Category Archives: Historical Links / Pre-Independence

Time to get Nizam’s jewels to Hyderabad?

A decade after a strong pitch was made to shift the Nizam's jewels worth millions of dollars to Hyderabad, they are still in the custody of the National Museum, Delhi and safe in the vaults of the Reserve Bank of India.
A decade after a strong pitch was made to shift the Nizam’s jewels worth millions of dollars to Hyderabad, they are still in the custody of the National Museum, Delhi and safe in the vaults of the Reserve Bank of India.

Hyderabad :

A decade after a strong pitch was made to shift the Nizam’s jewels worth millions of dollars to Hyderabad, they are still in the custody of the National Museum, Delhi and safe in the vaults of the Reserve Bank of India.

From 12 April to 27 July 2014, some of the jewels were displayed for the first time outside the country at the State Museum of Moscow, Kremlin.

For permanent display of the jewellery in Hyderabad, the state government even offered to look at different places in the city for a decision to be taken on where the permanent museum could be located. One was a building at the public gardens, another place that was considered was said to be on Road no. 3, Banjara Hills which was, however, ruled out due to security considerations, and another proposal was to buy land behind the museum where a building could be constructed for the permanent display of the jewels.

One location that was felt appropriate was the Dewan Devdi, where the Quli Qutub Shah Urban Development Authority (QQSUDA) office is located. Sources said there was, however, one hitch. The state government wanted the centre to pay for the land and premises. The union ministry of culture outrightly dismissed the idea. Since then, the proposal, which was at least being considered, has been in a limbo.

Some of the Nizam’s jewels were displayed for the first time outside the country last month in the State Museum of Moscow, Kremlin. The centre had acquired the famed jewellery in 1995 after a protracted legal battle with the heirs of the Nizams. For the first time, the dazzling jewellery was displayed at the National Museum in 2001. The 173 set collection comprising 348 pieces was brought to Hyderabad and displayed at the Salar Jung Museum the same year. Subsequently, for the second time, the exhibition was organized from December 31, 2005 to October 2006. This exhibition was followed by another exhibition at the National Museum, Delhi.

In 1991, the entire jewellery was valued at $ 162 million by Sotheby’s. The jewellery included the third largest diamond in the world — the Jacob diamond.

When contacted, Salar Jung Museum director A Nagendar Reddy said the state government would have to take the initiative to bring the jewels to Hyderabad and talk to the centre about it. “Even if we had to organize an exhibition like we did two times in the past, it may not be possible at the Salar Jung Musem. The Eastern block where the jewellery exhibition was conducted now has many galleries where several artefacts are on display,” he said.

Chief minister K Chandrasekhar Rao who is showing interest in organizing the Independence Day celebrations at the centuries old Golconda fort may also have to think of bringing the Nizams jewels back to Hyderabad for permanent display.

source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Hyderabad / Ch. Sushil Rao, TNN / August 06th, 2014

Telangana CM K Chandrasekhar Rao picks Golconda for Independence Day

Telangana Chief Minister K. Chandrasekhar Rao inspects the Golconda Fort on Monday along with other officials. (Photo: DECCAN CHRONICLE)
Telangana Chief Minister K. Chandrasekhar Rao inspects the Golconda Fort on Monday along with other officials. (Photo: DECCAN CHRONICLE)

Hyderabad:

Chief Minister K. Chandrasekhar Rao will unfurl the national flag in the historic 15th century Golconda fort on Independence Day.

“I received tremendous response from people across Telangana, India and abroad over the proposal to have Independence Day celebrations at Golconda Fort. Henceforth Golconda, one of the icons of Telangana, will be the permanent venue for Independence day celebrations,” the Chief Minister told this newspaper on Monday. Mr Rao also plans to hold national celebrations at landmark places like forts in Telangana next year.

If he has his way, the Republic Day celebrations on January 26, 2015, may also be held in the Golconda Fort instead of the Parade Grounds in Secunderabad.

Mr Rao was inspired by the unfurling of the national flag at the Red Fort in New Delhi on Independence Day. “Selection of Golconda Fort is symbolic, a remembering of the past. It’s a re-glorification of TS. We have to showcase our priceless treasures like Golconda and other historical places in Telangana,” he said.

source: http://www.deccanchronicle.com / Deccan Chronicle / Home> Nation> Current Affairs / DC / C. R. Gowri Shanker / August 05th, 2014

Book plumbs new facets of Andhra Pradesh’s history

Hyderabad :

The objective of writing history of Andhra Pradesh, covering coastal Andhra, Rayalaseema and Telangana, without seeking government help is “to keep it scientific, secular and free from any bias,” said veteran historian V Ramakrishna on Friday.

