers; and there were no droughts, no floods, no locusts, no conflagrations, no foreign invasions, and no parrots to eat the grain. The neighbouring Rajas, despairing of conquering Raja Yudhishthira, were very desirous of securing his friendship. Meanwhile Yudhishthira, though he would never acquire wealth by unfair means, yet prospered so exceedingly that had he lavished his riches for a thousand years no diminution would ever have been perceived."

After the return of his brother Arjuna from exile, Yudhishthira determined to assert his supremacy by performing the Rajasuya sacrifice, and this led to a war with Jarasandha, Raja of Magadha, who declined to take part in it, and was in consequence defeated and killed.

The dignity which Yudishthira had gained by the performance of the sacrifice rekindled the jealousy of Duryodhana and the other Kauravas. They resolved to invite their cousins to a gambling match, and to cheat Yudhishthira of his kingdom. Yudhishthira was very unwilling to go, but could not refuse his uncle's invitation. Sakuni, maternal uncle of Duryodhana, was not only a skillful player but also a dexterous cheat. He challenged Yudhishthira to throw dice with him, and Yudhishthira, after stipulating for fair-play, began the game. He lost his all, his kingdom, his brothers, himself, and his wife, all of whom became slaves.

When Draupadi was sent for as a slave and refused to come, Duhsasana dragged her into the hall by the hair, and both he and Duryodhana grossly insulted her. Bhima was half mad with rage, but Yudhishthira's sense of right acknowledged that Draupadi was a slave, and he forbade Bhima and his brothers to interfere.

When the old Maharaja Dhritarashtra was informed of what had passed, he came into the assembly, and declaring that his sons had acted wrongfully, he sent Draupadi and her husbands away, imploring them to forget what had passed. Duryodhana was very wroth, and induced the Maharaja to allow another game to avoid war, the condition being that the losers should go into exile for thirteen years, and should remain concealed and undiscovered during the whole of the thirteenth year. The game was played, and loaded dice gave Sakuni the victory, so the Pandavas went again into exile.

During that time they rendered a service to Duryodhana by rescuing him and his companions from a band of marauders who had made them prisoners. When Jayadratha, king of Sindhu, was foiled in his attempt to carry of Draupadi, the clemency of Yudhishthira led him to implore his brothers to spare their captive's life.

As the thirteenth year of exile approached, in order to keep themselves concealed, the five brothers and Draupadi went to the country of Virata and entered into the service of the Raja. Yudhishthira's office was that of private companion and teacher of dice-playing to the king. Here Yudhishthira suffered his wife Draupadi to be insulted, and dissuaded his brothers from interfering, lest by so doing they should discover themselves.

When the term of exile was concluded, Yudhishthira sent an envoy to Hastinapura asking for a peaceful restoration to the Pandavas of their former position. The negotiations failed, and Yudhishthira invited Krishna to go as his representative to Hastinapura. Notwithstanding Yudishthira's longing for peace the war began, but even then Yudhishthira desired to withdraw, but was overruled by Krishna.

Yudhishthira fought in the great battle, but did not distinguish himself as a soldier. The version of the Mahabharata given in Mr. Wheeler's work makes him guilty of downright cowardice. At the instigation of Krishna he compassed the death of Drona by conveying to that warrior false intelligence of the death of his son Aswatthaman, and his character for veracity was used to warrant the truth of the representation. His conscience would not allow him to tell an downright lie, but it was reconciled to telling a lying truth in killing an elephant named Aswatthaman, and informing the fond father that Aswatthaman was dead.

He retreated from a fight with Karna, and afterwards reproached Arjuna for not having supported him and Bhima. This so irritated Arjuna that he would have killed him on the spot had not Krishna interposed.

After the great battle was over Krishna saluted him king, but he showed great disinclination to accept the dignity. His sorrow for those who had fallen was deep, especially for Karna, and he did what he could to console the bereaved Dhritarashtra and Gandhari, as well as the many other sufferers.

He was made king, and was raised to the throne with great pomp, he acting as ruler under the nominal supremacy of the old King Dhritarashtra. There, after an interval, he asserted his universal supremacy by performing the great Aswamedha sacrifice.

The death of Krishna at Dwaraka and regrets for the past embittered the lives of the Pandavas, and they resolved to withdraw from the world. Yudhishthira appointed Parikshit, grandson of Arjuna, to be his successor, and the five brothers departed with Draupadi to the Himalayas on their way to Swarga. The story of this journey is told with great feeling in the closing verses of the Mahabharata.

Yudhishthira had a son named Yaudheya by his wife Devika; but the Vishnu Purana makes the son's name Devaka and the mother's Yaudheyi.

(~ From Mythfolklore.net)

Read more about him: Wikipedia

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This ACK is contributed by Apoorva. All thanks & credits go to him.

Sunday, February 15, 2009

ACK-081: Jasma of Odes

An out of print ACK #095

Inside cover story

Jasma of the Ode Tribe of Gujarat is remembered for her royalty of husband, for fearless conduct in the face of the might of king Siddharaj jaisingh and for her love of the rugged life of the nomadic odes. many folk song sung about her, to this day, in Gujarat and Rajasthan.

