Known Stranger

Things often change
Making you realise, nothing is permanent.
This journey called life
Often takes you to different places
To meet people, create memories,
Learn lessons, teach through experience,
And depart to the abode of peace in heaven or to rot in hell.

What is more difficult?
To find a soul, who would last forever,
Cling to and lean on that shoulder
and cry when you're hurt,
Or smile together and collect memories.
The toughest job ever.

You think you know some people,
Believe on their innocent looking faces,
Trust them, think for their welbeing.
Their enemies become yours,
And their happiness becomes yours.

But things are never simple as it seems,
Soon you would realise,
Those persons are just known Stangers,
Estranged to your surprise,
Everything was a lie,
An illusion created by their aura.

Life teaches you to move on,
And experiences teach you not to repeat them.

The voice of that known stranger
Which used to sound sweet,
Is felt like poison today.
The voice with whom everyday was pleasant,
Is felt like thorns today,
The Voice of that Known Stanger...
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Art that Speaks a Different Language

      

Age is just a number – how often have we heard the adage. When it comes to art and creativity, the number of years spent on the planet does not matter, provided one is creative enough. Despite lack of a teacher, they develop their own language and style which earns them acclaim and admiration. 

There is no age to follow one’s passion and 86-year-old Banambar Nayak of Pateli village, near Raghurajpur, is a living example. He was around 50 years old when his imagination on woods took a firm shape in the form of masks, idols among others works. A self-taught artist, Banambar's wooden works are unique in appearance and speaks a different language that sets him apart from other artists.
  

Residing in a thatched roof and mud wall house, Banambar’s creativity turned the front side of the house into an open-air gallery with his works on display. "Like a child loves to play with mud and friends, I love to play with wood and sharp chisel. Art is a passion that I follow," said Banambar.

Hailing from a warrior family, weaponry of different styles and design, which was, later, converted into tools for carpentry works, always existed around him. Most of the family members worked as either carpenters or farmers. Before following his artistic passion, Banambar used to work in fields and engage in carpentry.

"I was 50 years old, I took a wood and made two masks and displayed it in front of our house. A few tourists saw my work and took pictures of it. I got motivated and started making more such masks and wooden idols," he said.  

  

The journey, which began as a wood artist some 36 years ago, continues.

"Initially when I started making wooden idols, my family members were unhappy and thought I was crazy. But the moment they saw foreigners purchasing my work, they encouraged me to make more idols," Banambar shared, quite amused at the change.

A self-taught artist, he never took any formal training in art. Art comes naturally to Banambar. "I don't plan. Whatever impression comes to my mind I make it," he shared. Most of his art works are based on the popular Hindu mythological characters which look amazing in his creations.

 


To pour out his imagination, he uses materials easily available near his house or from coconut farm. "I don't use expensive woods. Rather I practice my artwork on any wood I find," he shared.

In 2015, an art admirer from Rajasthan purchased all his works that were around two mini trucks. Within a few months, he again made numerous works and displayed in front of his house. "When people appreciate my works, it gives me immense satisfaction. I few years back a woman from Rajasthan came and bought all my works. Many foreigners who visit me appreciate my work and buy smaller artefacts," he said.


His wife Sundari Nayak is happy about her husband’s vocation. "Earlier I used to consider this as waste of time. But, with time, my thinking and perception has changed. Now I support him and often show people his creations," said Sundari.
                                                                      
Banambar with his wife Sundari
Though financially not sound, Banambar never let anything come in between his love for wooden art and creativity. Away from the maddening crowd, he silently follows his passion and survives on the admiration that occasionally comes his way from foreigners and a few art lovers. Purchasing a few works will defiantly help the artist to continue his passion.
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Silent relationship between Me and my brother Munna


Growing up during my early childhood days I always had a complaint with God. I always thought God was biased towards me, as he gave me a silent brother who could never understand social things, with whom I could never have a verbal conversation, arguments or discussion.

A gap was always there, still we were inseparable. Wherever I would go, he would always follow me and wherever he would go, I was bound to follow him.

Most part of my childhood in Kalaktang, Arunachal Pradesh went searching my naughty brother here and there as most often he would run away from home. The moment I would enter the house after school, my mother would say, “Munna phir bhag Gaya hai jao usko dhundke lao.” And I without option would roam around all across the valley of Kalaktang, from Labour colony to medical colony, Hydel power colony and ask everyone “Apne Mere Bhai ko Dekha hai ???”



After walking around various colonies I would always find him somewhere near some water source, playing with water and mud. He would always be in mess, and I would start crying. Most often he used to run away the moment he would see me, and I would run behind him. He even used to throw stones at me, injuring me several times. During those days I used to hate everyone for putting me in such a situation.

