उत्तराखंडी ई-पत्रिका की गतिविधियाँ ई-मेल पर

Enter your email address:

Delivered by FeedBurner

उत्तराखंडी ई-पत्रिका

उत्तराखंडी ई-पत्रिका

Monday, February 3, 2014

History Features of Nomenclature of Kedarkhand and Garhwal Part -3

History of Garhwal (1223- 1804 AD) –part -10

 History of Uttarakhand (Garhwal, Kumaon and Haridwar) -255

                       By: Bhishma Kukreti (A History Student)


                   Sapadlaksh or Shivalik Hills

           In any Karmkand ritual of a Garhwali in any part of world, Pundit chants a sentence ‘Kedarkhande  ... madhye Garhwal kshetre …”. The Kedarkhand name is still relevant for every Garhwali living in Garhwal or outside Garhwal. However, politically, the Panwar Kings never provided any priority or importance to Kedarkhand name.  
  Rock inscription of Sahanpal in Bodhgaya mentions a name Sapadlaksh. Sapadlaksh is Shivalik or Sava Lakh. There is mention of Sapadlaksh region in Kumarikhand chapter of Skandapuran. Skandapuran mentions that, there are one and quarter lakh villages in Sapadlaksh region.
   Muslim historians mentioned Shivalik mountain regions for various regions from today’s Haridwar, Dehradun, and Bhabhar of Pauri to Vyas River. Due to Khas population, this region was also called Sapadlaksh Shikhir- Khas Des. It is also said that there were one and quarter lakhs shrines in Sapadlaksh Mountain (now from Dehradun to Hoshiyarpur).
          Muslim historians used Shivalik Mountain time to time for Bhabhar Garhwal, for Dehradun region, for Sirmaur of Himachal.
                European travelers referred ‘Shiva’ region under Jahangir. Haridwar was head quarter of Shiva district under Jahangir.
                 Muslim historians also called south hills and regions of Garhwal as hills of Haridwar, Kutil, Kapil Ghati, Karachal or hills of Chandi .

                 Shrinagar a Nation
  In sixteenth century, Garhwal king Ajaypal established his capital in Shrinagar from Devalgarh. That is the reasons that Muslim historians called Garhwal nation as Shrinagar or Sirinagar Rajya.
  In Jahangirnama, King Shyam Shah is mentioned as Shyam Singh the Jameendar of Shrinagr (1621).
 A traveler Father Androde (1624) called the Garhwal region as Shrinagar Kingdom or Rajya.
 French traveler Barniyar who travelled India from 1656- 1668 mentioned Garhwal region as Serenagar. He also drew a map.
 The historians of Aurangzeb period also mentioned Shrinagar Rajya.
 The English traveler (1608-1611) William Finch described Garhwal region as Strong and prosperous Kingdom in between Yamuna and Ganga ruled by the King was Manshah and his capital was Shrinagar.

Copyright@ Bhishma Kukreti Mumbai, India, bckukreti@gmail.com1/2//2014
                                      References

1-Dr. Shiv Prasad Dabral, 1971, Uttarakhand ka Itihas Bhag-4, Veer Gatha Press, Dogadda, Pauri Garhwal, India 
2-Harikrishna Raturi, Garhwal ka Itihas
3-Dr. Patiram, Garhwal Ancient and Modern
4-Rahul Sankrityayan, Garhwal
5- Oakley and Gairola, Himalayan Folklore
6- Bhakt Darshan, Garhwal ki Divangit Vibhutiyan
7-Foster, Early Travels in India William Finch
8-Upadhyaya, Shri Shankaracharya
9-Shering, Western Tibet and British
10-H.G. Walton, Gazetteer of British Garhwal
11-B.P.Kamboj, Early Wall Paintings of Garhwal
12-H.g Walton, Gazetteer of Dehradun
13- Vimal Chandra, Prachin Bharat ka Itihas
14-Meera Seth, Wall Paintings of Western Himalayas 
15-Furar, Monumental Antiquities
16-Haudiwala, Studies in Indo-Muslim History

