Showing posts with label persia. Show all posts
Showing posts with label persia. Show all posts

Noble Persian in Service of Kadamba Maharaja in Ancient Gandhara

During clearance of storage boxes in the Museum für Indische Kunst, Berlin, Dr Caren Dreyer came across a bunch of old photographs taken by Mr G.W.Leitner in the Museum of Lahore at the end of the 19th century. Most of the pictures show well-known Kharosti epigraphs. The few Brähmi epigraphs are likewise well-documented. One picture, however, labelled 'VIII 10159' shows a rectangular stone-slab of about 60x20 cm length, never before presented in photography.

Some time before 1911 an estampage was made and in that year sent to the office of the Govemment Epigraphist for India by G.A. Wathen, Curator of the Lahore Museum.  In 1919, D.R. Sahni (1920) wrote a note on 'Unpublished inscriptions in the Central Museum, Lahore'. At least for this and three more pieces he seems to have seen only the rubbings, not the objects themselves. He reported on its origin «in a spring tank three miles from Abbottabad» , probably based on the notes sent by Wathen. Abbottabad is about 60 km north-east of Taxila and can be regarded as part of the cultural sphere of Gandhära, although the area today called Hazara is situated geographically at the periphery of it.

It was only in 1953 that D.C. Sircar, then Chief Epigraphist, came to see the rubbing. He published the rubbing together with his reading, referring to the fragmentary decipherment as found in Sahni's note. He dates the inscription on paleographical grounds as 3rd century AD. The Inscription came in four lines as below.

Inscription
sa(m}) märgasira di pratha kärito ya
kumärasthanam gasurana makaputrena
säpharena mahäriija-kadambeSvaradäsa-ra(?)[e?]
data(h}) bhak{s}a(h})



means
Year 25, first day of Märgasirsa, this place for Kumära was caused to be made by
the Gasura saphara, son of Maka, [during the reign?] of the Mahäräja [calIed] the
'Servant of the Lord of the Kadamba[ -tree]'.
Food has been provided

Maharaja kadambesvaradasa
Sircar equated the King kadambesvara to be a Kushan king and tried to fit into kushan chronology. But left it off without any further additions.

We can see here that Kadambesvara is Kadamba king of South India. Kadambas worship kadamba Tree. So Kadambesvara dasa can only mean Kadambas of Banvasi. But Kadambas ruled in South India about 2000km from Abottabad. Now does the inscription says king is servant of the person, No it says the lord of the person who gave the inscription is kadamba king. Did kadamba rule extended to Afghanistan. That possibility looks remote.

Now let us come to the early part of the inscription. It says Saphara built temple of kumara (kumarasthanam). Kumara is other name of karthikeya. Now kathikeya or Shanmuga or skanda has special place in the kadamba kingdom. In Mahabharata mother of Karthikeya is venerated as Kadamba. Kadamba inscripton speaks of skanda from Kadamba tree helped to establish the dynasty.

Now kadambas are well known from the times of Mayuravarman. Mayuravarman alludes to Karthikeya, whose sign is peacock feathers. Kadamba inscriptions talk about their diety as skanda, karthikeya, Mahasena all denoting the kumara.

Gasurana
The spelling admits to versions, Gasurena, Gasuranam, Sircar said the inscription says Gasurana. The Term is Gasura is also spelled Gusura, Gosura or Gausura. Gusura comes from documents of Central Asia. Documents says high souled (noble) Gausuras and Servants of kings. First group is higer than later. Luders points out gusura mahatvana found in Niya Documents, regarded the highest titles in the area. Burrow says to H W Bailey, that Gusura means son of the house from Aramic and Avesta texts. H W Bailey rather than pointing out says its military rank and points to inscription from Swat by senavarman of Odi in reference to Kujula Kadphises. So Gausrana seems to either nobleman or leader of some rank.

Makaputra
Maka in kannada means Son. But here it seems to denote son of maka. Ancient Magas is well known. We cannot deduce maka is name of father or the clan or country he comes from.

Sapharena
Sapharena is name of the person giving inscription or who established the kumara temple. Sims-williams says it Saphar as name from Rabatak inscription. Now the name ends with phara, which is persian farnah similar to Gondophernes. So it indicates Persian or Iranian Background.

What does it say
The Inscription presents a highborn soldier or Knight, who is probably leader of group of soldiers. He must have been in service of Kadamba Maharaja. The knight installs a place of worship in Hazara for Kumara or Karthikeya, who is regarded as the power to kadamba king.

Significance
1. Soldiers from Northwest India (Afghanisthan), Perisa, Central Asia came to serve under leadership of Kadambas.
2. It talks about leadership qualities of Kadambas
3. Even after he goes back to his native place, he still considers to his master and dates inscription to the year of the king.
4. The kind of devotion shown by kadamba to Karthikeya , that person from different background, religion, language takes the faith of the kadamba ruler.
5. This inscription marks the beginning of the end of Karosthi and start of Brahmi inscriptions or replacement of Karosthi by Brahmi.
6. The Inscription marks the beginning of sanskrit replacing Prakrit.
7. Skanda cult was very popular in Northwest, but here the kadambas are held high on this regard replacing the local tradition.
8. The Name Hazara is derived from Urasha. Did the name came from kannada word UR (meaning from city). Did Sapharena renamed his region as URs from kannada.

Conclusion
Kadamba king did not go to Abbottobad to make the inscription, but his fame has reached this place. The Noble soldier in service of the kadamba king still revers the king he served even after 25 years of service and creates the temple to kartikeya worshipped by his lord kadambesvara. This shows the great Personality , Leadership, Character  of Kannada king, that person of foreign origin, born with different background, takes him as his lord, eventhough he is far removed and years have passed, out of free will with no swords dangling on him in the age of no TV, Radio or Internet. That is true character.

