Vasant Panchami in Gadhwal

Vasant Panchami in Gadhwal

Bhishma Kukreti

( Written for those Mumbaikars who did not get chance to be in Gadhwal in spring)
Key words: Autosuggestion therapy Hari Haryali jau ki, dadwar, naubat, chaukul deen, Oum namha sidham

Vasant Panchami has very significance, meaning and implication, consequence, worth, connotation, importance and impact in Hindu society and in Gadhwali society too.
Vasant means the spring season. Panchami means the fifth day of a fortnight i.e. lunar calendar.
Vasant panchami comes after seventeen day of Makar Samkranti. It is coming on 31st January (fifteenth day of Magh month).

Vasant panchami has many consequences because it is:
This is the birth day of goddess Sarswati man
This is the beginning of spring and spring brings enthusiasm, agility, zeal, chivalry, graciousness in human beings and living organisms too.
There is change of season i.e. from winter towards summer season
Many plants come up necessity of our life
The sun god and goddess Ganga are worshipped with specific purposes
Pitar tarpan is also performed in this day

Vasant Panchami Celebration in Gadhwal
Hari hariyali Jau ki: Vasant Panchami being the birth day of Sarswati the daughter or part of Brahma- the creator or shilpkar. Gadhwalis provide due respect, admiration, value, importance to their shilpis (i.e. black smith or lohar, das, tamota etc) on this auspicious day of vidya (knowledge) and shilp (creativity).
Each Gadhwali family had its own black smith (lohar) and before the redness of down the lohar used to bring the de- rooted with roots of oat plants (jau ki haryalii) from the oat field of their thakur (master) and kept inside the alaha (a pocket of the outer wall of the house). (It means the oat plants to be de- rooted from the master’s field only). I witnessed that when oat growing was diminishing in our village; we used to sow oats just for this ceremony.
After bath, the head of the housewives in the family will bring fresh cow dung (gaud KO mol) and would start sticking the roots with cow dung and would stick the plants on both the upper sides of door (singhad of mwar) of the kitchen and then other family members will stick oat plants on the upper parts of doors of all houses and windows of all houses including cow-pen (chhani or sanni).

Just after the sun rise, the village das (a class of drum players and as part of family) used to come playing the kettle drum (damau) as naubat for Vasant Panchami. Naubat means the first information thorough playing the kettle drum.
On this day, the upper class families provide dadwar (a compulsive part of crops or things brought from outside) of kharif crop (the crop of rainy season) to their iron –smith (lohar), metal-smith (tamota), das ( drum and kettle drum players in auspicious day), family pundits, dalyah ( a class related to nath sect or kandudchhedi).
Vasant Panchami was a way of paying tribute and crop share to all those creative (shilpi) of the family.
This is also the time that bwari (daughter in laws) would return back from their parental home (poosh is the month that bwari will go their parental home from in-laws home). There is a folk song about hariyali
Har har hariyali jau ki
Khud lagin cha bau ki
(A nanad (sister of husband) says ---Hariyali is sticked on the door and windows, sister in law did not return from her mother’s home and I am remembering her very much
On this day, Gadhwali also visit various sangams of Ganga bank for taking holy dips in Ganga water.
In day time, the cooking of swala pakoda starts and these are also distributed to those families where there is barrjat (a twelve month period of mourning or grief due to death of a family member).
Chaukal Deen: Being the birth day of goddess Sarswati, Gadhwalis (used to) take the opportunity to initiate the education or learning of their children or children are taught first lesson. Initiation of learning is called chaukul deen in Gadhwali.

