By Dr. C.D. Sreenivasa Murthy

Title:      Pranab My Father: A  Daughter Remembers

Author:  Sharmistha Mukherjee

Year:       2024

Pages:   368 pages

Price:     Rs. 795

Publisher: Rupa Publications India Pvt. Ltd.

A boy aged 11 years had come to Calcutta to attend the wedding of his eldest brother. The day was 16th August 1946, an infamous day in India’s history. Probably the worst communal riots in Bharat took place on that day, incited by the call for direct action given by Muhammad Ali Jinnah, the Founder of Pakistan. The family could not return to their village for several days till it was safe to travel.

The boy was restless. Someone handed him a notebook and a pencil to keep him occupied and asked him to write down his daily observations. This practice of chronicling his daily life and impressions every night after his hectic work schedule continued for over 70 years.

This young boy, Pranab Mukherjee, went on to become a six-term MP and a Minister for 23 years holding various high-profile portfolios of External Affairs, Commerce, Finance and Defence. The habit of diary writing continued throughout his busy life schedule.

When he retired after a full term of five years as the President of India in 2017, his diaries were 53 big volumes. These were handed to his daughter Sharmistha for safekeeping, with strict instructions to open and read them only after he had breathed his last.

Sharmistha has published the book ‘Pranab My Father: A Daughter Remembers,’  based on the late President’s diaries. The book is also partly biography and personal memoirs. It is also a chronicle of the political story of his times. The desire to publish the diaries posthumously is understandable as they have many frank and unflattering remarks about his contemporary political figures.

Mamata Banerjee was a long-time family friend of Pranab. She would frequently visit their house and often dine with them. Yet she vehemently opposed when Pranab was nominated for President of India. When Sharmistha asks about the strange behaviour of Mamata, her father’s philosophical comment is that she is always unpredictable. Eventually, the West Bengal CM changed her stance and supported Pranab Mukherjee for the Presidency.

Pranab was a lifelong staunch Congress party man. He was a protege of Indira Gandhi and he always looked up to her as his mentor. He was a stickler for rules, procedures and constitutional propriety. Surprisingly, his diary entries seem to be silent on the Emergency imposed by his leader. Probably, for whatever reasons, he had made his peace with the excesses of Emergency and his inner voice.

Despite his fanatic loyalty to Indira and the party, he had to face the ignominy of being suspended from the party by her son, the late Prime Minister Rajiv Gandhi. This suspension he attributes to machinations of the coterie around Rajiv. After about two years, he was reinstated in the party due to the efforts of his friends.

He mentions sycophancy culture and the absence of dissent in the party and general political discourse. Sharmistha sought her father’s advice about leaving the Congress party after her defeat in the Delhi elections, his answer was cryptic. He asked her to remember the sentence from the Bhagavad Gita, ‘Swadharme Nidhanam Shreyah’. (It is better to perish in your dharma), cryptically advising her not to change her swadharma which is the Congress party.

Like any ambitious politician, Pranab had his ups and downs in his political career. In one of his diary notings, he writes a political activist should always be alert, always active and develop objectivity, most importantly the ability to absorb disappointments is necessary.

His comments about Sonia Gandhi and her family are quite frank and acerbic. He tells his daughter that Sonia will never allow him to become the Prime Minister because there is a trust deficit between them. Again he ascribes this to the clique surrounding her. He is critical of Rahul Gandhi for publicly tearing the ordinance promulgated by the Manmohan Singh Government.

His sarcastic comment is that Rahul has the arrogance of the Nehru-Gandhi family, without their political acumen. When Pranab was honoured with the Bharat Ratna, the first family members were conspicuously absent at the ceremony at the Rashtrapati Bhavan.

Pranab Mukherjee spent most of his public life in the Parliament, both in Rajya Sabha and Lok Sabha. He had a deep understanding of the Parliamentary procedures and the Indian Constitution. He had many friends across the aisle in all the Opposition parties. He administered the oath of office to Prime Minister Narendra Damodardas Modi in 2014.

Both had risen from diverse backgrounds. Modi was a committed RSS person having risen from a Pracharak to the high office of Pradhan Mantri. Pranab Mukherjee was a die-hard Congressman having risen from a Cabinet Minister to the high office of Rashtrapati.

Surprisingly the PM and the President had great bonhomie in their relationship. It is said, the PM always touched his (Pranab) feet whenever he came to meet the President. Modi reciprocated this friendship by conferring the nation’s highest civilian honour Bharat Ratna on him. When President Pranab accepted the invitation to be the chief guest at RSS annual meet, Congress party urged him not to attend.

His daughter Sharmistha too dissuaded him and told her father that by attending the event he was giving legitimacy to Rashtriya Swayamsevak Sangh (RSS). His reply was, “Who am I to give legitimacy when people of this country have given it by electing a humble Pracharak of RSS to the highest political office of the nation.” The book, brimming with filial adoration, has many explosive comments, well-written with candour and appears a teaser for publication of the full transcripts of the diaries. The volume reminds us of the political landscape of those times and is eminently readable and unputdownable.

The post Book on Pranab’s diaries appeared first on Star of Mysore.

Plays crucial role by furnishing clinching evidence to Police resulting in many convictions

By S.T. Ravikumar

Visits to crime scenes by forensic experts and the number of cases handled by the Regional Forensic Science Laboratory (RFSL) in Mysuru are reaching unprecedented levels. In 2023, the RFSL played a pivotal role by furnishing crucial evidence to the Police in 5,058 cases and has assisted in many convictions.

Following directives from the Centre, forensic investigation has become mandatory in all crimes punishable by more than six years of imprisonment. Of the 5,058 forensic cases handled in Mysuru last year, 1,293 were biological forensic, 2,813 toxicology cases, 820 chemistry cases, 131 question document cases, 1 psychology case and 5 photography cases.

Biological forensics analyses biological evidence like blood, hair, tissue, DNA, etc., to link suspects to crime scenes or victims and used in homicide, assault, sexual assault and other cases involving bodily  fluids or tissues. Toxicology cases deal with poisons, drugs  and their effects on the body. It helps determine the cause of death in poisoning cases, analyse drug use in crimes and identify performance-enhancing drugs in sports.

Chemistry cases apply chemical principles to analyse various evidence like explosives, accelerants, fibres, paints, etc., and are used in arson investigations, bomb threats, hit-and-run cases, and analysing fraudulent products.

Question document cases examine documents to determine authenticity, authorship, alterations and forgery. Used in fraud investigations, document tampering cases and verifying wills or contracts.

Psychology cases apply psychological principles to understand criminal behaviour, assess witness credibility and evaluate mental competency. It includes polygraphs, narcoanalysis and brain oscillation while photography cases document crime scenes through close-up photos.