He was speaking at a function organized to release the fifth volume of the comprehensive history of Andhra Pradesh. The volume was released by governor E L S Narasimhan who said that the Andhra Pradesh History Congress, which was formed in 1976 and whose members have compiled the voluminous data, should take some help to facilitate its work. “Do not oblige anybody, but do take help because it is a gigantic task and the need of the hour,” he said.

Ramakrishna, who is popularly known as VRK, said that it was in 1998 that the APHC decided to compile and publish the comprehensive History and Culture of Andhra Pradesh in eight volumes which, with time, have been expanded into nine volumes.

The need for the series was felt because no connected, authenticated, chronologically arranged narrative from an inter-disciplinary perspective, incorporating the latest data, is available today. “Writing micro history is difficult. The content of each chapter is verified at various levels for its authenticity. I want to pay tribute to the contributing historians because they have written, not for money, but their dedication towards the cause of history,” he informed the audience.

The members of the editorial board of the history series include K S Kameswara Rao, A Satyanarayan and G Venkata Ramayya while the general editor is V Ramakrishna. The fifth volume has been edited by R Soma Reddy.

According to speakers at the function, the present volume is on Late Medieval Andhra Pradesh covering the period between 1324 and 1724, a period that witnessed the rise of larger regional state powers such as the kingdom of Vijayanagara and the Bahmanis.

Consequent upon the constant flux of people of different languages, faiths, cultures and professions and the establishment of foreign settlements, a liberal spirit of tolerance developed, which was furthered by the prevalence of Sufi and Bhakti cults. One of the most significant features of the times was the evolution of composite Dakhni Deccani culture, along with the rise of the Deccani Urdu language.

source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Hyderabad / TNN / July 19th, 2014

The alluring waters of Gandipet

One of the most lasting legacies of the Deccan has been the water management policy formulated by the Kakatiya dynasty, which relied mainly on small tanks for its irrigation and drinking water requirements. There was a time when the Telangana countryside boasted of thousands of tanks which ensured a perennial supply of water for settlements across the region. The Qutub Shahi rulers continued the practice by adding numerous tanks of their own, especially in the areas abutting the citadel at Golconda. A majority of those tanks continued to serve the population till post-reorganisation exploitation of the region’s resources led to their being either rendered dry or unusable due to pollution.

Following the great floods of 1908, Mahboob Ali Khan, the then Nizam of Hyderabad, sought long-term and effective solutions to the perennial inundation brought on by a recalcitrant Musi. Initiating the process of ‘improvement’ with a search for the right person to handle the future planning of Hyderabad, the Nizam refused the recommendations of Lord Curzon in offering the services of Sir Michel Esthesol, director general of irrigation, Government of India. Ignoring the availability of T D Mackenzie, chief engineer of the Nizam’s Dominions, he chose the native expert Sir M Visvesvarayya for the job. This was not just a pointed snub at the British, who had already antagonized the Nizam with their unreasonable attitude in dealing with the state, but an informed decision if one takes into account the renowned engineer’s role in influencing policy at the irrigation commission. Visvesvarayya’s ingenious flood control proposal for Hyderabad led to the creation of Osman Sagar and Himayat Sagar, the two ‘balancing tanks’ located upstream of the city. The twin reservoirs, based on the Kakatiya model, served the dual purpose of taming the Musi and at the same time providing an assured water supply to the city.

It is said that 16 villages were submerged to create this sprawling lake, which once spread over 45 square kilometres. The painful displacement of ancient settlements was, however, amply justified by the immediately-apparent benefits of the scheme. Foremost among these was the delivery of safe potable drinking water directly to homes.

Popularly known as Gandipet, Osman Sagar has found a unique place in the hearts of a grateful public, who swear by the curative properties of its waters. It is claimed that the Gandipet waters provide a panacea for almost all known ailments. No wonder then that Gandipet ka Pani, along with the equally notorious Hyderabadi Biryani, has been traditionally blamed for luring visitors into settling down in the city once they acquire a taste for these two cherished commodities.