According to legend, in an earlier birth, Jasma was an Apsara (celestial nymph) and had been sent to earth by indra to distract the meditation of sage Nala. the engraged sage cursed her. " she would be born in the poor nomadic community of Odes and be forced to marry an ugly man". it was in fulfillment of this curse that she was married to Rupa, the ugly son of Bhalo Bhand.

A wandering bard of king Siddharaj jaisingh's court chanced to see Jasma and described what he saw to his king when he returned to the Court. The king has to see the dazzling beauty. When he did, he was captivated by her beauty and offered to marry her to make her the queen of Gujarat. Jasma looked him in disdain, spured his offer and rebuked him for having cherished such evil thoughts. This dialogue between the king and Jasma forms, perhaps the most eloquent part of the folksongs and is sung with embrassment by the inspired villagers.
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A Temple is built in her memory which is situated at Pattan railway station, near Baroda in Gujarat State, INDIA.

Odra or Ode caste

During the medieval times, the state corresponding roughly with now-a-days Orissa passed under the various names such as: Utkala, Kalinga, and Odra (Udra) Desa. The state boundaries varied from time to time and were sometimes much larger. These land names are associated with peoples. The Okkala or Utkala, the Kalinga, and the Odra or Oddaka were mentioned in literature as tribes. Ancient Greeks knew the latter two as Kalingai and Oretes. Eventually the names got identified with the territories. The land was inhabited by semi-Hinduized tribes (shabaras) in the hinterland, a group of farming Brahmins (halua brahmuna) who practised invincible Tantra method near Jajpur area (the place of Goddess Biraja), and people of other castes and trades as well. For centuries before and after the birth of Christ, Kalinga was a formidable political power, extending from the Ganga river to the Godavari river. Approximately between the 11th and 16th centuries the name was twisted; the name Odra Desa was gradually transformed into Uddisa, Udisa, or Odisa, which in English became Orissa. The language of Odisa came to be known as Oriya. Ode tribe migrated to gujarat around 12th century for construction of temples in which they are more specialized. People who supplied stone and lime for construction work of temples. People from these region were called as Oddars, Vadderas and Waddars in Andhra, Tamil nadu and Karnataka. The important Deity of Odes is 'Jasma devi'.

(~ from Nationmaster.com)

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Friday, February 13, 2009

ACK-080:Tiruppan and Kanakadasa

An out of print ACK #186

This ACK is based on story of two great devotees for those God broke man made all boundaries:

1. Tiruppan Alvar (10th century CE), an untouchable devotee of Lord Ranganatha, belonged to the low caste of panas or wandering bards, playing on the instrument known as yal. He was a native of Uraiyur and great devotee of Vishnu enshrined in Srirangam. Fully conscious of his low birth he did not dare cross the Kaveri into Srirangam, and it was his habit to sing the praise of Ranganatha in soulful melody from the river Kaveri. Tiruppan Alvar was insulted by a priest for standing (or sleeping) in the way to the temple. The temple doors did not open to the priest, but a voice came from within the sanctum sanctorum that unless the priest takes the Alvar on his shoulders and circumambulates the temple three times and brings him in the Lord’s presence, the doors would not open. The priest had to obey, and thereafter, Tiruppan Alvar was hailed as a great saint.

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2. Kanakadasa

Saint-Poet Kanakadasa (c 1509-1609 A.D.) belongs to the tradition of Haridasa literary movement which ushered in an era of devotional literature in Karnataka. Scores and scores of Haridasa have composed songs in praise of Krishna (incarnation of Vishnu). 'Haridasa' stands for 'servant of Hari', is another epithet of god Krishna. Right from 14th century to 19th, we find several Haridasas who wrote devotional compositions which could be set to music with simple instruments like Tanpura, and Tala (cymbals). They wrote kirtans, bhajans, prayers, lullabies, festival songs, and house-hold-chore songs. Written in simple and spoken Kannada, they had universal appeal.

Purandaradasa and Kanakadasa are the foremost among Haridasas. Besides conveying dvaita (dualism) tenets, they preached kindness and equanimity in a world full of sorrows. They condemned superstitions, hollow rituals and upheld virtues of a pious life.

No biographical details of Kanakadasa are available. Tradition makes him a member of shepherd (Kuruba) community who was a chief (nayaka) of security forces under a local king. His family deity or the deity he worshipped was Adikeshava of Kaginele, presently in Haveri district. Kaginele, now a village, was a prosperous place and trading center in middle ages.

If Purandaradasa gave up trader's job and balance (takadi) for tanpura and cymbals, Kanakadasa threw away his sword when the "inner call" came. Purandaradasa is supreme or 'king' among composers. Kanakadasa is a poet among composers. He wrote about two hundred songs (kirtans, padas and mundiges or philosophical songs) besides five major works.