Timely collection of exhibits

Dr. Chandrashekar, Deputy Director of RFSL, told Star of Mysore about the significance of forensic investigation in bolstering Police investigations. He stressed that efficient and timely collection of exhibits is paramount, as it leads to more accurate and reliable scientific examinations, strengthening the cases against suspects in a Court of Law.

He highlighted the challenges faced during investigations, such as the decay and contamination of biological samples and the risk of physical evidence being tampered with or lost at crime scenes due to public activity. To mitigate these challenges, forensic experts provide crucial expertise in identifying and preserving evidence at the scene of a crime.

The forensic team plays a vital role in guiding Investigating Officers (IO) in handling evidence effectively. “Samples are collected and transferred to the IO along with detailed instructions on preservation and submission to the RFSL for examination,” explained Dr. Chandrashekar.

He emphasised the importance of presenting conclusive evidence to secure convictions in Court.

Mysuru RFSL in 2020

The Mysuru RFSL was established in 2020 and in Bengaluru, it was established in 2006. Dr. Divya Gopinath is the Director of the State Forensic Science Laboratory, Bengaluru.

In the Mysuru office, there are five Assistant Directors and the team comprises senior scientists who have obtained training at the National Forensic Sciences University, Gujarat.

To be able to tackle the increasing number of crime scene visits, the RFSL has procured a state-of-the-art mobile laboratory.

“The forensic analysis reports are typically submitted to the Police within a month of their completion. However, in cases of dowry death, these reports are prioritised and sent within seven days. For particularly sensitive or confidential reports, such as those involving high-profile cases or sensitive information, they are transmitted directly to the judges through secure online mechanisms. This ensures that the reports maintain their integrity and confidentiality without being passed through multiple hands,” Dr. Chandrashekar said.

The post Mysuru Forensic Lab gives 5,058 reports to Police in 2023 appeared first on Star of Mysore.

A well-known short story writer, leading feminist and freedom fighter, who met her tragic end at the young age of 27  

By C.P. Belliappa

Ramaiah couple in Madikeri, Kodagu, welcomed their youngest girl child Gowramma, on 5th March 1912 (not to be mistaken with Victoria Gowramma of Coorg, who was born in 1841).  The little bundle of joy immediately became the family favourite, what with elder sisters too playing mother to the baby.

Pampered by the family, Gowramma soon displayed a mind of her own and would not stop until she got what she demanded.  What was striking was her intelligence.  She surprised everyone with her precocious self-confidence, which in her adult life led to Gowramma emerging as a well-known short story writer with strong emphasis on feminine issues.

When Gowramma was six years old, her parents decided to make the arduous pilgrimage to Kashi. Arrangements were made for Gowramma to stay with her sisters since the journey to Kashi and back would take more than a month.  When Gowramma got wind of her parent’s plan, she threw a massive tantrum.  She insisted on being taken to Kashi. All the cajoling failed and her doting father had to relent.

However, this pilgrimage turned out to be a huge tragedy. Gowramma’s mother, Nanjakka, took ill during the train journey and by the time they reached Kashi she was critical. There was very little Ramaiah could do and within days, his wife died. Grief-stricken Ramaiah  performed the last rites on the banks of the Ganges. 

He now had the sole responsibility of looking after Gowramma who did not grasp the full import of the event. Ramaiah took the little girl for shanti pujas at various temples. In the hustle and bustle of Kashi, Gowramma got separated from her father. Ramaiah was despondent searching for the little girl. 

The sun was about to set and as a last resort, Ramaiah located the Police Station to seek their help. When he stepped into the Police Station, he was aghast to find Gowramma seated on the table chatting with the Constables. Relieved, he took her to Kashi Viswanath Temple to thank the Lord.

Several months passed before Ramaiah could come to terms with the tragedy. It was time for him to start planning Gowramma’s education. When Ramaiah mentioned a government school, Gowramma vehemently insisted on being admitted to the elite St. Joseph’s  Convent in Madikeri. 

Ramaiah, as a vakil, had good earnings and he agreed to Gowramma’s preference.   Once in school, Gowramma blossomed.  As her education progressed, she became increasingly inquisitive and bombarded her teachers and elders with queries.  Soon, she took to books and was a voracious reader. She knew far beyond her age and developed an independent intellect of her own.

However, society functioned differently. By the time Gowramma was 12 years old, her father and the rest of the family started looking for a suitable groom. They identified a young man named G.T. Gopalakrishna. She still had another year to complete her matriculation.  While accepting the man chosen for her, Gowramma told her father that she would move to her future husband’s home only after completing matriculation. Knowing how recalcitrant she could be, Ramaiah accepted her decision.

Gowramma’s wedding at young age of 13

Thirteen-year-old Gowramma tied the knot with Gopalakrishna in 1925 and moved to Sunticoppa where Gopalakrishna worked as a manager in the estate of a prominent and progressive coffee planter — Gundukutti Manjunathayya. 

They had comfortable accommodation in the plantation and had access to several facilities including a tennis court and a natural swimming pool in the stream that flowed through the coffee estate. Gowramma took to playing tennis and learnt swimming much to the consternation of members of her conservative family.

The Navodaya Movement in Kannada literature was at its peak at the time.  The movement initiated around the 1900s by B.M. Srikantaiah (BM Sri) encouraged original thoughts in Kannada literature and motivated writers to integrate the essence of English literature in exposing social evils in society. 

This renaissance in Kannada literature gave Karnataka brilliant litterateurs such as Shivram Karanth, Da. Ra. Bendre, Panje Mangesh Rao, Kuvempu,  D.V. Gundappa, Masti Venkatesha Iyengar and many others.  Gowramma immersed herself in reading books, short stories, poetry and essays by these eminent writers. 

Gowramma felt strongly about women getting raw deals at every level of society.  She was troubled by the fact that women were not protesting, rather, were helpless, in the blatant patriarchy, discrimination, caste rigidity, and atrocities against them.

What bothered her the most was the plight of widows.  She questioned child marriage, the dowry system, denying widow remarriage and treating them as outcastes; and lack of education for girls.

Gowramma’s very first short story written in 1931, when she was nineteen years old, was titled ‘Punarvivaha’ (Remarriage).  It’s a powerful story about a 35-year-old widower wanting to marry an attractive 15-year-old girl not knowing the girl was a child widow. When the girl reveals this to him, he is angry and disgusted. 

After a long dialogue, she holds up the mirror to the man of the double standards in society.  Finally, ashamed of himself he falls at the feet of the young widow and dedicates his life fighting misogyny in society.

In another story ‘Aparadi Yaru?’ (Who is Guilty?), Gowramma portrays the sad story of a young widow with a child who is excommunicated and is helpless and destitute. She had no recourse but to convert to another faith. In some of her stories, young widows, betrayed women, jilted lovers and abandoned women are driven to extreme despair and suicide.  