Source
Six Early Brahmi Inscriptions of Gandhara by Harry Falk
Studies in the religious life of ancient and medieval India By Dineschandra Sircar

Images
Wiki
hazarapeople 
srilaxminarayanmandir 

Related Topics 
Karnatka and Persia (Iran)
Buddhist Legacy
Kannada Kings
Topics 

Karnataka Janapada Tradition

Jaanapada is a word made by two words Jana - People or tribe, Pada - a kind of short verse joined together as a Sandhi- a grammatical term. The folk culture and colloquial tongue of Kannadigas.

Janapada Tradition has generally described as the expressions of the illiterate. it represents the uninhibited response of the uneducated and unsophisticated sections of the Karnataka to life experiences in a variety of forms. Janapada tradition represents Kannadiga desire to communicate his/her experiences of joy and sorrow and share it with others. This motivation as such is the same as that of proper Kannada Literature. Karnataka Janapada tradition finds expression not in the form of writing but in the form of the spoken word or song(Janapada Geethe) which is transmitted and perpetuated by oral tradition. Another distinguishing characteristic Karnataka Janapada tradition is that whatever the themes or the experience, it expression is simple, direct and vivid, unembellished by artifice or ornament, and if occasionally figures of speech make their appearances, they appear as sparkle and freshness of live speech that directly but picturesquely express whatever is felt or thought. Janapada Literature reflects the life of kannadigas as it is lived from day to day.

Karnataka Janapada Folk Tradition even though includes every aspect of Kannadiga life can be broadly classified into three main heads.
1.Folk Literature
2.Janapadageethe, songs expressive of the common joys and sorrows of the common people. All can be subdivided according to subject matters of the occasion or purpose the different forms intended to serve.
3.Folk Theater, Poetry intended to celebrate the greatness of chosen deities and ballads dramatizing the heroism or sacrifice of chosen heroes, historical or legendary

1.Folk Literature
Kannada Stories, short and long , in diverse forms and dealing with diverse themes has been found and collected . Though the purpose of the narrative is both entertainment and enlightenment, the former usually gains emphasis. Karnataka Janapada Folk Tradition, questions of probability or realism do not arise at all. The natural and the supernatural easily coalesce, and traffic between earth, heaven and hell is easy and common. When human being marries a celestial maid or a celestial damsel is enamored of a mortal, all kinds of difficulties arise, jealousies are roused, impediments are created by men and demons alike and the hero and the heroine after perilious fights and strange escapades get finally united and everything ends happily. Karnataka Janapada Folk Tradition do not have unhappy endings always. Like the supernatural , the magical element too marks frequent appearance in Kannada folk tales. The story of the gem in the serpent's hood or that of the young acrobat appears with slight variations all over Karnataka and have drawn attention of scholars and researches as being typical. These and similar stories could be described as complex narratives but there are a large number that are straightforward in their manner and intent. There are the stories of clever and stupid, stories of birds and animals, all of which reveal a moralist bias but narration is always vivid and attractive. In the former category, the clever and the stupid find themselves in the opposite roles in peculiar circumstances of the story. Such situations make for humor as in those stories which are intended to be humorous, like the stories of wandering ministerial who in the course of the single night cheated four women or the story of the night blind son in law who makes fool of himself when he went to his wife’s parents house. Animal stories are pretty common and intentions are moral. What provides interest is the free intercourse between animal and human world and even the occasional metamorphosis into all kinds of beings, common, strange or celestial. The Story of the crow and the sparrow is well known. Almost of all the animals of the forest figure in one character or the other. Equally common are the stories of cruel kings and childless queens and the strange happenings inside royal places. Nothing limits the folk imagination in the invention of stories and teller always displays his art in making his narrative absorbing and in the end instructive. Who among us has not heard the story of a rich boy or girl falling in love with a poor girl or boy and marrying her or him eventually after many hardships including fierce opposition from would-be parents-in-law? Karnataka folk literature abounds in such stories such as our films do. Or, consider the story of a vagrant husband whose exploits are finally discovered by the wife but pardoned immediately, true to spirit of ideal house wife. This as you may have thought is not a film story either. This is the story of our Lord Srikanteswara, of Nanjangud, who in spite of being wedded to the beautiful Deveri, had an affair going, with Chamundi, of the Chamundi hills. Or, take the story of Lord Ranganatha, of the Biligiri hills, who fell in love with a poor Soliga tribal girl - and married her. So much credence is given to this story by the local people, the Soligas, that they even to this day address Lord Ranganatha as ‘Bhava’, that is brother-in-law. These are stories which could make wonderful film material, and it is no exaggeration if we say that the genesis of majority of Kannada film stories is the folk literature.



Folk tradition in Karnataka, began orally. The systematic study of folk literature was initiated by European scholars. Anyone who glances at the Kittel dictionary is sure to be amazed by the abundant collection of proverbs, most of which are of folk origin. Kittel was helped in this by his immediate superior at the Basel Mission Church, Mangalore, Rev, Moegling. Abbe Dubois’ work ‘Hindu Customs, Manners and Ceremonies’ contain a number of folk tales. May Frere’s ‘Old Deccan Day’ is an independent collection of folk tale. Among Kannadigas, Nadakeriyanda Chinnappa, a scholar from Kodagu, published in 1924, a book in Kodava language called ‘Pattole Palame’, which was a collection of regional folklore with Kannada commentary. This was followed by Halasangi brothers of North Karnataka who published three volumes of folksongs and Ballads, titled ‘Garathiya Haadu,’ ‘Mallige Dande’ and ‘Jeevana Sangeetha’. Archaka B. Rangaswamy Bhatta of Mandya District brought out a book ‘Huttida Halli Halliya Haadu’ which depicts the rural traditions of an entire village. During pre-independence period B.S. Gaddagimath was perhaps the first scholar in Kannada to secure a doctorate for his thesis on folklore. This was followed by Jee. Sham. Paramashivayya’s series of articles in Kannada Journals on folklore. Haa. Maa. Naik, a scholar in linguistics, published many papers on the study of folk culture.