(The History of Garhwal, Kumaon, Haridwar write up is aimed for general readers)
History of Garhwal from 1223-1804 to be continued in next chapter          
History of Garhwal – Kumaon-Haridwar (Uttarakhand, India) to be continued… Part -256  

Visheshan Viparyay /Vyatyaya Alankar or Antithesis /juxtaposition by Adjective Figure of Speech in Garhwali Folk Drama

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में  विशेषण विपर्यय /व्यत्यय अलंकार  

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -90 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)
             According to Dr Shiva Nand Nautiyal Visheshan Viparyay /Vyatyaya Alankar or Antithesis by Adjective Figure of Speech is an ‘Adisht’ Alankar or non-manifested figure of speech. Antitheses figure of speech means that expresses the opposite ideas.
The following is an example of Antithesis /juxtaposition by Adjective Figure of Speech in Garhwali Folk Drama -
गढ़वाली  लोक नृत्य-गीतों , लोक नाटकों में विशेषण विपर्यय /व्यत्यय अलंकार का उदाहरण

पछाणी याले मुखड़ी वैकी मालान
वींकी आंख्युं मा तब आस खिलगे

(संदर्भ : डा शिवा नंद  नौटियाल )



Copyright@ Bhishma Kukreti 31 /1/2014

Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri

Visheshan Viparyay /Vyatyaya Alankar or Antithesis /juxtaposition by Adjective Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Visheshan Viparyay /Vyatyaya Alankar or Antithesis /juxtaposition by Adjective Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Visheshan Viparyay /Vyatyaya Alankar or Antithesis /juxtaposition by Adjective Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Visheshan Viparyay /Vyatyaya Alankar or Antithesis /juxtaposition by Adjective Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Visheshan Viparyay /Vyatyaya Alankar or Antithesis /juxtaposition by Adjective Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Visheshan Viparyay /Vyatyaya Alankar or Antithesis /juxtaposition by Adjective Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Visheshan Viparyay /Vyatyaya Alankar or Antithesis /juxtaposition by Adjective Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Visheshan Viparyay /Vyatyaya Alankar or Antithesis /juxtaposition by Adjective Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  विपर्यय /व्यत्यय अलंकार,  टिहरी गढ़वाल के गढवालीलोक नाटकों में 
विशेषण विपर्यय /व्यत्यय अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोक नाटकोंमें 
विशेषणविपर्यय /व्यत्यय अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में विपर्यय /व्यत्यय अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  विपर्यय /व्यत्यय अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  विपर्यय /व्यत्ययअलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में  विपर्यय /व्यत्ययअलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकों में  विपर्यय /व्यत्यय अलंकार ;

Friday, January 31, 2014

Manvikaran or Personification Figure of Speech in Garhwali Folk Drama

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में  मानवीकरण  अलंकार  

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -89 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)
 Personification in drama or writing means attributing an inanimate or non living object human traits and qualities such as desires emotions, physical, sensations etc
गढ़वाली  लोक नृत्य-गीतों , लोक नाटकों में  मानवीकरणअलंकार का उदाहरण

१- सुकली दांतड्यूं को भलो निकसाट बतौँदे
२- हुंगारा लगौन्द भग्यानी नाकै की नाथुली
(संदर्भ: डा शिवा नंद नौटियाल)



Copyright@ Bhishma Kukreti 30 /1/2014

Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Manvikaran or Personification Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Manvikaran or Personification Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia;Manvikaran or Personification Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Manvikaran or Personification Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में मानवीकरण अलंकार,  टिहरी गढ़वाल के गढवालीलोक नाटकों में  मानवीकरण अलंकार ;उत्तरकाशी गढ़वाल के गढवालीलोक नाटकों में  मानवीकरण अलंकार, हरिद्वार गढ़वाल के गढवाली लोकनाटकों में  मानवीकरण अलंकार ;देहरादून गढ़वाल के गढवाली लोकनाटकों में  मानवीकरण अलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकोंमें  मानवीकरण अलंकार ;चमोली गढ़वाल के गढवाली लोक नाटकों में मानवीकरण अलंकार; रुद्रप्रयाग गढ़वाल के गढवाली लोक नाटकोंमें मानवीकरण   अलंकार ;