Understandably, the Nizam Mir Osman Ali Khan remained ever suspicious of Gandipet water, refusing to drink even a single drop from the reservoir named after him! This abhorrence is generally believed to have stemmed from an ingrained preference for the waters of Bam Rukn-ud Dowla, the traditional source of drinking water for Hyderabadi Royalty. The fact that the Nizam never let his personal preferences stand in the way of progress is abundantly manifest in the fact that King Kothi remained unconnected to the state-of-the-art water supply and sewerage network that was commissioned for the city. There is a popular belief that this resolute stand against modernisation arose due to an assurance given by the Nizam to his palace staff that change would not deprive them of their jobs.

Hyderabad was once famous for its gardens and the suburbs of the city were referred to as the ‘Baghaat’ or Garden district. However, by the time of the 1908 floods, most of the historic water bodies in the city and its periphery had been commandeered to cater to the drinking water requirements and minor cultivation needs. The lush gardens of Hyderabad were but a distant memory. With the two major reservoirs providing for the water needs of the city, older water bodies were free to cater to parks and gardens proposed under the city improvement scheme. In certain areas, lakebeds were to be drained and reused as open spaces and parks. Though the implementation of CIB proposals was abandoned post re-organisation, the Hussainsagar continued to irrigate the gardens of Osmania University and downstream localities till industrial effluents rendered it into a cesspool.

The proposal of the Telangana government in favour of protecting lakes is a welcome move and signals a return to the maliciously abandoned schemes of the CIB. Emulating the Kakatiyan legacy bore fruit during the Asaf Jahi period, especially during the reigns of the last two Nizams. Revisiting Visvesvarayya’s proposals and reverting to traditional water management systems will undoubtedly prove to be immensely beneficial for Telangana.

The writer is a well-known conservation activist.

source: http://www.timesofindia.indiatimes.com / The Times of India / Home> City> Hyderabad / by Sajjad Shahid, TNN / July 06th, 2014

DOWN THE MEMORY LANE : The ‘celestial voice’ remembered

Art gallery puts up a collection of visuals on the journey of the medium of radio. As the title revealed, it took the viewer on a journey, of how radio evolved with some local attention on how ‘All India Radio’ (AIR) or ‘Akashvani’ came about, since the 1930s.

At first glance, it looked as if it was a typical film function. But the resemblance ended there. Visitors could then see the distinction at ‘Journey of Radio’ a collection of visuals put together by Muse Art Gallery.

It took a while for guests to go up and down the long corridor at the Marriott Hotel here, looking at paintings and other visuals that seemed to tell a story on their own.

As the title revealed, it took the viewer on a journey, of how radio evolved with some local attention on how ‘All India Radio’ (AIR) or ‘Akashvani’ came about, since the 1930s. The collection of 50 visuals was initiated by the curator of the gallery, Kaali Sudheer.

Veteran announcers Jyothsna and Ilyas, whose tryst with AIR is over 3 decades old, spoke of how serious their programmes were in those days when there was no television. “While officially, our duty hours were 7 hours only, we would normally spend 10 hours and sometimes, during important occasions, it would go up to 15 hours too,” said Ilyas.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Hyderabad / by Special Correspondent / Hyderabad – July 01st, 2014

7th Nizam’s eldest daughter-in-law dead

Princess Faizunnisa Begum, the eldest daughter-in-law of the seventh Nizam, Mir Osman Ali Khan, died here on Friday. She was 92. She is survived by five sons and a daughter.

The princess was married to Nawab Hasham Jah Bahadur. The Nizam, who nicknamed her ‘Faizu’, presented two gold bangles to her at the time of her marriage in 1935. After the wedding, the Nizam dropped the couple personally at their residence, according to Nawab Najaf Ali Khan, grandson of the Nizam.

The princess was laid to rest at Masjide Judi in King Kothi where the last Nizam also rests. A large number of Nizam family members were present on the occasion.

source: http://www.thehindu.com / The Hindu / Home> News> Cities> Hyderabad / by Special Correspondent / Hyderabad – June 28th, 2014

A peephole to history

What gives late 19th century photographer Raja Deen Dayal’s work the acclaim it has received? An exhibition showcasing arguably India’s first professional photographer’s works tries to dissect
LISTENING TO THE PHONOGRAPH: DEEN DAYAL, GHALIB JUNG AND FRIENDS AT HYDERABAD 22ND MAY 1891The palpable excitement of Nawab Ghalib Jung and his friends whilelistening to the first phonograph in Hyderabad is visible. Such naturalexuberance is seldom seen in 19th century photography
LISTENING TO THE PHONOGRAPH: DEEN DAYAL, GHALIB JUNG AND FRIENDS AT HYDERABAD 22ND MAY 1891The palpable excitement of Nawab Ghalib Jung and his friends whilelistening to the first phonograph in Hyderabad is visible. Such naturalexuberance is seldom seen in 19th century photography