Mathigghatta Krishnamurthy has brought out a series of voluminous books like ‘Grihini Geethegalu’, a collection of folk songs. S.K. Karim Khan has travelled the length and breadth of Karnataka giving lectures on folk literature. Popular playwright - novelist Chandrasekhara Kambara has to his credit many popular adaptations of folk stories like Siri Sampige, Singaravva Matthu Aramane, Kadu-Kudure and Sangya-Balya. Girish Karnad won international acclaim for his play ‘Nagamandala’ based on folk story. And so did A.K. Ramanujan for his collection of folk stories. B.V. Karanth and C. Aswath are pioneers in scoring folk music to films. They made their debut as music directors in ‘Vamsha Vriksha’ and ‘Kakana Kote’ respectively. H.L. Nagegowda, B.B. Handi and H.K. Rajegowda have done remarkable work in this field. ‘Janapada Loka’ of Janapada Parishat, at Ramanagar which has taken a good shape by H.L. Nagegowda, has a rare collection of folk materials. ‘Arambhadettu Inooru’, ‘Aane Banthondane’, ‘Nannuru’, ‘Veriyar Elvinnana Girijana Prapancha’, are some of his important collections. H.K. Rajegowda’s ‘Kempanna Gowdana Yakshagana Kavyagalu’, ‘Vokkaliga Janangada Sampradaya’, ‘Itihasa Janapada’ are notable works. K.R. Krishnaswamy (Karakru) Hi.Chi. Boralingaiah and Mudenur Sanganna’s works are also noteworthy.

Certain folk tales are common to all regions of Karnataka. One such is about a Harijan youth masquerading as Brahmin and marrying a girl from that community. The girl when discovers the deceit, throws herself into pyre and becomes a goddess. Another narrative - ‘Kerege Hara’ is woven round a chaste woman who sacrifices herself for the successful completion of village tank. And then we have many number of animal tales in which the fox is the trickster.

Gaadegalu (Kannada Proverbs)
Proverbial Gaade which has a famous saying in Kannada as Veda sulladaru Gaade sullagadu -meaning even if Vedas are proved wrong practically , Gaade(Proverb) can never go wrong.

Panchatantra and Jataka Stories
There is hardly any other secular work in the World which has penetrated so deeply in many cultures encompassing practically every continent of the World. During the last 1500 years there are at least 200 translations of Panchatantra in about 60 languages of the World. Aesop fables (2), Arabian Nights(3), Sindbad(4) and more than 30 to 50% of Western nursery rhymes and Ballads have their origin in Panchatantra and Jataka stories. Dated to around 3rd century BC. The Panchatantra stories migrated out of India in 6th century AD during Kadamba rule. Panchatantra migrated to Iran in the 6th century CE . The story is well known. Burzoe, a physicianat the court of Sassanian king Anushirvan (531-571 c.CA), was sent to India in search of Sanjivani herb. In search of this medicine he traveled a lot in India and brought Panchatantra to Iran, which he translated into Pahlavi, titled Kalilah wa Dimnah, with the help of some Pundits. Available version is the Syrian version of Karataka and Damanaka. The Panchatantra stories developed and collected around the Karnataka/ Maharashtra region. It shows the antiquity of Janapada tradition to unknown eras. Panchatantra stories have become the part of glorious Karnataka temple architecture along with Ramayana and Mahabharata stories. The Navalinga temple of Kakanur, someshwara temple in Somashila, Abalur, Isvara temple in Hiresinganagutti, Kolaramma temple in kolar, Pillar Stones at Yasale, Isvara and Kadambeshwara temple at Sirival and Sculptures at Galaganatha ,Virupaksha, and Mallikarjuna temples in Pattadakal, Aihole, Mudhol, Tripurantakeshwara Balligave, Kalleswara temple in Bagali, pillar in Kadur etc carry the legacy. Durgasimha(Lived during Jagadakamalla of Chalukya dynasty) author says that the panchatantra was collected in the court of Salivahana of Banavasi by Court Poet Gunadaya. Panchatantra is Jain origin and jain essence is retained by Durgasimha eventhough he was a Brahmin, we have to note Gunadaya was Buddhist scholar. Vasubhaga Bhatta version is now used everywhere in south India as well as South east Asia and Far east, while Vishnu Sharma is north Indian version dominates other parts of the globe. You will find Vasubhaga version is followed in South Karnataka and Vishnu sharma version in North Karnataka. Both Vasubhaga and Vishnu Sharma are from Karnataka. Vishnu sharma belonging to Aihole, under king called Amarshakti who ruled with capital Mahilaropya (Mailara in Bellary district). Mailara today is on the banks of the Tungabhadra River in Hadagali taluk, Bellary district. This is a well known piligrimage center famous for the Shivamallari temple.

2. Janapadageethe (Poems)
Janapadageethe are lengthy poetical compositions, religious or semi-religious in character and related either to local deities or legendary characters that had achieved miracles or had rendered one or another kind of service to the community. Janapadageethe are similar to but distinct from ballads which celebrate the heroism or sacrifice or similar action of historical and legendary heroes. Janapadageethe relating to deities are attached to particular temples or religious institutions like mutts and the compositions are sung by particular classes of professional minstrels to accompaniment of musical instruments. These compositions are extensive that it takes several nights to sing them. Usually selected portions dealing with episodes favorite with listeners are sung on particular occasions. Such , for example , are the songs pertaining to Maleya madeswara or yellamma, the female deity of saundatti. The worship of zunjappa, the deity of golla community has its own song sequence which is built-up within the framework of the Krishna story.