There are also stories by Gowramma, such as ‘Paapana Maduve’, ‘Kausalanandana’, ‘Sanyasi Ratna’, that are playful and have happy endings.

Mahatma Gandhi in Kodagu and freedom movement

Gowramma was an ardent admirer of Gandhiji and actively supported the freedom movement.  During a brief sojourn of Mahatma Gandhi in Kodagu in 1934, Manjunathayya drove the Mahatma in his car to various places in Kodagu. Gandhiji visited Manjunathayya’s estate for a break and met leading freedom fighters. 

Many women in Kodagu came forward to donate their jewellery to Gandhiji towards his charitable deeds. Gowramma decided to part with all her jewellery but wanted Gandhiji to personally visit her house. However, she was told to meet the Mahatma at Manjunathayya’s residence. Gowramma vehemently insisted Gandhiji visit her humble abode and went on a hunger strike! 

When Gandhiji heard about this he sent word for Gowramma to first come to Manjunathayya’s bungalow to break her fast and promised to visit her house.

Gowramma received an orange from Gandhiji who then accompanied her to her home. Gowramma gave away all her valuables except for her mangalsutra, earrings and nose stud. Gandhiji was most touched by this noble gesture.

By 1939, Gowramma had written 21 short stories, and these were published in periodicals such as ‘Prajamatha’, ‘Jaya Karnataka’, ‘Rastrabhandu’ and ‘Jayantha’.  Her writings were well-received by the public and were appreciated by well-known writers of the time such as Da.Ra. Bendre, Shivram Karanth, D.V. Gundappa, Muliya Thimmappaya et al.  

Interaction with eminent writers

Gundukutti Manjunathayya’s estate attracted these eminent writers, and this allowed Gowramma to interact with them. Gowramma received support and encouragement from contemporary feminist writers such as Nanjangudu Tirumalamba and R. Kalyanamma.  

Da. Ra. Bendre mentored Gowramma and advised her to publish an anthology of her stories.  Gowramma selected 12 of her stories and titled the book ‘Chiguru’ (tender shoot).  She requested Bendre to write a foreword for the collection, which he readily agreed. 

A month before the manuscript was to be sent to the publishers, Gowramma, for reasons unknown, changed the title of the book from ‘Chiguru’ to ‘Kambani’ (tears). Bendre was intrigued and was to make a few changes in his foreword.

It was a salubrious sunny day on April 13, 1939.  Gowramma, her husband Gopalakrishna and a nephew were to accompany Manjunathayya for a swim in the stream. Gopalakrishna had urgent work and was to join them later.  Gowramma walked to the stream where Manjunathayya and her nephew were already in the water. 

As usual, she climbed onto a branch overhanging the stream and dived into the deep end of the natural pool. When Gowramma did not resurface, Manjunathayya and her nephew were concerned and raised an alarm. Estate workers rushed to the spot to help but to no avail.  

Divers retrieve her body later in the day. It was the most tragic day for her husband and eight-year-old son Vasanthrao, as well as the world of Kannada literature. 

The literary world lost one of its most promising writers. Bendre, who used to refer to Gowramma as ‘nanna thangi Gowramma’ was heartbroken. He not only wrote a touching foreword for ‘Kambani’ but also penned a tearful poem eulogising Gowramma. She has left a lasting legacy as a writer, a leading feminist and a freedom fighter.

An English translation by Deepa Bhasthi, of Gowramma’s 21 stories, titled ‘Fate’s Game and Other Stories’ has been published recently.

I am thankful to Advocate S.R. Jagadeesh, a grand nephew of Gowramma, for sharing details of Gowramma’s life and for gifting her biography ‘Kodagina Gowramma’ by H. Nagaveni.

The post Kodagina Gowramma appeared first on Star of Mysore.

By Gouri Satya, Sr. Journalist

In over five decades of service as a journalist, donning a double role as the Editor of ‘Samachar’ and reporter of a few State and National Dailies, I had several experiences, many of which continue to be fresh in my memory. One such experience was significant and is worth recalling.

It was the Emergency period. Prime Minister Indira Gandhi had declared an Emergency all over the country. Many National, State-level and even local-level leaders had been taken into custody. At that time, D. Devaraj Urs was at the helm of affairs in the State. He had joined the Congress party in 1952, based on his strong political-ideological convictions.

As Chief Minister, he had given a new direction to the State, adopting progressive policies that brought him respect and admiration from all sections of the society. He initiated many programmes and policies bearing in mind the welfare of the people and the State, particularly those from the weaker sections.

When the Congress split into the Nijalingappa faction and Indira Gandhi faction in 1969, Devaraj Urs strongly supported Indira Gandhi and helped in the task of consolidation of the Indira Congress in the State. He enabled her to win all 27 seats in the 1972 Lok Sabha elections from the State and commanded respect. With his policies and dynamism, he had emerged as an alternative leader for his partymen. Indira Gandhi was aware of his abilities and appreciated his work both within the party and the State.

When Indira Gandhi imposed an Emergency in the country on June 25, 1975, he was unhappy. He was reluctant to follow her diktat and arrest many prominent leaders in the State. He was even critical of the imposition of Emergency and abuse of political power by her henchmen. Naturally, Indira Gandhi was not happy with Urs’ stance. Political differences began to crop up between the two leaders.

It was at this time that Indira Gandhi visited Mysuru. She stayed overnight at the Government House. The next day, when she woke up to take the flight back to Delhi, she was looking fresh and relaxed.

The early morning rain had made the atmosphere pleasant and pleasing. The air was refreshingly cool with the smell of the rain spread all around. Prominent Congress party leaders led by Chief Minister Devaraj Urs and senior officials were waiting to bid farewell to the Prime Minister at the helipad.

Those were the days when security was less tight than we see today. Access even to a Minister or a Legislator is difficult today. However, during my days, the scenario was different. One could have easy access to any leader without security checks and restrictions.

On that day morning, we were about 20 waiting for the Prime Minister, conversing with top Police officers and a few leaders who included the Chief Minister, his Ministerial colleagues and party leaders. There were not many of them and it was a small crowd. A refreshed Prime Minister came out of her car and began to walk towards the helicopter. We observed there was very little bonhomie between Urs and Indira Gandhi. Both were cold to each other, considering their political closeness. There were no whispers or a brief tete-e-tete as generally took place on such occasions.

The Prime Minister was walking past the pressmen. Trying to draw her attention, I asked her, “How was your stay, Madam.”

Indira Gandhi turned back and stood looking at the small group of pressmen. Having heard my question, she came a little closer to me and responding to my ‘Namaste’ with folded hands, she said, “It was pleasant. Mysuru is a beautiful city.”