Usually, chakul deen ceremony is performed on chudakarma samskar (shaving the head first time). However, if learning ceremony is not possible on such time, the chaukul deen used to be performed on vasant panchami. The child writes by index finger “ Oum na, ma,si, dhing “ on the fine crushed red soil (lalu matu) on a wooden small plank or board (chaukul) with the help of a Guru.
The meaning of oum na ma si dhing was
Oum namah sidham (I bow down before accomplishment or o! lord provide me accomplishment)

We Hindus now left our many useful rituals in the name of modernity or in the name of not obeying blind faith.
This ritual of chaukul deen has many significances and magnitudes for a child whose mind is fertile ground for aiming the real accomplishment. The repeated muttering of following mantras at chaukal deen ceremony is a best example of using autosuggestion through rituals:
· Oum namha sidham – O Lord! provide me all accomplishments
· Oum namah uham sidhum - O Lord! Provide me the accomplishment of culture (purva samskar) to judge/take decision without bias or Accomplish, I, the fine culture
· Oum namah shabda sidhum-O Lord! provide me the accomplishment of communication skill (sound and words) or I get chance to find Guru for knowledge
· Oum namah adhyayan sidham - O Lord! Provide me the accomplishment of knowledge through various books
· Oum namah suhritprapti sidhum —O Lord! Provide me the accomplishment of capable and kind companionship
· Oum namah danam sidhum- O Lord! Provide me the accomplishment of donating the needy ones
This initial learning process is one of the best processes for making a child ambitious through auto-suggestion.
As rung panchami: Gadhwalis celebrate Vasant Panchami as rang panchami in Gadhwal. Usually, the white hand kerchief or dhoti is dip in the vasnati colour or haldi colour. Many inhabitants play with colour as mini Holi. The inhabitants used to prepare green colour by boiling crushed oat plants and mixing mustered oil for playing mini holi.
Dance and Song of Vasant panchami: The first quiet signals of the approaching festival of Holi visible at Vasant Panchami. Seasons undergo transformation. The coming of springtime is heralded. Trees are displaying new shoots. New life is evident in the woods and fields. Nature decorates Mango trees with new blossoms. Wheat and other crops enliven with evidence of new life. Vasant or spring is supposed be the season of Kama and rati (the god and goddess of love).

There are many folk songs sung for Vasant panchami.Take a pleasure of a very popular folk song sung with group dance at the time of vasant and foolon ka maina.
Gweeral phool phoolige myara bheena I
Vasanti rung man rungade bheena II
Malu beda phooladi phoolige bheena I
Vasanti rung man rung de bheena II
Jhapnyali sakinau phooli bheena I
Vasanti rung man rung de bheena II
Gharsari lagdi phooli ge bheena I
Vasanti rung man rung de bheena II
Dyul than kunaju phooli ge bheena I
Vasanti rung man rung de bheena II
Gairi gadni tusar phooli ge bheena I
Vasanti rung man rung de bheena II
Dandyun phholige burans myara bheena I
Vasanti rung man rung de bheena II
Dal phoolo vasant baudi ge bheena I
Vasanti rung man rung de bheena II
Gweeral phool phoolige myara bheena I
Vasanti rung man rungade bheena II

This is love song, a lover in the name of bheena (jeeja) informs her lover that:
· There is full of bloom in gweeral
· O my lover! Do love me, do love me
· In Malu beda, fweenli has started flowering
· With full of leaves and tender stem, sakino is blooming
· In the field, mustered is flourishing like a yellow bed sheet
· O my lover! Do love me, do love me
· Do love me, do love me, O my lover
· In the auspicious place, kunanja is thriving
· In the valley, tusar is blossoming
· Do love me, do love me, O my lover
· In the hilly peaks, buransh is, reddish way, flowering
· The withering has gone and Vasant has come back
· There is full of bloom in gweeral
· O my lover, Do love me, do love me
· Do love me, do love me, O my lover

The dance –song of vasant is performed in group in the thadya style.

पहाड़ी व्यंजनों की छटा - शालिनी जोशी.

पहाड़ी व्यंजनों की छटा



स्वांटे के पकौड़े-उत्तर भारत में लोबिया के नाम से पहचानी जानेवाली स्वांटे की दाल के इन पकौड़ों को तिल चिपका कर बनाया जाता है. सर्दियों में बनाए जानेवाले इन पकौड़ों की तासीर गर्म होती है.