Kanakadasa's major works are:

  1. Nalacharitre (Story of Nala)

  2. Haribhaktisara (crux of Krishna devotion)

  3. Nrisimhastava (compositions in praise of Lord Narasimha)

  4. Ramadhanyacharite (story of ragi millet) and an epic

  5. Mohanatarangini (Krishna-river).

Kanakadasa rationalized bhakti (devotion) by giving worldly similes. His writing has intimate touch that identifies the reader with the poet himself. His two famous compositions in translation are given below. One condemns caste system in a refined poetic way and the other wonders, at the colorful and baffling creation of God Almighty in child-like wonder.

His Nalacharite is based on the famous love-story of Nala and Damayanti, which appears in Mahabharata. Though a great devotee of Lord Krishna, Kanakadasa gives his own interpretation. Nala who is in love with Damayanti, exercises restraint svayamvara (choosing bride/bridegroom) ceremony to win over Damayanti by allowing Indra and other gods a chance to win over her. When he loses everything in a dice-game and goes to forest, stubbornly followed by Damayanti, he deserts her in sleep, hoping that she may go back to her parents and have better life. He later drives king Rituparna to second declared svayamvara of Damayanti, to see his wife married to a suitable person and be happy! Lord Krishna appears only once casually to rescue the caravan with which the hapless Damayanti was traveling and was attacked by wild elephants.

Haribhaktisara is essence of devotion to Lord Krishna as the name indicates. A work of one hundred and ten verses with chorus line 'deva rakshisu nammananavarata', it is a prayer song, sung by Madhva men and women in Karnataka while performing everyday chores. It teaches complete surrender to God.

Nrisimhastava is a work dealing with glory of god Narasimha (half man-half lion).

Kanakadasa's Ramadhanyacharite has quite an unconventional theme. It is about a battle of words between ragi (millet) and rice, each claiming superiority. They go to god Rama for justice. With the help of sages, Rama proves the superiority of ragi over rice. Ragi becomes blessed by absorbing quality of Raghava, another epithet of Rama. It is interpreted as poverty and humility being upheld by the poet above material wealth. Even today ragi is food of the poor.

Mohanatarangini, although a kavya (poem in classical style) written with all conventional eighteen descriptions, deals with eroticism. Pleasure-based eroticism of Shri Krishna with consorts and Aniruddha-Usha form the main theme.

It excels in depicting contemporary life. The description of Shri Krishna's Dwaravati (Dwaraka) is very similar to that of Vijayanagara, under Krishnadevaraya as noticed by foreign travelers. The market place with colorful stalls with various commodities, well demarketed lanes brimming with craftsmen, clients and merchants, royal garden parties and glory of the palace etc find place in Mohanatarangini. It echoes the contemporary Portuguese travelers' accounts. A drinking bout of men and women of working class is very picturesque. We feel as if Kanakadasa is providing a running commentary on an actually happening scene. It is for such unconventional and down-to-earth descriptions as also for social awareness that the great poet-saint has become immortal.

The Kanaka`s Peephole, Udupi

The Kanaka's Peephole, Udupi

Kanakana Kindi (window of Kanaka) enjoys a special place at the Shri Krishna temple of Udupi. There is a legend that Kanakadasa wanted to have a 'darshan' (encounter) of the idol. He was not allowed into the shrine by orthodox Madhwas, as Kanakadasa was not a Brahmin by birth. Kanakadasa then started singing praise of Lord Krishna and was lost to the outside world in a corner outside the temple. Suddenly there was a breach in the wall, where Kanaka stood, and Lord Krishna offered full darshan bending towards poet. A small window was constructed at the breach later. The idol has still a bend!

Today that window stands as a tribute to the unique saint of Karnataka. Almost all devotees who visit Udupi Krishna temple try to have a peep at the idol, through the petty window wishing to relive the ecstasy Kanaka had at the divine 'darshan'. It is also a memorial to Kanakadasa and eclectic Hindu belief that devotion, poetry and sainthood are above caste and creed and certainty above orthodoxy.

( Information about Kanakadasa from Kamat's Potpourri)

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Wednesday, February 11, 2009

ACK-079 : Tachcholi Othenan

An out of print ACK #109

Thacholi Meppayil Kunjhu Othenan (Udayana Kurup of Thacholi Manikoth House) or more popularly Thacholi Othenan or Tachcholi Othenan was the legendary hero of North Kerala, who is thought to have lived 500 years ago. He was born in the family of ‘Manikkoth’ in Thacholi, near Vadakara, located 48 km north of Kozhikode. Highly stylised songs and stories of his valour and chivalry abound. His real name was Udayana Kurup. He is praised about in vadakkanpattu (ballads of North Kerala).

Othenan was known for his dignified and fearless behavior even when he was a boy. He was a very helpful friend to all, but merciless to enemies. He was respected by all, including the Zamorin of Calicut. He defeated Mathiloor Gurukkal, martial art expert, and killed him. Othenan, the legendary warrior of Kerala, was killed at the tender age of 32 by one of the Gurukkal’s disciples.

Thacholi Manikkoth, the kalari center, where Thacholi Othenan practiced Kalaripayattu is a place worth visiting. Thacholi Manikkoth Temple, dedicated to Thacholi Othenan, situated in Vadakara, organizes a martial arts festival during March or April, which draws a large number of people from far and near.

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