Lala Deen Dayal was to Indian photography what his peer Raja Ravi Varma was to painting. As a 20-something civil engineer, Deen Dayal was working at the draughtsman office at the Indore Public Works Department when he heard an ominous rumour — all draughtsmen were to be replaced by photographers. It was 1866. Dayal decided to brush up his photography skills; a subject that he had learnt during his final year in college. A decision that paved the way for Deen Dayal to eke out a successful career in professional photography.

Vikram Sampath, Executive Director of the Indira Gandhi National Centre for Arts (IGNCA), says: “The heavy Bellow cameras of the 19th century would have been cumbersome. But his photographs are so extensive that they can be the starting point for fleshing out the socio-cultural aspect of that period.” IGNCA is presenting the exhibition Raja Deen Dayal Photographs, a collection of 150 rare period photographs which will be shown in the city for the first time.

Sampath says he can imagine how hard it must have been for Deen Dayal to get people to be photographed, considering the superstitions around the act. “People believed that if photographed, their life span would be reduced.” It was not uncommon for him to break the glass-plate negative in front of the subject after giving them their photographs, probably to assure them that it wouldn’t be used again. But he would have stealthily kept another copy in the archive.
Grand old man

Here was an Indian photographer appreciated by Indian maharajas (the sixth Nizam of Hyderabad, in fact, wrote a verse in praise of him) and British Viceroys. His photographs were exhibited to great reviews in international exhibitions. He was appointed the court photographer for Hyderabad (1885); Mir Mahboob Ali Khan, the Nizam of Hyderabad, conferred on him the title Musawwir Jung Bahadur (the Bold Warrior Photographer) and referred to him as Raja Deen Dayal. In 1897, Queen Victoria granted him the Royal Warrant, which meant he could cover the Delhi Dubar (1903). He had flourishing studios in Secunderabad, Indore and Bombay that were operated by his firm Deen Dayal & Sons. And even after his death (1905), his fifth generation has photo studios in the twin cities of Hyderabad and Secunderabad. Not bad for a man who was born (1844) in a small town near Meerut.

Luck and talent

In 1870, when Deen Dayal was hired by the Archeological Survey of India, his brief was to capture 78 monuments of Central India. The technique used was refreshingly different. The monuments stood out against the sky as he captured them from a low angle, making them imposing and grand. Some, like the Gwalior Fort, had an extraordinary view of the sharp precipice below the steep path leading up to the main entrance. The portraits of the monuments form an extensive collection of places across India.

Deen Dayal quit his government job to pursue photography when he realised that the albums prepared by him on Indian monuments were a hit with the British officers returning to Britain. Sir Henry Daly appointed him the official photographer for the Prince of Wales’s tour of India in 1875. He started accompanying the Viceroys, Lord Dufferin and Lord Elgin, on their tours. His interactions with Indian royalty gave him unmatched access to their world. By being the court photographer of the Nizam, Deen Dayal secured a generous patron and an easy access to British officers in the cantonment. He was probably the first Indian photographer to have a Zanana (ladies only) studio at Hyderabad which was run by a specially-appointed employee, Kenny Levick.

From glass plates to digital

Deen Dayal’s family had preserved the glass-plate negatives with history recorded on them. Those negatives required long exposures and hours of work. Each comes with documentation of the place and year, apart from the name of the royals or nobles. The commoners were categorised broadly with captions such as ‘Maratha’ and ‘Brahmin’. IGNCA has reproduced the originals after the entire collection of about 3,000 negatives were handed to them by the family in 1989. These were then digitised and the first exhibition took place in New Delhi in 2010. For all aficionados of photography, this show remains the best place to know how it all began for one photographer, arguably the first Indian professional photographer.

Raja Deen Dayal Photographs, 10 am to 5 pm till July 20, NGMA

source: http://www.bangaloremirror.com / Bangalore Mirror / Home> Entertainment> Lounge / by Jayanthi Madhukar, Bangalore Mirror Bureau / June 23rd, 2014

125 years of Salar Jung museum

Salar Jung Museum turns 125. / Photo: K. Ramesh Babu / The Hindu
Salar Jung Museum turns 125. / Photo: K. Ramesh Babu / The Hindu

Hyderabadis pick their favourite exhibits at the museum and suggest improvements, including a better display and a good cafeteria.