The Gorava community has its own sacred places like Mylara whose legends provide the theme celebrating the importance of the place. All over Karnataka, tradition of such folk poetry abound are numerous. Diverse in theme and treatment are the Janapadageethe which form the most voluminous and popular body of folk literature. Janapadageethe's chief characteristics are that they are invariable anonymous compositions handed down by oral tradition. Janapadageethe have their own kind of musical style recitation. Janapadageethe prosodic forms and variety can be the subject of a detailed study. Invariable Janapadageethe deal with some kind of activity or another at home or in the fields. Janapadageethe pertain to all aspects and contexts of life and are, therefore, too numerous to classify under particular headings. Janapadageethe are sung either to relieve the tedium and monotony of work or purely for entertainment. there are separate Janapadageethe for men and women differing again in age groups of the singers and their audiences. Parents love for their children, the mother in law harassment. the sorrows of childless woman., the ever strong attraction of parental home for the young bride, pure lover songs and songs of separation the variety of Janapadageethe is endless.

When we come to the realm of songs we find songs for every rural activity, be it grinding, pounding, christening the baby, lullaby, marriage, nuptials, or even tattooing. The last named is the forte of a distinct community called the ‘Koravanjis’. Kolata or stick dance is unique to Karnataka.

JaanpadaGeethe can be classified for our convenience as
(I).Small songs which are sung on every occasion like marriage, festival, travel and most importantly on every work done mostly from harvest to cooking. The art of composing verses was natural when Kannadigas were deeply involved in their works commonly related to agriculture , pottery , harvest, flouring grains.

(II). Ballad or narrative folk song is another distinct form. ‘Jeeshampa’ has classified them to twelve groups or traditions as 1. Devara Guddas, 2. Neelagaras,3. Ganeplayers, 4. Gorvas, 5. Choudikeyavaru, 6. Aradigalu 7. Karapaladavaru,8. Tamburiyavaru, 9. Kinnara Jogigalu, 10. Dombidasaru, 11. Helavaru and 12. Jangamaru.

(III). Religious pada like those of Dasa Saahitya and Vachana Saahitya and probably even the literature of Guru shishya tradition which is known to only be passed through ears and not on papers can be put into this broad term. Shishunala Shareefa ,Purandara Dasa , Kanaka Dasa , Sarvajna stand at top as wandering saints. There were also compositions on rituals which were laid on common man when caste system was on peak to oppose the atrocities and understand the traditions. Normally the Jangama or wandering monks or the Dasa or wandering devotee who used to hold a tamboori - a famous instrument to add muse the verses , use to travel places spreading the knowledge they had acquired and used to receive alms from people known as Bhavathi Bhiksha Dehi which does not find a right word in contemporary English.

(IV). Songs sung by Mothers to their Babies and children.

(V). Apart from these the folk dance arts added color to expressions rather than words and were popular at mass gatherings.

3.Folk Theater
Ballads as such form a separate category. They are actually narrative poems, but all narrative poems are not ballads. The principle characteristics of ballads are that they tell the story of some hero and heroine in verse forms that keep pace with quick tempo of action. They celebrate the heroism or sacrifice or some other breath taking adventure or action. Such for example are the ballads of Sangoli Rayanna or Kittur Chennamma or Hyder Ali or the adventure during battle of Periyapatna. Karnataka Folk literature is thus purely social product rooted in the life of the community and expressive of its likes and dislikes, its deepest faith and loyalties expressive of everything that determines the quality and content of its daily living.

Folk theater has a rich tradition in Karnataka. Who, for instance, has not heard of ‘Yakshagana’ , Doddata, Bayalata etc., Puppet theater is another folk form, classified into two categories as Thogalugombe and Keelugombe. The former is shadow play with the help of leather cut into human or animal or super-human forms and the latter are performed with the help of dolls with movable limbs controlled by strings by the operators. What Interests as literature is the narrative technique which would be quite engrossing.

4. Janapada Medicine
And then there are a host of books on folk medicine such as ‘Padartha Sara’, ‘Vaidyaratnakara’ etc. Many of these were brought out by, or with the help of the Royal family of Mysore.

5. Janapada Dance
As dance is a visual art, the visual impression of this dynamic art is lost on the sands of time. The tradition of dances currently at vague in Karnataka can be broadly divided as Janapada and Shista, the former being localized in certain areas only, whereas the latter has spread to other parts outside the state. Closely connected with folk literature are folk arts Kamsaalay, Chaudike, Ekatari etc., and dances like Lambani dance, Patada Kunita, Nandikolu Kunita, Veeragase, Dollu Kunita, Gorawara Kunita, Gondala, etc. These are all connected with religious rituals, tagged with some deity, and Yakshagana and puppet show are also of similar origin.

6. Janapada Jaatre
A Jaatre or gathering festival arranged by government of Karnataka showcasing Jaanapada art.

Janapada Trust and Academy
Two other main centres for the study of folk literature are the Karnataka Janapada Trust and the Karnataka Janapada and Yakshagana Academy. The former has a collection of more than 1,000 folk songs recorded from all over the state. The latter brings out an annual collection of folklore of about 100 pages at a low cost.

Govinda Pai Research Centre. Udupi (M.G.M. College) has been doing unique documentation work, and has collaborated with a Spannish University. In order to promote folk literature and folk arts, the Karnataka Jaanapada and Yakshagana Academy honours the outstanding folklore scholars and the artists every year by granting Jaanapada Tagna Award and Annual Awards.
D. Javaregowda, as Vice-Chancellor of Mysore University, established a Folklore Research Centre at Mysore. The Universities of Bangalore; Dharwad and Gulbarga, also offer Doctoral Degrees in the study of folk culture. Of late Hampi Kannada University and Shimoga University have also been in the forefront.