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काली रोटी-मान्यता है कि रोटी उजली और मुलायम अच्छी होती है लेकिन ये है मंडुवे से बनी काली और खुरदुरी रोटी. स्वाद में बीस ही होगी उन्नीस नहीं. पहाड़ में उपजाया जानेवाला मंडुवा मोटा अनाज है. लो कैलोरी और मधुमेह नाशक गुणों के कारण इसकी काफी पूछ है..

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झंगोरे की खीर-खसखस जैसा दिखनेवाला झंगोरा पहाड़ी अनाज है. पहाड़ी गाय के दूध में पकाई गई इस खीर को मेहमानों के सम्मान में जरूर पेश किया जाता है. पूर्व प्रधान मंत्री अटल बिहारी वाजपेयी जब अपने ग्रीष्मकालीन प्रवास पर नैनीताल आते तो उनका ये पसंदीदा व्यंजन होता था.

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चटपटा पिंडालू-पिंडालू यहां की स्थानीय सब्जी है. पिंडालू में फ़ाइबर कंटेंट यानी रेशे की मात्रा ज्यादा होने की वजह से इसे आंतों के लिये उपयेगी मानी जाती है.

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गउथ का सूप-ये पहाड़ी सूप है. गउथ एक तरह की दाल है. धीमी-धीमी आंच में घंटों पकाकर तैयार किया जानेवाला ये सूप पथरी के रोगियों के लिये रामबाण बताया जाता है. बर्फ़ गिरने के साथ ही पहाड़ी घरों में गउथ के सूप का पतीला चूल्हे पर चढ़ जाता है.

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चटनी-भांग के बीजों की हरी चटनी,भट् और माल्टा की चटनी के बिना पहाड़ी व्यंजनों का स्वाद अधूरा है.

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परंपरागत पहाड़ी नाश्ता-राजमा, स्वाले-यानी सोयाबीन के भरे परांठे, उड़द के बड़े और मठ्ठे की मंझोली. सरकारी गेस्ट हाउस हों या बड़े होटल-सैलानियों के लिये ये पहाड़ी थाली हर जगह परोसी जा रही है.

पुराने उत्तराखंडी गीत

पुराने उत्तराखंडी गीत

"रामी".....(बलदेव प्रसाद "दीन")


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"बीरा"........(जीत सिंह नेगी)

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"सतपुली"......रचियता..अज्ञान्त

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अपने पहाड़ का चिरपरिचित गीत "मोती ढ़ागूँ" अपने बचपन की याद दिला देता है.....किलैकि रामलीलाओं मां यू टकळेर गीत कू मंचन होन्दु थौ......मोती ढांगा फर अगर गीत बणि त जरूर रै होलु.... श्री भीष्म कुकरेती जी को पुराने गीतों की की बहुत याद आ रही है ......कोशिश करूंगा और भी पुराने गीत प्रस्तुत करने की.....खोजिक-खोजिक अर् पूछि-पूछिक....

"मोती ढ़ागूँ" कवि.....अज्ञांत


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रचनाकर अग्यांत.....पहाड़ में मैठाला कहाँ है जरूर बताएं.....ऐसा लगता है रचनाकार मैठाला गौं के हों....
रामलीलाओं में इस गीत को गाया और मंचन किया जाता था......

"मदुली रुमा झूम"

उत्तराखंडी लेख / व्यंग्य / चुटकले

उत्तराखंडी लेख / व्यंग्य / चुटकले

एक चिट्ठी,परलोक बिटि

हे भारतबन्स्यूं!

एक न एक दिन सब्यून भग्यान होण। पाकिस्तान, चीन वळोन बि। अमरिका वळा क्य भग्यान नि होन्दन? कैन बोली नि होन्दन्? धर्तिमा क्वी इनु जीब नि जैन भग्यान नि होण। पर पाकिस्तान, चीन, अमरीका वळों तैं भग्यान होणा बाद भग्याना माटै क्वी किमत नि रै जान्दि। तौंकु तैं भग्यानो सरेल मट्टि छ। इलै सि भग्याना भला करम छंटेकि तैका बुरा करम ताबूत दगड़ा दफनै दिन्दन्।