Her next few words were loaded with significant meaning. It indicated the increasing differences between herself and Devaraj Urs, who was standing close to her.

“Ask your Chief Minister to invite me often,” she said, walking towards the copter.

Her last sentence revealed enough for a good copy as we say in journalistic language. There were already rumours about the political differences cropping up between the two leaders. Her reply further confirmed the rumours and gave us a good copy to write about.

The rest was history as they say. Political developments that followed brought about significant changes in the politics of the country. Devaraj Urs was expelled from the party. He was defeated in the election held thereafter in 1980 and R. Gundu Rao became the Chief Minister.

Two years later Devaraj Urs, who had emerged on the national scene as a dynamic leader and provided a new image to the State with his policies and programmes, including naming the State as ‘Karnataka,’ passed away, ditched by his close political associates, mental agonies and sickness hastening his end. It was the sad end   of a stalwart.

The post A momentous event in my career with Indira Gandhi appeared first on Star of Mysore.

Mysuru has long been renowned worldwide for its vibrant Dasara celebrations. However, now, for sometime to come, Mysuru will also be known as the birthplace of acclaimed sculptor who carved ‘Balak Ram,’ all thanks to the talented artist Arun Yogiraj, a third-generation sculptor from Mysuru.

Arun’s remarkable achievements have made Mysureans proud and has also solidified our city’s reputation as an abode of art and culture.

Arun’s three notable sculptures — the statues of Adi Shankaracharya in Kedarnath, Netaji Subhas Chandra Bose at India Gate in New Delhi, and now, Balak Ram in Ayodhya — stand as a testament to his exceptional skill and dedication.

Star of Mysore Managing Editor Vikram Muthanna spoke to Arun Yogiraj about his sculpting journey. Excerpts…

Star of Mysore (SOM): You have three prestigious sculptures in India. How did you get a breakthrough into North India as not many decision-makers there would know about artisans from the South?

Arun Yogiraj: Our biggest drawback is that we are far away from Delhi and getting access to decision-makers is not easy. I was able to get access to Delhi through the statue of Adi Shankaracharya, commissioned by Jindal Steel Works (JSW) through a CSR fund.

The company had taken up the restoration works of Adi Shankaracharya’s Samadhi, which was damaged in floods. JSW contacted various States asking for names of stone artists.

In Karnataka, they approached Dr. Mohanrao B. Panchal, Head, Department of Visual Arts, Kannada University, Hampi, who referred the names of five artists and I was one among them.

The company asked the artists to submit a 2-foot tall model of Shankaracharya. The models were presented to Prime Minister Modi and he liked my model. Later, I received a call informing me that my model was selected and was asked to sculpt the bigger statue.

SOM: It is said, you almost didn’t get to sculpt Subhas Chandra Bose’s statue. What happened?

Arun Yogiraj: I was in discussion to sculpt Netaji Subhas Chandra Bose’s statue. In the meantime, a meeting with the Prime Minister was pending as the PM wanted to meet me personally after the installation of Adi Shankaracharya’s statue in Kedarnath.

The meeting kept getting postponed. So I requested our Mysuru-Kodagu MP Pratap Simha to help me.

Since I had agreed to sculpt the statue of Subhas Chandra Bose, I had sculpted a miniature stone idol of Netaji. By this time, Pratap Simha got an appointment with the PM. He then not only helped me carry the small statue of Netaji in the plane despite weight restrictions but also made me stay at his MP residence in Delhi.

During our meeting, PM Modi enquired about the progress of Netaji’s statue. I informed him that I had not received any work order and that some people were approaching me for subcontract work for Netaji’s statue! 

The PM was surprised and immediately instructed Union Minister Pralhad V. Joshi to set the matter right.

After this, Union Minister for Culture G. Kishan Reddy was summoned. Even he was shocked to learn that I had not received any work order. Both Pralhad Joshi and Pratap Simha followed up and finally, I received the work order on June 13, 2022.

If I had not spoken to our MP and had he not got the Prime Minister’s appointment immediately, I would have missed my chance to sculpt Netaji’s statue. It would have probably been sculpted by someone else and credit would have gone to some other person who didn’t even sculpt it as it would have been subcontracted.

How Arun Yogiraj got selected to sculpt Balak Ram

SOM: How did you get selected to sculpt Balak Ram’s idol?

Arun Yogiraj: It all started with the search for the artist in January 2023. Three sculptors from Karnataka and another from Rajasthan, who are known to me, were informed about the work. But I was not informed.

I was disappointed that even though I had completed two national projects (Netaji and Adi Shankaracharya), I was not informed. But I consoled myself saying that I had already completed two major national projects, so it’s okay.

But then in April 2023, a meeting was held at Delhi’s Indira Gandhi National Centre for the Arts (IGNCA) to finalise the artists who will sculpt Balak Ram. In that meeting, IGNCA Member-Secretary Dr. Sachchidanand Joshi, who had personally seen my work in Delhi, was surprised not to see my name in the list of artists shortlisted to sculpt Balak Ram. Dr. Joshi then asked the Shri Ram Janmabhoomi Teerth Kshetra Trust to invite me to immediately present my work.

I was called overnight to Delhi. A few weeks later, 11 artists were shortlisted and three of them were finalised, I was one among them.

SOM: What style of sculpting did you decide on? 

Arun Yogiraj: I had to connect both North and South India and the black stone idol connects well with the Southern part. While sculpting the idol, I ensured that the jewellery was carved in Hoysala style. The attire was sculpted in  North Indian style and again the ‘kankana’ was sculpted in South style.

Lord Hanuman and Garuda have been sculpted in Tamil Nadu style. The Dashavathara has been sculpted with reference to North Indian temples. The Balak Ram idol is an amalgamation of the best Indian styles since the idol belongs to the entire nation.

SOM: What was your routine in Ayodhya when you were sculpting? 

Arun Yogiraj: The first day of work began by offering ‘puja’ to the stone as per rituals. The sculpting works began with offering ‘shila puja’ and tying ‘kankana’ to our hand which restricts us from taking up other works until the completion of work in progress. I made sure the ‘kankana’ was also tied to the hammer that I used for sculpting the idol.

For us, it was only ‘Satwik’ food that was allowed to be consumed. We were provided with sprouts every day, as we needed a lot of protein to go with our physical work. We were also taught yoga but when my first idol of Balak Ram was rejected, I stopped yoga as I was working in double shifts to carve another one.

SOM: You said that your first idol was rejected. Can you explain?

Arun Yogiraj: The first sculpture was 70 percent complete when a certain test conducted turned negative. Periodic tests are conducted to see the integrity of the rock. Owing to the rejection of the first idol, I lost three months.

Later, I started to sculpt another idol in September with another stone, also brought from Mysuru. Initially, I felt a bit nervous as I had lost time but on the other hand, I got clarity of what I needed to create.