Jaanapada Tagna Award Winners
1986 : Simpi Linganna; 1988 : Mathighatta Krishnamurthy and D. Javeregowda; 1989: H.L. Nagegowda; 1990 : H.M. Nayak and B.B. Hendi; 1991 : Ku.Shi. Haridasa Bhat and K.R. Lingappa; 1992 : Chandrashekhara Kambara and Mudenuru Sanganna; 1993: M. Chidananda Murthy, P.R. Thippeswamy and N.R. Nayak; 1994 : G. Narayana, Goru Channabasappa, Devendra Kumar Hakari, M.G. Biradara, Amrita Someshwara and C.P. Krishnakumar; 1995: Ham.Pa Nagarajaiah, Ramegowda (Ragau), Somashekhara Imrapura and R.C. Hirematha; 1996 : B.A. Vivek Rai, Basavaraja Malashetty and P.K. Rajashekhar; 1997 : M.M. Kalburgi, M.B. Neginahala, T.N. Shankaranarayana, O.K. Rajendra and P.K. Khandoba; 1998: Kyatanahally Ramanna, Shanthi Nayak and A.V. Naavada; 1999 : Nam Tapasvikumar, M.N. Vali and H.J. Lakkappa Gowda; 2000 : Taltaje Keshava Bhatta, C.H. Mahadeva Nayak, M.T. Dhoopada, T.S. Rajappa and M.A. Jayachandra, 2001: Siddalingaiah, William Madtha, Shrirama Ittannavar, 2002: Channanna Valikara, B.S.Swamy, Nallur Prasad, 2003: M.G.Eswarappa, Shreekanta Kodige, Prabhakara Joshi, Since 2004, the Jaanapada Tagna Award being stopped and awards established in the name of B.S. Gaddagi Math and Jishampa are given to folklore scholars. Gaddagi math award: Keremane Mahabala Hegade (2004), Veeranna Dande (2005), Ha.Ka. Rajegowda (2006), D.B. Naik (2007), C.K. Navalagi (2008) Jishampa award: He. She. Ramachandra gowda (2004), M.K. Raghava Nambiyar (2005), Basavaraja Nellisara (2006), G.S. Bhat (2007), Y.C. Bhanumathi (2008).

Jaanapada and Yakshagana Acadamy Award Winners
The Academy honors the folklore scholars, artists, authors, collectors/ editors/critics/ publishers, institutions, groups, art promoters etc., every year by granting annual awards. So far (2008) 703 eminent persons have won Annual Awards. For Yakshagana separate accadamy is founded in 2008-09. Under the chairmanship of Kumble Sundararao.

Source
A Handbook of Karnataka
The Encyclopaedia Of Indian Literature Volume 2, By Amaresh Datta

Karnataka 's Persian Affair

Persia (Iran) and karnataka  had intensive relations since ancient times. Each influenced each other to a great extend in all fields , let us explore the unique relationship.

King Darius I and Parashurama
The unfavorable condition of Northwestern part of India(Pakistan, Afghanistan),  under Darius I is aptly described in Behistan Inscription. He describes how he captured the Magu king and killed. The Samkiccha Jataka describes the same story - 'Yo cha Raja Adhammattho Mago tapayitva Janpadam, Tapne pecca paccati'.
What is the relevance of this King Darius  of  Achaemenid Dynasty who ruled Iran(Persia) to Karnataka. Many people unable to bear harshrule migrated from these regions and settled in several colonies under parashuram leadership from Gujarat to Kerala. Thus was started the migration of Paisachi Prakrit speaking people into Karnataka radically altering the demographic and geo- political landscape. In fact satavahana inscriptions show many paisachi words. Many of them settled in Maharastra especially Aparanta(konkan) region and vidarba region. One Group went south through karnataka and one group through Andhra and another through  western coast to kerala and Tamilnadu and eventually Lanka.

Ashoka Parthavi edict
In The Nittur Edict(Bellary) Ashoka Calls Himself The Ruler Of Parthia, "Mahalake hi vijitam" ('Vast is my empire'), proclaims Ashoka, but how extensive really was his dominion in the West? In the Nittur Edict he explicitly calls himself the king of Pathavi - an unmistakable allusion to Parthia or Parthava of the Achaemenian records of Darius. Writers like Romila Thapar attempt to explain this away by suggesting that Pathavi corresponds to Prithvi, or the Earth, and that the statement only demonstrates royal vainglory. A world emperor like Ashoka who sent missionaries to kings of many other parts of the Earth surely was not so foolish as to call himself the ruler of the Earth. The Edict shows he is also ruler of parthia (Persia – Modern Iran). This explains the wide contact between Karnataka and Persia since earliest times.Significance of Nittur Inscription reveals persia(Iran) was under Ashoka Rule.

Pulikesin II exchanges envoys with Sassanaid Khusro II
Around 625-26 AD , Chalukya King Pulakesin II (AD 610-42) exchanged envoys with Sassanian King Khusrau II (AD 596- 626). The same has been depicted in Ajantha Cave I. This information is also mentioned by persian historian Tabari, who says in the 35th year of Khusrau perviz reign an Indian King Pharmeish or paramesa(parmeswara - title of pulakesin) sent to an ambassador carrying letters and presents to monarch and sons.The return embassy by Khusrau is depicted in Ajanta.

Vinayaditya gives protection to Persia
With the defeat of Harsha by pulikesin II and his successor Yasovarman by Vinayaditya the whole of India was under the chalukyas. Great ruler Vinayaditya realised the value of strong persia against the Arabs which was under Islamic Invasion. So he sent a battalion to protect the persia. The chalukya records show that the tribute was paid for protection by Kamera (Khamer or Combodia), Parasika (persia) and Simhala (Lanka). Visionary Vinayaditya sent a ambassdor to chinese Kao-Tsung as well. This is confirmed by Ma-Twan- Lin, who says Indian Emperor Tche-Leou-k'I-Pa-Lo(chi-lu-khi-pa-lo) or Chalukya Vallabha sent an ambassador (date 692AD). With the decline of persia, During Vikramaaditya II (733-745 AD) reign an Arab attempt to penetrate into the Deccan was thwarted by Avanijanashraya Pulakesi, the Chalukya general of Lata.