पर हमारा जोगमा मट्टी छैं छ, छुट्टि नि। भग्यान होणा बाद हमारि कीमत ब़ जान्दि। तुमारा जानकार लोग बतलन्दन कि भग्यान होणा बाद भग्यानै मुखड़ि पर रौनक ऐ जान्दि। सरैल भुग्ये जान्दू। हडगा तड़तड़ा अर नाक लम्बी ह्वे जान्दि। हमुन बि, अपड़ा टैम पर फूलुन गंछीं भग्यानै साँग सज्दी देखी। भग्याना नौकु लम्बो गुणगान पस्तौ देण वळों का गिच्चों बिटि हमारु सुण्यूं छ। जब तलक सि भग्यान याद रै तब तलक छुट्टा बड़ा कारिजमा तैकि हन्त्या तैं द्यू धुपाणू सुंघैकि, नचान्दू देखी। लोग अपड़ा आँसू बौगैकि बोल्येन्दु सुण्यां छन्- हे पित्र परमेस्वर! तुम झणि कैं मुसीबतमा छां। तुममा डिकाण-डिसाण छैं बि छ कि ना। हम लैकि क्वी सेवा हो त बतला?

भग्यानो तनो आदर देखी हमारि बि कै दौं, अपड़ा ज्यूंदा ज्यू सांगमा लिटणे इच्छा ह्वे। पर अपड़ि साँग सज्यांणू तैं मोटि जिकुड़ि चहेणी छ। हमुन अपड़ा मुण्ड पर कफन त बांध दे पर खणी खाड उन्द मुंड कुच्याणू हमारै बस्ये बात नि रै। इलै सांगमा लेटण से पैली हम अपड़ि टंगड़ि दुसरि तरपां फरकै ग्यां।

वुन त भगवानै कैकि बि उमुर पक्कि कैकि नि रखीं। कागज-पत्तर कैका बि पक्का कैकि नि रख्यां। सब गोळ-मोळ सि हिसाब छ। क्वी बि, कै बि उमुरमा भग्यान ह्वे सक्दू। द्वी टंगड़ौकि लपाका बीच काल लुक्यूं छ। झणि कब लंगड़ि देकि अल्जै द्यो। इन बि नि कि सन्त्रीन् पैली म्वन अर मन्त्रीन बादमा। इन बि ह्वे सक्दू राजा भग्यान ह्वे जावु अर सन्त्री बच्यूं रावु। पर मुंडेण हमेसा सन्तरिन छ। क्वी बि राजा सन्त्रर्यू तैं मुंड मुंडदू नि सूणी। अमीरो तैं मुंड मुंडणू सब्बि तयार रन्दन। गरीबो तैं मुंड मुंडदि दवूं सब्बि कुणा कुमच्यरों लुकि जन्दन। दादा अर बुबा भग्यान होण पर नाती मुंडेन्दू। पर कै बि बुबा अर दादन नात्या भग्यान होण पर नात्यू तैं मुंड नि मूंडी। य बात थुड़ासि मनुन पकड़ि। मनुन मनुस्मृतिमा लिख्यूं छ कि अगर बुबा भग्यान ह्वे जावु अर दादा बच्यूं छ त बुबा दगड़ा दादौ बि सराध निब्टे द्या।

ज्यूंदामा कथगा दादौन्, नात्या हाथुन अपड़ू सराध करवै, तांकि त मन्वी जाणुन। पर सच बात या छ कि भग्यान होणु अपड़ा पक्यां बाळ क्वी नि दिखाण चान्दू। पर धर्तिमा धड़पकड़ौ तैं बिमारि हजार छन्। पराण चर्रि तरफां बिटि बिमार्यूंन ढ़क्यूं रान्दू। पर कै बि मर्दा बच्चै बिमारि पर हाथ उठाणै हिकमत नि। बस, जैं दवैमा बचणै गुंजैस जादा दिखेन्दि, लोग वीं दवै जादा खन्दन्। ठीक उन्नी जन्कि अगर तौळ किचील भरे जावु त एैंचै सीढ़ीमा टंगड़ू रख दिन्दन्। पर जब उमुर टुटि ऐ गे होवु, त दवैका सारा खड़ू कु रै साकि। अपड़ा समणि-समणि हमुन पैली एलोपैथी फेल होन्द देखी,फेर होम्योपैथी।