Sculptor’s Studio in Mysuru

SOM: Tell us about your team which worked with you in Ayodhya.

Arun Yogiraj: I had my team members Nagaraju, Cheluvaraju, Siddaraju, Kumaresh and Jagadish, some of whom have worked with us for almost 30 years.

My team worked in batches, when one batch left after working on the pedestal, a new team would arrive to assist me in the design works.

SOM: The eyes of Balak Ram in some photos seemed to glow, is there some effect that you have given them?

Arun Yogiraj: There is no special effect given to the eyes. We apply ghee, honey and sugar to the eyes and cover them as part of the rituals. Some ghee and honey might have remained on the eyes on the day of consecration so maybe when they photographed it, light refraction may have given it a glow (laughs). On a serious note, we do not apply any chemicals, glass etc. It’s just an etched-stone effect.

SOM: Why did you use silver hammer & gold chisel to sculpt the eyes?

Arun Yogiraj: It is mentioned in Shilpashastra to use a silver hammer and golden chisel and a particular time (muhurta) is fixed for ‘Nethramilana’ (carving of eyes). In the case of Balak Ram, the muhurta was fixed by the head priest Ganesha Acharya.

Before sculpting the eyes, I took a dip in the Sarayu River, which was about 4-5 degrees Celsius, and visited the Hanuman Garhi (Hanuman Temple) before sculpting the eyes. We first inscribe the ‘beejakshara mantra’ on the uncarved blank eyes before we begin sculpting the eyes.

SOM: What is the actual height of the Balak Ram idol and what was the height and weight of the stone?

Arun Yogiraj: The height of the idol is 77 inches, 42 inches in width and it is 2-ft in thickness. The rock that was used was about 9½ ft in height and weighed 13,000 kgs. Now the idol weighs about 2,000 kgs.

SOM: Was there a regular inspection while you were working on the idol?

Arun Yogiraj: There were regular inspections being done for all three idols sculpted by different artists. The Committee Members were sensible as they used to visit all three sculptors without giving room for any suspicion of favouritism.

SOM: Apart from inspection by the Committee, we heard there was regular inspection by a monkey.

Arun Yogiraj: There were a lot of monkeys in Ayodhya near the studio where we were sculpting. But every day, a monkey would visit the studio between 5 pm and 6 pm and bang the door. I am not sure whether it was the same monkey though. I even have the video of the monkey roaming around in the studio. I don’t want to give it a connotation that it was a ‘divine visit.’ But all the same, it was an interesting coincidence.

SOM: Is there a copyright on Balak Ram? Can you produce miniatures to sell?

Arun Yogiraj: Actually, I told the Trust Members to copyright Balak Ram. Then MP Pratap Simha had the idea that if Ayodhya Trust can have the copyright and make miniatures of Balak Ram, it should tie up with the Karnataka Government to send black stone from Mysuru from which it can make these miniatures rendering them more authentic and worthy of the copyright.

Pratap Simha felt if this is done, then the Ayodhya Trust will get funds, sculptors will get continuous work, Karnataka will have a new revenue stream and Mysuru will also become famous as the Balak Ram miniature models made using the stone from Mysuru will be in millions of households across the nation and world.

Bringing Stones to Life

SOM: Now that you have achieved a great feat, there must be a lot of demand for your work. How are you managing it?

Arun Yogiraj: I have indeed been getting a lot of orders from across the world, especially from the USA and South Africa, both for idols and other works.

But I know my capacity and I cannot fulfil so many orders. So, I tell customers that it takes quite some time for me to complete a statue. If they are comfortable with that, then I take up the work else I provide them the contact of other artists. Also, it is good to have the work of different artists.

SOM: Are you running an institution to guide budding sculptors?

Arun Yogiraj: Yes, I am running a school called Bramharshi Kashyapa Shilpakala Shala, which now has 7 full-time students and during summer camps, children join us to learn line drawing, pottery and other arts.

I am planning to construct two additional rooms in my studio for the benefit of the students. Currently, I am not charging any fees because I want to give back to the profession which has given me so much.

SOM: Who should our readers contact if they are interested in learning sculpting?

Arun Yogiraj: Interested can contact my brother Yeshwanth on Mob: 99451-51505.

Making Mysuru proud…

For the foreseeable future, Arun Yogiraj will continue to enjoy widespread popularity as the man who sculpted the idol of Balak Ram. Despite his acclaim, Arun Yogiraj remains remarkably humble and transparent in his artistic approach, the qualities that undoubtedly contribute to his mastery.

Michelangelo, the great Italian sculptor, once said, “Every block of stone has a statue inside it, and it is the task of the sculptor to discover it.” Arun Yogiraj not only discovers it, he seems to almost bring it to life. He certainly brought a sense of divinity to the Balak Ram statue and in doing so, brought a lot of attention to Mysuru, reminding the world that our city still has it — artists and culture.

[Pic. by M.N. Lakshminarayana Yadav]

The post Sculpting Magic appeared first on Star of Mysore.

INTERVIEW WITH Trupty Somaiah By B.C. Thimmaiah

Trupty Somaiah occupies a distinctive realm within the digital and traditional art landscape. Primarily focused on creating and customising art and design, her works stand as a captivating study in contrasts and intricate detail, predominantly exploring shades of black and white.

Her artworks have been exhibited in galleries of major cities worldwide including New York, Miami, Tokyo, Milan, Rome, Toronto, Mumbai, New Delhi, Kochi and Bengaluru.

In a candid conversation at Star of Mysore office, Trupty Somaiah delves into her career as an artist, her experiences collaborating with clients and the profound impact of digital art on society and culture. Read on…

Star of Mysore (SOM): When did you decide to pursue art as a career and what led you to focus your work on the digital realm?

Trupty Somaiah: I have an art background and after a long hiatus, I rediscovered my passion in 2020 during the COVID-19 pandemic.

I initially returned to art through dot work, using a pen for convenience. At first, I created pieces for myself, but as I shared them online, I received positive feedback and requests for commissioned artwork. I started using an iPad and this enabled me to explore customised art further and I found that I excelled in this area.

As my online presence grew, I came across the ‘Plated Project,’ a competition seeking digital format artworks and I transformed my traditional pieces into digital copies. To my surprise, I won, prompting me to make my profile public. This opened doors to the digital realm.

SOM: Can you elaborate on  traditional and digital art?

Trupty: In essence, my traditional artwork involves meticulous, hand-drawn pieces bursting with colour and intricacy, crafted painstakingly.

This method demands intense focus and concentration, often feeling akin to a meditative practice. It also takes time and is hard to  find buyers.

Though I seamlessly transitioned between traditional and digital mediums, I concentrated on digital art and found financial stability by venturing into the realm of NFTs (Non-Fungible Tokens).