A visit to a reputed museum would entail spending a few hours observing collections displayed across spacious galleries, getting insights into the history of the land, partaking in an ongoing event at the premises and topping it off with a fresh brew and short eats at the cafeteria.

A well-informed guide or an audio guide comes in handy for visitors who do not want to pause and read notes along the museum. While this would be possible in leading museums across the world, how many museums within India can boast of giving such an experience? As Hyderabad’s Salar Jung museum celebrates 125 years this weekend, MetroPlus attempts to gauge the merits of the museum and possible areas of improvement through a few of its visitors.

A 19th century sculpture from France, a double statue of Mephistopheles and Margaretta, made of a single block of wood is one of the attractions at the Salarjung Museum. / Photo: K. Ramesh Babu / The Hindu
A 19th century sculpture from France, a double statue of Mephistopheles and Margaretta, made of a single block of wood is one of the attractions at the Salarjung Museum. / Photo: K. Ramesh Babu / The Hindu

National treasure

“The Salar Jung museum is a national treasure and is one of the better maintained museums in the country. A hurried visit might take a few hours but someone who keenly observes the exhibits is bound to take two days,” says filmmaker Indraganti Mohanakrishna who last visited the museum a year ago with his daughter. “It’s a great place where children don’t need to be engaged with gadgets. I liked revisiting the statues, the musical clock, arms and ammunitions gallery and was glad my daughter liked the Veiled Rebecca the most, which is my personal favourite too,” he adds.

Children taking photographs of the musical alram clock at the museum. / Photo: K. Ramesh Babu / The Hindu
Children taking photographs of the musical alram clock at the museum. / Photo: K. Ramesh Babu / The Hindu

Art curator and gallery owner Avani Rao Gandra, like many Hyderabadis, visits the museum accompanying guests. She appreciates the collections that showcase India, the Middle East and Far East. “I once spent a day at the museum researching miniature paintings. Apart from hosting fantastic collections, the museum organises travelling exhibitions of interest,” she notes. While Avani feels the museum has an advantage because of its autonomy, she feels there is scope for improvement. “A month ago, I saw the elevation being spruced up. The display needs to improve as well. A gallery hosting jade collections requires a different design compared to a gallery with textile collections. Art management is significant abroad. Recently, I found a sea change at the National Museum, New Delhi, where art students volunteered as guides and the complex also has a cafeteria. Our museum too needs a good cafeteria apart from a better souvenir shop to offer a wholesome experience,” she states.

Indraganti agrees, “While visiting museums, quite often we have children or the elderly and a good cafeteria is a necessity,” he says.

French artist Beatrice de Fays rates the miniature paintings as her favourite for their precision. “I can spend hours there,” she says, also marvelling at the Veiled Rebecca.

The Veiled Rebecca, a white marble statue by Italian sculptor Giovanni Maria Benzoni. / Photo: K. Ramesh Babu / The Hindu
The Veiled Rebecca, a white marble statue by Italian sculptor Giovanni Maria Benzoni. / Photo: K. Ramesh Babu / The Hindu

The well-travelled draw comparisons between museums abroad and in India, underlining the need for museums here to evolve. Ajay Gandhi of Manthan treasures the memories of visiting the Salar Jung museum on many occasions and talks about the sculptures, costumes, crockery and cutlery of the Nizam era, arms and ammunition, but feels the museum needs something more to engage visitors. “The archaeological museum at Acropolis, Greece, for instance, had recreated an entire excavated city at its basement. We need something more, besides the exhibits,” he says.

Visitors at the museum. / Photo: K. Ramesh Babu / The Hindu
Visitors at the museum. / Photo: K. Ramesh Babu / The Hindu

Inclusive space

The Salar Jung Museum scores with its accessibility to people from different walks of life. Museologist Anita Shah who has researched extensively on how people react to museums, has in the past given several professional recommendations to make the museum a more inclusive public space. “Several recommendations were implemented. I had suggested organising events to bring in different communities and allowing them to exhibit their art,” she says. Anita lauds the ivory collections, miniature paintings, manuscripts, textile gallery, artillery gallery and the jade gallery and hopes to see the museum grow stronger.

source: http://www.thehindu.com / The Hindu / Home> MetroPlus> Society / by Sangeetha Devi Dundoo / Hyderabad – June 19th, 2014