जड़ि घोटि-घोटि जुग जीती ऐ ग्यां। पर है-खैकि बि जग नि जीत सक्यां। काल मुख ऐथर बैठगि, कंठ मोर्दू-मोर्दू ऐगि। फिर्बि म्वरी-म्वरी मांड पेकि ब्वना रयां-हे राम! पापी पुट्ग्यू सवाल छ। चल माण ग्यां पेट पापी छौ। अन्धू छवु। निरभागि पेट तैं आड़ू-बेड़ू पछ्यणो ज्ञान नि रै। पर गिच्चा मथि आँखा, क्य काजळ लगैकि सजणू बैठ्यां छा। आँख्यूंन रोग किलै नि देखी? खैर, रोग मंुड बिटि चिब्टू चा खुट्टौं बिटि ,नुकसान त सरैलो ह्वे। सरेलमा क्वी मेलमिलाप नि रै । बचणै क्वी गुंजैस नि दिख्ये, फिर्बि लोळू मन टपराणू रै।

भग्यान होण सि पैली कुटुम्बदरिन तौंका हाथमा बाछ्यु पूंछ पकड़ैकि बोली-टक लगैकि सुण ल्या, आपस मित्रमा क्वी ल्यणा-द्यणि, तुमारा मनमा क्वी लालसा, ज्वा अज्यूं रईं होवु, भग्यान होण सि पैली बतलै द्या। पर तौंकि टक कक्खि हौरि चल ग्या। तौंका मुर्यां कंठ बिटि हमुन सूणी-अरे चुचौ! गौळा पर गासि लगीं छ। जरा मोर्दू-मोर्दू गौणौंकु सुर्रा पिल्ये द्या।

सुर्रो इन्तजाम तुम कर सक्दा छा। पर तुम समणा-समणि बोल ग्यां- बाइ द वे तौंकि सरदौ हम बखरु मार द्यां। त यांकि क्य गारन्टि कि सुर्रा पैकि तौंका कंठ खुल जाला। य तौंकि जिकुड़ि पर छपछुपि पड़ जालि। अरे मर्च मसाला त फुण्ड फूका, सि त हौरि बि ऐ जाला। पर कीला पर बन्ध्यूं बखरु त जान से जालु। इन बोलीे तुम जाणि-बूझी बौगा मार ग्यां।

सि भग्यान ह्वेनि। तौंका पिछा-पिछी कालन हम बि खगोड़्यां। सोचणा छा,फुका दुन्या छुटि,हाळ निब्टी। तुम है-नि-खैकि बचै ग्यां। पर इन सोची हम ध्वखामा रयां। ब्याळि नारद जी हमतैं बतलाणा छा कि मुख ऐथर तुम चिफळा छां पर पीठ पेथर छुर्रा घोपणा छां।

क्य, य बात सै चा कि भग्यान ह्वेकि बि हम द्यब्तौं से जादा काम आणा छां। बल, रासन कार्डमा नौ हमारु, रासन तुम खाणा छां। गाड़ि चलाणो लैसन्स हमारु, गाड़ि हमारा नौ पर, पर हैण्डल तुम घुमाणा छां। मस्टरोलमा दस्तखत हमारा, रुप्या तुम कमाणा छां। अर्जि हमारा नौकि, कर्ज तुम खाणा छां। नौ हमारु, फोटु हमारि, फर्जिर भोट तुम दे देणा छां। फिर्बि, बल तुम खुस नि दिखेणा छां। अन्ध्यरामा हमारु छैल देखी थुकणा छां। बेटी-ब्वारि, छुट्टा नौनौ पर झपेटु तुमारु लगणू, गाळि हमतैं देणा छां। चोरि-चकारिमा पकड़ेण पर, अफु पर हमारि हन्त्या गाड़ि जुत्ता हमतैं खवाणा छां। भग्यान ह्वेकि बि दुन्यामा भूत, पिचास, खबैस, बणणू क्य हमारै जोगमा लिख्यूं छवू?