SOM: What are your primary sources of inspiration?

Trupty: They stem from the strength and courage inherent in women, qualities often underrepresented but present in every woman. I am drawn to beauty in various forms, from the elegance of a meticulously arranged pile of books to the symmetry found in everyday objects.

Additionally, I find inspiration in ordinary objects like bottles and flowers, often combining them in unexpected ways to create compelling compositions. At first, my artistic exploration was confined to specific themes, but now I revel in the freedom to explore diverse subjects.

SOM: Describe your art process between ideation and finalisation.

Trupty: The process begins with identifying the emotion I aim to convey through the piece. Whether it’s beauty, sadness, excitement or any other emotion, this initial decision sets the tone for the entire composition.

I start by researching and deeply studying reference images, focusing on realistic elements that can evoke the desired mood or emotion. Once I gather inspiration, I move on to creating rough sketches and composing the images.

I often employ the rule of thirds — dividing the canvas into thirds vertically and horizontally, aligning key elements according to the natural movement of the viewer’s gaze. This technique helps emphasise focal points and build around the central concept of the artwork.

Despite lacking formal training beyond my art background, this approach allows me to express myself authentically and connect with audiences on a deeply emotional level.

SOM: How do you balance artistic expression and client demands?

Trupty: While artistic freedom can sometimes be limited by client specifications, I’ve been fortunate to attract clients who appreciate my unique style and seek artwork based on it. However, I also enjoy embracing challenges and finding a balance between my artistic expression and the client’s requirements.

SOM: How do you see digital art shaping society and culture in the long term?

Trupty: Traditional oil paintings were considered the pinnacle of artistic expression. With the emergence of digital art and now the advent of AI-based art, there is an understandable apprehension and insecurity among traditional artists.

It’s important to recognise that different art forms do not threaten each other; rather, they often complement one another and contribute to the rich diversity of artistic expression.

I feel by embracing change and evolving alongside new developments while maintaining a solid artistic foundation, artists can continue to thrive and excel in an ever-evolving artistic landscape.

SOM: What role does technology play in your artistic endeavours?

Trupty: Technology has revolutionised every aspect of my artistic journey, from the initial ideation phase to the final sale of my work. Without the reach of technology, my art would have remained confined to a limited audience, but through online platforms, I’ve been able to garner global recognition.

Whether it’s inquiries from New York, Malaysia, Singapore or other distant places, social media serves as the primary avenue through which people reach out to me to inquire about my work.

SOM: Tell us about your aspirations and the road ahead.

Trupty: It’s essential to realise that there are numerous paths to success and fulfilment beyond traditional professions like engineering or medicine.

I want to inspire others and to live authentically, pursue my dreams and find fulfilment in every aspect of my life, regardless of external pressures or expectations.

The post Beyond the BRUSH appeared first on Star of Mysore.

By R. Eshwari

Raquel loves yoga, baking and Mysuru. Armed with a degree in Physiology and Biomedical Science, she is the Founder of Local Friendly Bakery,  Vontikoppal. She firmly believes that attention to detail and creativity blossom with practice, a philosophy rooted in her upbringing.

“I’ve been enveloped in the aroma of freshly baked goods for as long as I can recall,” she reminisces. Her mother, a dedicated baker, would craft delectable treats every Friday for no fewer than 14 families.

The tradition of baking runs deep in Raquel’s family, a heritage she proudly upholds. Fleeing Egypt due to escalating anti-Semitism, her family found refuge in Guatemala in Central America. Amidst upheaval, food became their anchor, preserving cherished cultural practices.

Following her academic pursuits, Raquel embarked on a brief hiatus, journeying to explore her passions. Intent on mastering both yoga and pastry craft, she visited Mysuru. However, the COVID-19 pandemic disrupted her plans, leaving her stranded and unable to indulge in her beloved pastime of baking.

“During that stagnant period, I longed for the comfort of a freshly baked croissant,” she says. Determined to recreate the experience, Raquel briefly joined SAPA, a popular restaurant in Gokulam, to hone her croissant-making skills. Nearly two years later, Raquel turned her passion into a full-time profession, emerging as a skilled baker renowned for crafting irresistible delights that captivate her clientele.

Many of the recipes featured in the bakery have been cherished heirlooms passed down through generations. The recipe book, a treasured keepsake, holds a collection of their most beloved baked treats. Within its pages lie the secrets to her grandma’s renowned taco seasoning, her mother’s delectable banana bread, as well as recipes for bagels, blackberry cake and more.

Raquel’s grandmother found refuge as a refugee in France for a year, while her father’s family resided in Iran until the revolution in 1979 forced their displacement. As a result of these rich cultural influences, the bakery offers a unique menu that tantalises flavours from both Egyptian and Parsi cuisine.

Operating on a weekly schedule, the bakery promises a delightful surprise with each visit, as Raquel continuously introduces new and exciting creations. “I like to keep things fresh and interesting,” she says, underscoring the bakery’s commitment to an ever-evolving menu.

“For a baker, mastering the art of recipe interpretation and execution is paramount. It’s where everything begins.

I advise aspiring bakers to immerse themselves in multiple recipes for the same item to refine their skills,” she recommends.

The bakery’s weekly menu changes not only to embrace seasonal ingredients but also to reflect the weather and special occasions, such as featuring chocolates during Valentine’s week.

Initially baking solely for personal enjoyment, Raquel has since embraced the philosophy of turning passion into a profession. “Find something you’re passionate about, something you’d do for free, and make it your career,” she advises.

Despite the demanding nature of her profession, Raquel has discovered a new-found enjoyment in baking on a larger scale. While acknowledging the long hours and occasional challenges, she remains dedicated, often spending up to 20 hours a day at the bakery. She attributes much of her success to her supportive staff, who share her enthusiasm and dedication.

A challenging journey

As a woman and a foreigner, establishing a bakery in Mysuru presented its challenges. Raquel’s journey was marked by trial and error, with her partner, proficient in Kannada and engineering, providing invaluable assistance in navigating bureaucratic hurdles and setting up operations. Raquel believes that entrepreneurs must learn the local language.

Although she misses her family, Mysuru has provided Raquel with a sense of belonging, offering a warm climate reminiscent of Guatemala. “Mysuru feels like home, with its tropical flora and friendly people, despite the architectural differences,” she says.

Raquel’s advice to aspiring female entrepreneurs is simple: Pursue what you love. She acknowledges the sacrifices that come with entrepreneurship but encourages perseverance, stressing the importance of continuous learning and adaptation to stay ahead in the ever-evolving business landscape.

The post From Guatemala to Mysuru A Baker’s Journey appeared first on Star of Mysore.