This thing started when I was five years old and it continued till I turned 10, after that he was admitted in a Hearing Impaired School in Bhubaneswar. So, my everyday quest for my naughty brother stopped for a while.

As a kid my only wish used to be to have a normal brother. I wanted to have a big brother like Ruby Bhaiya and Shiva Bhaiya who used to stay adjacent to us.

When I was in sixth standard, I wanted to tie a Rakhi to Shivkant bhaiya and make him my elder brother. I even bought two Rakhis, one for Munna, my brother and another for Shivkant bhaiya who was my neighbour. I was about to visit his house to tie the Rakhi, suddenly one of my classmates Roma came to my house boasting that he got plenty of gifts after tieing Rakhi to several boys. Surprised, I asked her,”Why you tied Rakhi to several boys, you already have a brother?” to which she said, “Rakhi Bhai real Bhai thodi hota hai woh toh gift milta hai isilye bandh detein hai.” She even told me that she tied a Rakhi to Shivkant bhaiya.

I was shocked with her definition of Rakhi brother, I looked at my Rakhi which I bought for Shivkant bhaiya, became sad, cried a little and then put it into a box. That Rakhi remained with me for quite a long time, till my graduation.

Anyway Rakhi or no Rakhi, I always consider Shivkant bhaiya as my elder brother. We haven't met since 1995.

Over the years, I became too protective for my brother, Munna. He is still naughty, and often make me cry with his mischievous acts, but I consider its my duty to protect him from all the evil eyes who are ready to snatch away everything from him.

When I joined Orissa Post in 2015, I often used to reach home at 11 pm. Despite health issues, my father would always come to Jatni-Khurda Bypass to pick me up. Munna, who has learned cycle, would often request me and papa to allow him to pick me. But I was not willing to risk my life sitting on his bicycle.

But one day, while I was waiting for Papa at Jatni-Khurda Bypass, my brother came and insisted me to sit on his bicycle, he promised that he would be careful and 'Bhagwan ka naam leke mei baith gayee'.



First day was OK, but second day we both had a minor accident, and by third day I refused to take another risk. The journey on his bicycle which started in 2015 still continues. Over the years we had four major accidents, twice we almost collided head-on with a truck, and twice collided with a boundary wall. I still pray before sitting on his Bicycle. He has been requesting us to give him a bike, 'Bhagwan, Cycle mei hi woh kitna accident karta hai, Bike mei Kya karega📷🙄📷🤯.'

Anyway, I have vowed to protect him till the end, but he is also trying his bit to protect me as long as I live.
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Biranchi Narayan Temple: Wooden Konark Temple

Intricate wood carvings on the Ceiling
The Sun Temple in Konark is a marvel etched in stone. Although its architectural style and scale is difficult to be replicated, it does, in fact, have a replica of sorts, though in wood! Known as the ‘Wooden Konark’, Biranchi Narayan Temple, in Buguda in Ganjam district is the second Sun Temple in Odisha that was built in 1790 by King Srikar Bhanja of Bhanja Dynasty. Dedicated to the worship of the Sun God, it is also second called as ‘Arkhakhetra’.


Sadly this beautiful temple is deteriorating day by day due to lack of attention by the authorities of archelogical departments. The walls of the temple contains  beautiful murals but they are vanishing. The inside and outside Mandapa contains beautiful wood works which were  originally painted in water colours. But recently the temple authorities have started painting some of the works with regular paints which has ruined its beauty. If something is not done immediately soon the murals  and wood works would become a history.
While interacting, Bhaktaram Das, parichalak of the temple for the last 15 years, shared, "Though the temple was built in 1790, there was no deity installed inside. The idol of Lord Biranchi Narayan was brought in much later. The idol was recovered from the ruins of Malatigarh." It is interesting to note that while the temple belongs to Bhanja Dynasty, the idol belongs to the Somvanshi Dynasty.