अरे निरभाग्यूं! द्यब्तौंका भागो त होयु-होयु, तुम हमारा भागौ बि चबट्ट कैकि खै ग्यां। ब्यटौं, अब भग्यांन हुयां, हम सब्बि एकजुट ह्वेग्यां। सोच ल्या, हम मल्ली मंजिल, तुम तल्ली मंजिलमा छां। हम मथि बिटि, कबि बि तुमारा करम भरस्ट कर सक्दां। एैंचा द्यब्ता जब दिखला,तबै तबि दिख्ये जालि। इलै कन्दूड़ खोली सुणल्या, जु निरभागि पढ़ नि सक्दू, वेका समणि ईं चिट्ठी बाँच ल्या। फेर इख ऐकि इन नि बोल्यां,कैन आन्द दौं बतलै नि, खाली हाथ हिलान्दु परलोक ऐ ग्यां। हमारा नौ पर खयां-पियांकि गठड़ि चम्म बांधि लयां। नथ्र परलोकमा तुमारि खैर नि। अपड़ि टंगड़ि तुड़वाणे पूरी तयारि कैकि अयां।

तुमारु
एक परलोकवासी

नरेन्द्र कठैत
आसियाना
क्यूंकाले मौहल्ला
पौड़ी गढ़वाल।
मो0.9412934480

-------------------------------------


समर्पित छ
ग़वाळि साहित्यकार
नरेन्द्र कठैत
को
यु ग़वळि व्यंग्य
(वूं ग़वळि भैबन्धों तैं, जु ग़वाळ अर ग़वाळ्यूं से दूर चली गेनी।)

रुजगार काँ नै है।

कट्यां दूबलै धौंणिमा कुर्सी डाळी वून बोली क्य रख्यूं ये पाड़मा?

हमुन पूछी क्य नी ये पाड़मा।

वून एक किनारा थूकी जबाब देअजि कुछ नै है।

हमुन अगनै तौंकी टोनमा बोलीकुछ क्या नै है इस पाड़ में? क्य सांस लेणू को खुली हवा नै है? छोयामंगरों को ठण्डु पाणि नै है? माटै कि साफ सुथरी गन्ध नै है? गौंगौळा नजीक है। आसपड़ोस, आपस मित्र है। याँ से बक्कि क्य चैये?

अजि हवा, पाणि, माटा ही सब्बि धणी नै होता। जिन्नगी ब़ाणे के लिए हौरि धाणि बि चैये। असली चीज है रुजगार। वो तो है ही नै ।

किसनै बोला रुजगार नै है?

काँ है तब?

क्य नैपाळि अर बिहारि पाड़मा तमाखू खैणी चबाणै आता है। सि बि त रुजगार करता है । खाता है, कमाता है, बच्यूं खुच्यूं नेपाळ बिहार भिज्ता है।

सि त मिनत मजूर है।

हम बि त भैर मिनत मजूर है। होटलूमा भाण्डा मंजाता है। य पहरा पर डण्डा बजाता है। साब लोग त इणती गिणती का है। पर ये बोलो कि खाणेकमाणे को बि सगोर चैये।

अजि सगोर तबि त हैगा जब कुछ रस्ता रैगा। बिना रस्ता का सगोर को काँ पैटाओगे।

अच्छा जे बताओ संकराचार्य जीले बद्रीनाथ अर केदारनाथ जाके कै करा?

कन कै करा? उन नै धरम को मजबूत करा।

पर ये त नै बोला था कि भगवान के ऐथर अमीर अलग अर गरीब अलग लैन में लगावो ।

तब अमीर अर गरीब की लैन किनै लगाई?

रूजगार नै। अर जरा इन बि बताओ, क्य भगवान के नौ पर होटल ़ाबा संकराचार्य जीन खोला?

तब वो होटल ढाबा किनै खोला?