Rastrakuta , persia and Zorastrians
Persian travelers who visited Malkhed at the time of Rastrakuta's spoke of the monarchs of Rastrakutas Dynasty as 'the Emperors of Hindustan'- among the most powerful rulers of the period. The Rastrakuta's provided protection to Zorastrians fleeing persia in India. Records show large trade between persia and Rastrakuta Empire. The persian account Hudud al alam(982AD) mentions rastrakuta and chalukyas as the Bhallaraj(Srivallabha – Chalukyas and Rastrakutas) of kamkar (karnata). The persian account also claims that Rastrakuta and pratihara's were enemies of Pala. Kannauj was under poessision of Rastrakuta for a considerable time. And aptly it adds Rastrakutas as the Emperors of Hind.  
Karnata vamsavali kings near Persia
Masudi calls even Khandahar as the country of Rahbut(Rajputs are of karnataka origin) , which puts karnata rulers in the neibhourhood of Persia. Masud calls them Chach (seems to be Rajputs of Chalukya origin). Curiously Rajputs of that area (Sindh and Baluchistan and Punjab of pakistan) call themselves Bhatti Rajputs, Janjuas have always claim descendancy from Pandavas. Name Bhatti(Bhatt) and pandavas(Matrilineal society) can be only be a community that is from Coastal Karnataka around Mangalore. May be the community developed out of chalukyan expedition against Arabs and settled there. Janjuas rajputs gave rise to famous Janjuas shahi dynasty (though they did not call themselves shahis, they are named shahis because they immediately succeeded shahi dynasty and resisted Ghaznavids invasions.

Western Chalukya trade with Persia
Aihole inscription gives vivid account of flourishing trade between karnata and persia. Travelling both land and sea routes, these merchants traded mostly in precious stones, spices and perfumes, and other specialty items such as camphor. Business flourished in precious stones such as diamonds, lapis lazuli, onyx, topaz, carbuncles and emeralds. Commonly traded spices were cardamom, saffron, and cloves, while perfumes included the by-products of sandalwood, bdellium, musk, civet and rose. These items were sold either in bulk or hawked on streets by local merchants in towns. While eastern Chalukyas controlled the eastern seaboard, The Western Chalukyas controlled most of South India's west coast and by the 10th century they had established extensive trade ties with the Tang Empire of China, the empires of Southeast Asia and the Abbasid Caliphate in Bhagdad, and by the 12th century Chinese fleets were frequenting Indian ports. Exports included textiles, spices, medicinal plants, jewels, ivory, rhino horn, ebony and camphor to Dhofar, Aden and also Song dynasty in China. The final destinations for those trading with the west were Persia, Arabia and Egypt. The thriving trade center of Siraf, a port on the eastern coast of the Persian Gulf, served an international clientele of merchants including those from the Chalukya empire who were feasted by wealthy local merchants during business visits. An indicator of the Chalukyan merchants' importance in Siraf comes from records describing dining plates reserved for them. In addition to this, Siraf received aloe wood, perfumes, sandalwood and condiments. The most expensive import to karnataka were Arabian horse shipments, this trade being monopolised by Arabs and local merchants. The Western coast was the responsibility of Gujarat Chalukyas, Silharas and later Kadambas. All the three took great care to cultivate good relations with persia and Middle east.


Persian envoy Abdul Razak visited during Krishnadeva raya regime
Awe-struck by the splendor and prosperity prevailing in the Vijayanagar Empire, Abdur Razaak said,- “The pupil of the eye has never seen a place like it and the ear of intelligence has never been informed that there existed anything to equal it in the world”. Abdur Razaak was the Persian ambassador who had visited Vijayanagara in 1446.

Trade during VijayNagar regime
Persian Ambassador Abdul Razak graphic discription of Mangalore, Bhatkal, Honavar is significant.
Mangalore, Bhatkal and Honavar were international ports in Vijayanagar times trading with Arabia and Persia. During the reign of Vijaynagar dynasty’s ‘Pepper Queen’ Ambakka, an ascription given by the Portuguese whom she had defeated. Indian spices including black pepper, cloth, rice, medicines, jaggery, sugar etc. were in great demand in Middle East, Europe and Mediterranean countries. These were produced in abundance in all the coastal belt. More than a dozen chiefs ruled in this region whose area at times, did not exceed more than 100 – 200 villages. Prominent among them were Santras (Bairaras) of Karkal, Bangas of Bangadi (Nandavar), Sawants of Mulki, Choutas of Mudbidri & Ullal, Ajilas of Venur, and Tolahas of Sura. These chiefs fought among themselves and with local administrators of Vijayanagar, most of the time, to become independent or for reduction fee in tributes and subsidies. But the strong Central Government of Vijayanagar had kept them under control, with overall supervision of Nayakas of Keladi. Over time, Some Persian-Arab traders decided to settle Bhatkal and that sect got the name ‘Navayaths’, or newcomers. Food – has an intricate relationship with the Navayath people and their culture, the cuisine from Bhatkal is just that. Rich in cultural history with strands of cuisine from the Arab and persian world which eventually have blended with the local dishes of the land.

Bahmani Kingdom and Persia
The sultanate was founded on 3rd of August 1347 by governor Ala-ud-Din Hassan Bahman Shah, possibly of Tajik-Persian descent, who revolted against the Sultan of Delhi, Muhammad bin Tughluq. Nazir uddin Ismail Shah who had revolted against the Delhi sultanate stepped down on that day in favour of Zafar Khan who ascended the throne with the title of Alauddin Bahman Shah with first Gulabarga and then Bidar as capital. His revolt was successful, and he established an independent state on the Deccan. But soon the kingdom split into five sultanates. The Bahmani dynasty believed that they descended from Bahman, the legendary king of Iran. They were patrons of the Persian language, culture and literature. Some of the Bahmanid kings and princes took a personal interest in Persian, as well, and became well-versed in Persian language and literature. Hazrat Khwaja Syed Muhammad Gesu Draz, scholar of both kannada and persian, greatly encouraged the interaction between the two. Bahmani kings brought artisans from persia, Arabia and Turkey blending with local styles they built great many architectural wonders like Gol Gumbaz. The Bahamani army had soldiers from Turkey, Arabia and Persia.