Just like the Sun Temple in Konark, the Biranchi Narayan Temple is also built in the form of a chariot driven by seven horses. However, the latter has only one wheel on its left compared to the former, which has 24 wheels. That is not the only difference though. "The Konark Sun temple faces the east whereas Biranchi Narayan Sun Temple faces west. Similarly, rays of the rising sun fall on the installed Surya at Konark Temple while the rays of the setting sun fall on Surya's feet at Biranchi Narayan Temple," Das said pointing out the other differences.
Half Wheel 
The architecture and carvings on its walls being the major attraction, the roof of the temple is constructed on 46 pillars and contains intricate wood designs, which narrate the story of Mahabharata. The walls of the temples have paintings that describe the entire Ramayana. The paintings/carvings on the ceiling of the entrance mandapa tell all the stories from birth of Lord Krishna to His Uncle Kansa’s death. The ceiling of the inner mandapa narrates the story of Lord Ram’s birth to Ravana’s death. 
Story of Ramayana on the walls 
Lamenting at the deteriorating condition of the temple, Das said, "There are no authorities who could take the responsibility for the renovation and maintenance of the temple. The wood carvings are waning and to protect them, we painted them with normal paints in 1960 but it needs maintenance. Similarly, most of the wall paintings have eroded and we don't know any technique to restore them."
There is also a map of Puri town in the 17th century but most of it is worn out and needs immediate conservation.
Map of Puri Town
“The wood carvings were originally painted with water colours but now with regular paint, it's beauty has been completely destroyed. The temple is under the state archaeology department but they haven’t taken a single step towards its preservation and protection," added Das.
In foreign countries, the archeologist are technically really advanced and they have proper knowledge to conserve and preserve such beautiful art works. I hope somebody would understand  its importance and would come up with better ideas to protect the art works, he added.

 There is a general belief among devotees that those suffering from eczema are cured if they worship the Sun God here and donate things whose name start with the 'B' sounding syllable.
The temple also has a wide collection of 400 books of which around 200 are ‘Tala Patra Pothis (engraved palm leaves documents)’ on Odia vyakarna (grammar), Puranas and texts on Ayurveda medicines among others.
Pothis and palm leaf Manuscripts  
Maghasaptami, Samba Dashami, Rath Yatra, Danda Yatra (in April), Durga Puja and Kali Puja are the major festivals celebrated here.

Published in MyCityLinks
PC: Rakesh K Roul
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Itafort: The state heritage of Arunachal Pradesh




When we visit a place, the first thing we want to know is its history. Every place has a story of its own - some we gradually learn, but there are some stories which remain unexplored.

One of the important historical places in Arunachal Pradesh is the Itafort, from which Itanagar, the capital of Arunachal, got its name. Itafort is an archaeological monument which represents a forgotten chapter in the history of Northeast India. Tragically, however, today it has become a monument of brickwork in ruins through years of neglect.

“Though the monument is under the State Archaeological Survey, nothing much has been done to preserve it,” said Tadu Rinku, who works  in the Archaeological Museum. “The state government has declared Itafort as State heritage, but it does not provide any financial support to conserve and protect this heritage.”

The state Archaeological Survey, Rinku said, is yet trying their best to preserve Itafort from the little aid they get from the ASI (Archaeological Survey of India).

There is an Archaeological Museum near the Western Gate of the ruins, where things which were found from the site during excavation have been kept for public viewing. It is estimated that the fort was built between 1350 and 1450A.D. during the periods of the Muslim invasion of Assam from the west and the Ahom making inroads from the east. It believed that the fort was built by Ramachandra, the King of Mayapur.

There are two brick walls and three gates   - the Eastern Gate, the Western Gate and the Southern Gate. These three gates are of varying designs and have been built at strategic points. The existing remains are only a fraction of the original fort.

Near Raj Bhavan (Governor’s House) is the Eastern Gate, built of stone masonry and which has been considerably destroyed. Overlooking Doimukh in the Dikrong Valley, it is the highest point in the fort, best suited to watch and guard the eastern approach from Harmoti. The Western Gate is towards Bank Tinali and can be seen from National Highway NH-52A. It faces Senki river and appears to be the main entrance.   
           
The Southern Gate is the only gate which is comparatively in a better condition. It is largely brick-built, though stone was also utilized. This is the part of the ruins people mostly visit and spend time.
Rinku informed that large parts of the ruins of the walls which had been found in other parts of the capital were destroyed during the course of the development of the capital. The only remains of the fort are these three gates.

“Earlier, we used to issue tickets and kept a guard at the Southern Gate. The system had to be discontinued after people started refusing to buy tickets and getting into fights with the guards.”
Most of the youths of the capital complex are apathetic towards the monument and its history, and give no regard to its protection. They are the ones who mostly visit the place and spoil its beauty by indulging in activities like drinking,smoking and leaving garbage such as cigarette butts, wrappers and empty bottles behind.

If the destructive trend continues – as is likely it will – there is a real threat that Itafort, which gave the capital city its name, will become a footnote in the capital’s history someday – one that is heard of but not seen anymore.


- Monalisa Patsani (Written in 4 January 2012 , unpublished)
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