Thursday, January 30, 2014

Vipsa, Veepsa Alankar or Reiteration, Succession Figure of Speech in Garhwali Drama

गढ़वाली  लोक नृत्य-गीतों  , लोक नाटकों  में  वीप्सा अलंकार  

Review of Characteristics of Garhwali Folk Drama, Folk Theater/Rituals and Traditional Plays part -88 

                                    Bhishma Kukreti (लोक साहित्य शोधार्थी)
         W hen in any poetry or dialogues, the repetition is used for expressing the sudden emotions as shock, surprise, respect, hate, etc it is called Vipsa or reiteration figure of speech.
गढ़वाली  लोक नृत्य-गीतों , लोक नाटकों में  वीप्सा अलंकार का उदाहरण 
 मैं क तैं पायूं  सोहाग हरचे
मैं क तैं माँगी भीख खतेगे
कनी मैं क तैं देव रूठे 

(संदर्भ: डा शिवा नंद नौटियाल)


Copyright@ Bhishma Kukreti 29 /1/2014

Characteristics of Garhwali Folk Drama, Community Dramas; Folk Theater/Rituals and Traditional to be continued in next chapter

                 References
1-Bharat Natyashastra
2-Steve Tillis, 1999, Rethinking Folk Drama
3-Roger Abrahams, 1972, Folk Dramas in Folklore and Folk life 
4-Tekla Domotor , Folk drama as defined in Folklore and Theatrical Research
5-Kathyrn Hansen, 1991, Grounds for Play: The Nautanki Theater of North India
6-Devi Lal Samar, Lokdharmi Pradarshankari Kalayen 
7-Dr Shiv Prasad Dabral, Uttarakhand ka Itihas part 1-12
8-Dr Shiva Nand Nautiyal, Garhwal ke Loknritya geet
9-Jeremy Montagu, 2007, Origins and Development of Musical Instruments
10-Gayle Kassing, 2007, History of Dance: An Interactive Arts Approach
11- Bhishma Kukreti, 2013, Garhwali Lok Natkon ke Mukhya Tatva va Charitra, Shailvani, Kotdwara
12- Bhishma Kukreti, 2007, Garhwali lok Swangun ma rasa ar Bhav , Chithipatri
 Xx
Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches     in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Chamoli Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Rudraprayag Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Pauri Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches   in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Tehri Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Uttarkashi Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Dehradun Garhwal, North India, South Asia; Vipsa, Veepsa Alankar or Reiteration/ Succession Figure of Speeches  in Garhwali Folk Drama, Folk Rituals, Community Theaters and Traditional Plays from Haridwar Garhwal, North India, South Asia;
गढवाली लोक नाटकों में  वीप्सा अलंकार,  टिहरी गढ़वाल के गढवालीलोक नाटकों में  वीप्सा अलंकार ;उत्तरकाशी गढ़वाल के गढवाली लोकनाटकों में  वीप्सा अलंकार, हरिद्वार गढ़वाल के गढवाली लोक नाटकों में वीप्सा अलंकार ;देहरादून गढ़वाल के गढवाली लोक नाटकों में  वीप्साअलंकार ;पौड़ी गढ़वाल के गढवाली लोक नाटकों में  वीप्सा अलंकार;चमोली गढ़वाल के गढवाली लोक नाटकों में  वीप्सा अलंकार; रुद्रप्रयागगढ़वाल के गढवाली लोक नाटकों में वीप्सा   अलंकार ;