Mahmud Gawan
Mahmud Gawan arrived in Bidarfrom Persia in 1453. A great scholar of Islamic lore, he founded the Madarassa (college) from his own funds on the line of Universities of Samarkhand and Khorasan. A selefless worker, he became a prime-minister of Bahamani king Mahmud III (1462- 82) whom he tutored in earlier days. But Gawan became a victim of the palace intrigue and was beheaded by the drunkern king. The later kings of the Bahamani dynasty were too weak to keep the kingdom in tact, and this led to the breakup. Bahmani kingdom survived until babur took over.

Adil Shah Origin
According to the historian Mir Rafi-uddin Ibrahim-i Shirazi, or Rafi', Yusuf's full name was Sultan Yusuf 'Adil Shah Sawa or Sawa-i, the son of Mahmud Beg of Sawa in Iran. Rafi's history of the 'Adil Shahi dynasty was written a the request of Ibrahim Adil Shah II, and was completed and presented to the patron in AH 1017. T.N. Devare mentioned that while Rafi's account of the Bahmani dynasty is filled with anachronisms, his account of the Adilshahi is "fairly accurate .

Rafi's account is less well known than that of the popular historian Firishta, the author of the Nawras- nama, also known as the Gulshan-i Ibrahim. Rafi's account of the life of Yusuf 'Adil Shah directly contradicts a fanciful legend related by Firishta on the origins of the Adil Shahi dynasty. According to him, Yusuf Adil Shah is said to have been the son of Murad II, Ottoman sultan and caliph of Islam, who was succeeded by one of his sons, Mehmed II. After his accession, the new sultan is said to have ordered the execution by strangling of all his brothers, including Yusuf. Yusuf's mother contrived to save him by replacing him with a slave boy; she then arranged to have Yusuf conveyed to Persia. Yusuf eventually came to India, where he took service under the Bahmani ruler of the Deccan, ultimately becoming a personage of importance at the court of Mahmud II.

kannada and persian as court languages in karnataka
Kannada, Persian and Arabic were court languages in Bahmani kingdom. Many of scholars in Bahmani court were well versed in both. During Mughal rule kannada elements were taken into persian by the local scholars when they went to Mughal Imperial court. Tipu sultan also made persian and kannada as court languges.  The direct interaction between Kannada (and Telugu, Marathi) and Persian along with Arabic has given a unique blend of Urdu called Deccani and it has large number of Kannada, Telugu and Marathi words.
 
Persia accounts
Persian historian Tabari gives vivid accounts of Chalukyas under pulikesin.

In 1017 A.D., at the behest of Sultan Mahmud of Persia, Alberuni (a.k.a. Al-Biruni) traveled to India to learn about the Hindus, "and to discuss with them questions of religion, science, and literature, and the very basis of their civilization". He remained in India for thirteen years, studying, and exploring. Al beruni gives a vivid accounts of Rastrakutas and karnataka.

Persian historians give account of the glory of seunas of Devagiri. Persian accounts such Burhan-i-Ma'asi , Janjira Nawab , Riyazul Insha have greatly helped in the stitching together the history in south India and karnataka in particular.

Writings of Nuniz confirms that the kings of Burma paid tributes to Vijayanagara.

Famous historian Muhammad Qasim Firishta (1560 – 1620) lived in court of Adilshah and wrote Khulasatu-t Tawarikh. Firishta not only gives vivid account of extend of Gazni raids but also the ruthlessness with which local people, temples and property destroyed by muslim rulers. It gives the vivid accounts of Bahmani rulers.

Timurid Abdur Razzaq persian Ambassador to VijayNagar Empire court during the Great Krishna Deva Raya gives vivid account of the Empire and the Emperor.

Afanasy Nikitin Russian traveler of 15th century who visited Bahmani and VijayNagar kingdoms says, There were many people coming from Khorassan (north east of Iran) Bahmani kings kept close link with the region and scholars were invited to settle in Bidar by Muhammad Gawan.

Other Accounts
Cosmas Indicopleustes of the 6th century talks about Churches Persian bishop at Kalliana (Kalyan) then under Kadambas.
Ahbar as-Sin wa'l-Hind the Arab accounts of 9th century speak of flourishing trade between Karnataka and persia (and Middle east). Al beruni pays glowing tributes to Rastrakuta regime saying that the only country where muslims were allowed to practice the religion unhindered. He also talks about the trade ties between persia and then Rastrakuta empire.

Inscriptions in Arabic and Persian
The Bahmani kings first started giving inscriptions in persian and Arabic along with local languages Kannada, Telugu and Marathi. Large number of Inscription have found of Bahmani rule, subsequent Mughal dynasty, also Hyder Ali and Tipu Sultan regimes.

Music and Persian influence.
Some scholars say , Hindustani music is a rich combination of Carnatic music and traditional persian music in Bahmani rulers courts. While carnatic music flourished south of Krishna(VijayNagar Empire), Hindustani flurished in north of Krishna(Bahmani sultanates). Bijapur ruler Ibrahim II composed Kitabe Navras to introduce Hindu music to the Muslims and the book begins with an invocation to Saraswati and Ganapati. Thus started the Sufi tradition. When Mughals took over Bahmani kingdom, music went to North to Delhi Courts as well. Meanwhile Carnatic music was not insular to persian influences, Persian modes came to be grafted and the new ragas like Darbara and kalyana were evolved by saints like Purandara.