By S. Kenneth Shishir

The tradition of firing cannons, initiated by the East India Company in the early 18th century with the 21-gun salute — the highest honour bestowed upon rulers or top-ranking officers — is still observed today.

This practice is a mark of reverence to the presiding deity of Mysuru, Goddess Sri Chamundeshwari, during the Jumboo Savari on Vijayadashami Day.

Executing the firing of the traditional cannons, housed in the Mysore Palace, demands both skill and courage.

The gunner, responsible for igniting the fuse and the staff from the City Armed Reserve (CAR) force endure the thunderous sound of these cannons. The cannons are used to perform a 21-round salute within a minute, with each cannon firing three rounds, from seven cannons totalling 21 rounds.

Among the esteemed gunners is 77-year-old Anthony Cruz, a retired member of the CAR with a service record spanning over 39 years.

A resident of Raghavendranagar in Mysuru, Anthony Cruz joined the Dismounted Company (now City Armed Reserve) Police force in 1966 as a Constable. He retired on May 3, 2005, holding the rank of Head Constable.

Notably, Anthony was enlisted into the ‘Pirangi Dal’ (cannon firing squad) in 1996-97, where he served as a gunner for 28 years until 2004.

Anthony Cruz claimed that initially, the gunpowder for the cannons was sourced from London, and later, it was procured locally from Ballari and Arasikere in Hassan. Emphasising the importance of security, he noted that stringent 24×7 measures were in place to safeguard the gunpowder.

Highlighting the cannon inventory, Anthony mentioned the presence of three short-barrel and four long-barrel cannons. However, during Dasara, only three cannons were utilised to perform the 21-gun salute.

The boom sound

Anthony recounted the tradition of firing 21 shots near Mysore Palace and an additional 21 rounds at the Torchlight Parade Grounds in Bannimantap. The cannons used near the Palace were then transported in the Dasara procession (Jumboo Savari) to Bannimantap, where another 21 shots were fired.

He reminisced about the heightened intensity of the cannon sounds during his tenure, stating that the current cannons produce sound levels almost three times lower. “My heart used to skip a beat to the booming sounds of the cannons as the intensity of the sound was almost triple than the sound produced by the cannons now.”

In consideration of the safety of the staff during cannon firing, precautionary measures were taken. Two fire-resistant dungarees (dangri), typically worn by firefighters, were procured from Mandya and Hassan, as the Mysuru unit had only one. These measures aimed to mitigate the risk of accidental fires during the cannon firing ceremonies.

Communication through flags

During that era, due to absence of sufficient wireless equipment, communication was facilitated through use of flags, which were manoeuvred in various directions. Anthony recalled that 21 shots were fired in two minutes when the English Band played the National Anthem.

Initially, the responsibility for the cannons rested with the Dismounted Company, which executed the firing during Dasara at Gun House. Subsequently, cannon firing operations moved from inside Mysore Palace premises to the area outside the Palace, which is now utilised as a parking lot.

Reflecting on a noteworthy incident, Anthony shared an experience when a 21-gun salute was halted midway. During the visit of the then President of India, Giani Zail Singh, a 21-gun salute was ordered in his honour. However, after firing 18 shots, the salute was abruptly stopped as the President expressed discomfort.

Anthony, who was also a sportsperson, boasted of winning numerous prizes in various sports meets, earning commendation from his senior officers.

No health benefits

Despite his fitness during his service, he now faces respiratory problems attributed to prolonged exposure to gunpowder smoke over his 28 years of cannon-firing duty. Anthony lamented the financial burden of medical treatment, as retired Policemen do not receive health benefits.

Additionally, Anthony served in the Special Task Force (STF) formed to apprehend the notorious sandalwood smuggler and poacher Veerappan.

Despite being recommended for the President’s Medal eight times during his 39 years of service, Anthony expressed regret at not making it to the list, attributing it to a lack of recognition from the authorities.

Presently, he resides with his wife Mary Elizabeth and daughters Irudaya Mary and Sagaya Mary at Raghavendranagar in Mysuru.

Rubbing shoulders with dashing Kabir Bedi

Anthony Cruz seized a unique opportunity to capture a photograph with the charismatic Kabir Bedi when the Bollywood actor visited Srirangapatna for the filming of the 1996 television series, ‘The Return of Sandokan.’  Anthony, along with fellow Police personnel, was assigned to provide security to the actor and the crew throughout the shooting period.

The post BOOM… Gunner Anthony Cruz recounts the tradition of 21-gun salute appeared first on Star of Mysore.

Once vibrant century-old Rama Mandiras of Mysore fading into oblivion

By Maya Sitaram

The frenzied fervour with which the Ram Temple at Ayodhya was inaugurated transports one to the memoirs of the unique music tradition reverberating from the innumerable Rama Mandiras in                   Mysore for over 200 years.

In the quaint bylanes of Mysore’s old localities, Lord Rama was celebrated by placing and presenting him in beautifully built structures — Mandiras — which have now become ‘heritage.’ But amidst the innumerable heritage buildings spread across the city which include the magnificent Palaces and other majestic buildings, the smaller and localised Mandiras are obscured and long forgotten.

At the beginning of this century, there were around 120 Rama Mandiras in Mysore with various vintages, some with known and a few with unknown antiquity. Exact number is not known. There was one on each road, says an avid Mysorean. Of these, perhaps 25-30 were of heritage value. Even the heritage experts are unaware of the existence and/or decay of some of the old Mandiras, maybe because of too much ‘antiquity’ on their hands.

The Mysore Heritage Area Development and Preservation Expert Committee has listed 198 heritage buildings in the city. The Bidaram Krishnappa’s Sri Prasanna Sita Rama Mandira located on Narayana Shastry Road and Sri Ramabhyudaya Sabha, Srirampet, are the only two Mandiras which find the place.

The former was inaugurated in 1928 and the latter is 133 years old, thereby making it clear that being ‘100,’ as defined in the Mysore Ancient and Historical Monuments and Archaeological Sites and Remains Act, 1961 and Rules, 1965, is not the only criteria applied.

The impasse of being ‘heritage’

The attributes of being ‘heritage’ include having architectural, aesthetic, historic or cultural value inherited by people as per the Karnataka Town and Country Planning Act, 1961. The Kunchitigara Rama Mandira, Santhepet, is not listed despite possessing these qualities and being 140 years old.

The Act also says that the buildings which have their history reflecting the culture of the people when they came into existence should be preserved but is this possible when heritage buildings and assets therein have been unrecognised however unusual and priceless they are?

Traversing the old Mysore area, one comes across several big and small Mandiras, some of which are on the verge of collapse and need urgent restoration. These Mandiras were built by the weavers, wrestlers, traders, merchants, washermen and fishermen communities each of which had a specific caste and cultural identity. The Mandiras were built to provide a platform for social and cultural activities for the surrounding neighbourhood which communed to sing Bhajans and listen to the discourses from the epics (Harikatha). The Ramanavami festivities were celebrated with much gusto, bringing in stalwart musicians to the city and adding to the cultural fabric. 