Persian influence in Architecture
The Bahamanis introduced the large scale use of paper in administration and began the Indo-Sarasenic architectural style, designed and constructed by Persian architects and artisans, (also known as Deccani architecture) with its local influences from Karnataka.The Sultanate monuments of Bidar and Gulbarga are testimony to their interest in architecture. The Bande Nawaz tombs and a Jama Masjid in Gulbarga which exhibits a persian influence are well known. In Bidar, their buildings have Persian, Turkish, Arabic and Roman influences (the Solah Khamba mosque being an example).Rangin Mahal, Gangan Mahal, Tarkash Mahal, Chini Mahal, Nagina Mahal and the Taqk Mahal are some of the palaces built by them that have retained their beauty. The Ahmad Shah Wali tombs are noted for their decor, and the school of learning (madrasa) built by Gavan in Bidar (1472), with its lecture halls, library, mosque and residential houses are also famous. The contributions of the Bijapur Sultanate in the Indo-Saracenic idiom to the architectural landscape of Karnataka is noteworthy. Their most famous monuments are the mausoleums called Ibrahim Rauza and the Gol Gumbaz apart from many other palaces and mosques. The elegance, finish and beauty of Mehtar Mahal is claimed by a historian to be equal to anything in Cairo. Their Kali Masjid at Lakshmeshwar is a synthesis of Hindu and Muslim styles. The Ibrahim Rauza built by Ibrahim II is a combination of a mausoleum and a mosque and is called the "Taj Mahal of the Deccan".The Gol Gumbaz built by Muhammad is the largest dome in India and the second largest pre-modern dome in the world after the Byzantine Hagia Sophia with an impressive "whispering gallery". Some historians consider this one of the architectural marvels of the world.

Kashida (Kasuti) 
The word kashida is derived from the Persian word meaning embroidery. This shows that there were contacts between Persia and Karnataka since the reign of Chalukyas in the 6th century A.D. Traditionally designs are worked out on the web of black Irkal handloom saris-the warp and weft of the fabrics regulated stitches. It was worked by counting threads and without knots, hence is identical on both sides. This type of embellishment is usually done by four varieties of stitches namely Ganthi- line or backstitch, vertical, horizontal and diagonal. Murgi- zig zag, it runs up and down like steps of a ladder. Negi, weaving stitch and Menthe-forked branch or cluster stitch resembling fenugreek seeds.

Bidriware
According to one version, Abdullah-bin-Khaiser, an expert in bidriware, migrated to Bidar in the 11th century and joined hands with an equally proficient goldsmith familiar with the secrets of the trade. Together they gave impetus to the craft.
Another popular tale recounts that one of the Hindu kings of Bidar innovated the crafts of bidriware, using the articles thus decorated to hold flowers and other offerings in honor of his household Gods. Later, under the patronage of the Mughals, indigenous manufacturers were extended both co-operation and encouragement and in course of time, bidriwork reached its zenith in perfection, design and finesse.
The traditional art of damascening in silver or Koftgari work, as Bidri is popularly known, entails encrusting one metal into another in the form of a wire. It is akin to the ancient art of inlaying gold and silver in copper and steel, which was practiced in Persia and Arabia at one time. It is believed that the know-how was brought to India from these countries but took an altogether different form, which became the specialty of Bidar from where it derives its name

Process of Making Bidriware The origin of the technical aspect of bidriware is not definitely known. It appears that like other Persian articles of metal, this particular type of work was probably developed by experimenting with various alloys to guarantee brilliance by contrast. The resultant ingredient was an alloy of zinc and copper combined with other non-ferrous metals.

The new alloy, thus produced, is brittle but does not rust or corrode and has the additional advantage of allowing a better polish. Each bidri utensil has to pass through a long complicated process of casting, polishing, engraving, inlaying and blackening of the alloy before the final product is ready for the market.

Persian wheel in Karnataka
The Persian wheel is a mechanical water lifting device operated usually by draught animals like bullocks, buffaloes or camels. It is used to lift water from water sources typically open wells. In Sanskrit the word Araghatta has been used in the ancient texts to describe the Persian Wheel. The ‘ara-ghatta’ comes from the combination of the words ‘ara’ meaning spoke and ‘ghatta’ meaning pot. There is evidence to argue that this system of lifting water from open wells was probably invented in the India of the past. With its use also in Iran, the then Persia, and perhaps its discovery there, it came to be called the Persian wheel. The celebrated writer philosopher Ananda K Coomaraswamy in his monograph ‘The Persian Wheel’ argues that it is not justified to draw its origins to Persia as it finds mention in the Panchatantra (3rd Century BCE) and the Rajatarangini (12 th century CE) as the ‘cakka-vattakka’ or the ‘ghati yantra’.

Persian wheel represents a water culture and water heritage of India. It therefore seems imperative to document and preserve the knowledge base around this instrument which was both a function and an indicator of the ecological availability of water at shallow levels. The great water heritage still practiced in Karnataka should be preserved.

The Rastrakuta empire records while decribing Agriculture ,explains about Persian wheel technology. The Vijaynagar empire promoted both persian wheel and Ghanat system (originated in persia) for irrigation.

As you can see the relations is very vast and we need  a chair either at Gulbarga, Bijapur or Bidar Universities  with a counterpart in Iran to study each aspect in this long interaction between karnataka and Persia on the one hand and Kannada and Persian on the other.

Sources
The Persian Wheel in India by Srikantaiah VISHWANATH
Political History of the Chalukyas of Badami By D. P. Dikshit
Chronicles of Early Janjuas By Hussain Khan
Goa Through the Ages: An economic history By Teotonio R. De Souza
Bahamani Kings of Gulbarga and Bidar by Dr. (Mrs) Jyotsna Kamat
Indo-Persian Travels in the Age of Discoveries, 1400–1800 by Muzaffar Alam, Sanjay Subrahmanyam

Related Posts 
Karnata and Anatolia  
Ashoka's Swarnabhoomi 
Topics