The Wadiyars ಆಳುವ ದೊರೆ supported the festivities with funds and, at times, with Palace honour/s. From 1900, for about fifty and odd years, it was fashionable to build ‘hathu janagala’ Mandira —  ಹತ್ತು ಜನಗಳ ಮಂದಿರ — which laid its foundation on public participation in institution building and management. Most of the Mandiras were attached to a  ‘garadi’ (ಗರಡಿ), a place equipped for physical training.

Crumbling Heritage

Old-time Mysoreans recollect the disappearance of a Mandira at Ittigegud due to neglect, another at the cross road of Ashoka Road was demolished to make way for a commercial complex, the list is endless. There are a few more which are on the verge of collapse like the Premaleela Sri Rama Mandiram at Sunnadakeri. 

Community participation and contribution dwindled with the advent of time and television, thereby leading to apathy and the collapse of many of the Mandiras. A few of them were converted to temples as it attracted people and the revenue needed for the upkeep and maintenance. Lack of funds, lack of leadership and intra-family conflicts are some of the factors which led to the neglect.

The sustainability concepts introduced by some of the founders, of building and renting out commercial spaces within the Mandira precinct, have not yielded the desired results due to many factors including inflation. Added to it is the boom in real estate prompting the Mandira managers to wait for the collapse of the structure, such is the misery of urban heritage.  

Conservation!?

The modern-day utility of the Mandiras has taken different hues. Some have a modern touch to the flooring, wall etc., to keep up with the trend! Jaade Sanjeevayya Rama Mandira, Veeranagere, close to Central Jail, is being used as a backend kitchen of a fast-food restaurant, Belle Rama Mandira located at the bylane of Irwin Road is used as a carpentry workshop. Mysore Style Painting of Sri Rama at the altar, old-type mantapam and Lord Hanuman in metal relief work which was earlier used as processional images are the remnants!

Not following the old way of restoration processes has lessened the antiquity value, this is less understood and appreciated. Different definitions and perceptions of what constitutes ‘heritage’ by different authorities add to the confusion! There are no adequate policies or execution which protect, promote, conserve and enhance the heritage value. Framing of the Heritage Act has seen a decent burial!

Incentives by the Government for the upkeep of the premises, waiving property tax, organising Rama Mandira Tours, including the Mandiras on the world map along with the other known heritage structures are ways by which visibility is created so that the Mandiras stay, thrive and enhance the heritage value of the city and add to ‘Our Heritage, Your Destination.’ 

If not all, at least identify the ones that could be salvaged and restore to its past glory in order that the Rama Mandira is seen and appreciated at one’s own backyard than only at Ayodhya!

The post Neglected Legacy appeared first on Star of Mysore.

When a Brilliant Mathematician wed a Graceful Mysorean at a grand hotel in a stylish manner

By Girija Madhavan 

While dining at the Hotel Metropole in Mysore recently, I watched as a festive table was being prepared for a party; bringing back a sheaf of memories of a wedding lunch there in 1952.

At 14 years of age, it was my first formal luncheon in a stylish hotel and Metropole was indeed a grand hotel back then.

In those days, sumptuous wedding meals were customarily served as “Ele Oota” [food served on banana leaves] to guests seated comfortably cross-legged on the floor. This was going to be different.

This stylish wedding at Metropole that I’m reminiscing is that of my older friend Lalitha Kale with the legendary Harish Chandra, who many may not know now.

Lalitha’s father Dr. G.T. Kale, a scientist in the Central Food Technological Research Institute (CFTRI), came to Mysore in the 1940s with his Polish wife Hadasa Kale and their daughter Lalitha Kale, fondly called ‘Lily.’ We became close family friends.

Lily was born in Poland in 1934. The family got away from Europe and arrived in Bangalore when Lily was about 6 years of age. Sadly, Hadasa Kale, to her great grief, lost almost all her family in Poland during the Second World War. Lily had her schooling in Bangalore and joined Philomena’s College in Mysore for graduation. She shared a Tonga with some girl friends for the ride from her home in Vontikoppal to the College.

I always recall her as one of the most beautiful women I have seen. A statuesque 5’9” tall, with chiselled features, strongly marked eyebrows and exquisite colouring, she was the ‘Elizabeth Taylor with Brown Eyes’ to her admirers. Generous and kind by nature, Lily drew people of all ages to her.

Mukta, my mother was close to her, corresponding with her and marking her birthday on Nov. 26. She kept many letters of Lily’s from abroad, writing her a poem about ‘Lily under alien skies’!

Dr. Harish Chandra [1923-1983] was an Indian-American Mathematician, born in Kanpur. Roger Howe, in his biography of Harish, recounts that he was first to take up academics as a career in his family, his brilliance recognised even in his teens. Harish interacted with Sir C.V. Raman and Dr. Homi J. Bhabha. He studied with Mathematician Paul Dirac, considered the Founder of the Quantum Field Theory.

In Bangalore, Harish Chandra got to know the Kale family and Lily as a young girl. Charmed by the grown-up Lily, Harish proposed to her and their wedding was set for 28th December 1952 at Metropole Mysore.

It was a special day, not only because it was my close friend’s wedding but also because it was at the stylish Metropole hotel. For the occasion, Lily had given me a seed pearl necklace of hers which I wore with a saree for the luncheon.

Metropole’s dining room was glamorous with flowers everywhere and mirrors with ornate frames glittered on the walls. The chandeliers from the ceiling gave it a grand look and feel.

I remember Farrokh K. Irani and his wife Sheila, who had moved to Mysore in 1951 and had later set up Jawa motorcycle factory, were in attendance along with other stylish Mysore society folk. Luncheon was served, speeches made and toasts drunk in a happy ceremony.

The couple then moved to Princeton in the US where Dr. Harish Chandra, in an idyllic and supportive marriage with Lily, scripted his mathematical legacy to the world. Starting as a Theoretical Physicist, he became one of the greatest of modern Indian Mathematicians. He was awarded Padma Bhushan in 1977.  He died in Princeton at the age of just 60 in October 1983, after a heart attack.

Their life story, illustrated with photos, has been written by their daughters, Premala Chandra and Devaki Chandra, in ‘Bhavana,’ Mathematics magazine published by Bhavana Trust.

I lost touch with Lily over the years. I called her in 2003 while I was in New York. She invited me to have lunch at her home in Princeton, a date I could not keep. She passed away in 2019, her memories as bright and vibrant as her personality.

The post The grand wedding of 1950 in Mysore appeared first on Star of Mysore.