रुजगार ने।

सूणों ज्यांज्यां से सड़क बद्रीनाथ, केदारनाथ जाते है वां सि लेके भगवान तक करोड़ो को रुजगार होते है। अब त भगवान जी को परसाद बिदेस तक बि जाते है।

कन क्वे?

रुजगार से।

अजि ये काम सबका बस का नै है?

किनै का नै है?

हमरा बस का त नै है।

बस जेही बात है कि पाड़ आधा त करम कना का बाद बि सरम से नै खाता है। अर आधा करम से नै धरम से जादा खाते है।

पर पाड़ में सब्बि धाण्यूंकि सुबिधा नै है।

जै दिन तुम गौं छोड़ कै सैर में गये थे तिस दिन बि तुमनें इनी बोला था। कि पाड़ में सुबिधा नै है। पर सैरमा ऐ के तुमनें क्य फरकाया। सैरमा ऐकी बि तुम गौं पर चिब्ट्यां राया। साक भुज्जी से लेकी चुन्नू झंगर्याळ तक गौं बिटि मेटिमाटि लाया। अल्लू तुमनें गौंमा बि थींचा अर सैरमा बि थींचता है। गौं का प्याज तुमनें मीट्ठू नै चिताया अर सैर के पिर्रा प्याज ने तुमको घड़िघड़ि रुलाया। अब तुमी जबाब देवो तुमनें सैर में क्य फरपाया?

भै नौनो को पढाया लिखाया रुजगार लगाया।

नौनौ को पढाया! क्य पढाया? ऐ बोलो तोता जन रटाया अर कबोतर जन उड़ाया। नौना तुमारि भोणी छोड़ी दुन्ये भगलोणीमा गाया। तुमुन तो सर्रा जिन्नगी दौड़ लगाया, हाय तोबा मचाया, अर आखिरी दां क्य कमाया? खप्पखप्प जिकुड़ा पर बलगम का कुटेरा।

पर भुल्ला !गौंमा अबि बि सब्यता नै है। जंगलीपना है।

भैजी!जाँ तक सब्यता का बात है तो सब्यता तो तुमनें बि जमा नै सीखा। बोलो कैसे?

कैसे?

-बुरू तो नै माणेगा।

नै-नै।

- अपड़ि फेमिली का बिलौज बिटाळ के कन्धौं तक लिजाणा सब्यता तो नै है। अर जाँ तक जंगल को सवाल है। चला माण गये गौंमा जंगली लोग रैता है। पर जंगल छोड़ के सैरमा ऐके बगीचा त तुमनें बि नै लगाया। हियाँ स्यामसुबेर तुम दुबलू छंट्याता है। गौं उजाड़ कै सैर लाया, अब दुयूंकि निखाणी कैके काँ जैंगे।

तौंने बोला दिल्ली देरादून जैगैं।

झूठ क्योंको बुलणा है,सि गये हैं। पर आज बि तख अगर तौं दुन्या का चौबाटे में छौळ लगता है तो पुजाणे घौर आता है। भैजी! सात धारों को पाणि त हमनें बि पबित्रर माणा है अर स्यो हमको खप बि जाता है। पर ताँ से अगनै खरण्यां पाणि पर तो जम्मा बि बरकत नै है। अब अगर सि आता है तो कोई चिन्ता नै है तिनका परोख्या पाणि हमनें अबि तक समाळी रखा है।

Kumanyuni Bhasha ka Adhayan by-Dr Bhawani Datt Upreti

Collector Book-1
Kumanyuni Bhasha ka Adhayan by-Dr Bhawani Datt Upreti
Information by Bhishma Kukreti

Part-1 (Historical back Ground on the study of Kumanyuni language)
Pundit Ganga Datt Upreti of Pithora Garh was the first scholar who published about Kumayuni language and its main seven dialects within Kumayun region. Before the study of pundit Ganga Datt, scholars used to just to mention Kumayuni language for the sake of mentioning. When, in 1900 Ad, Pundit Ganga Datt Upreti published a book called, “Hill Dialects of Kumayun Division”, the scholars of language science came to about the strength and sanctity of Kumayun language. The famous phonetician (linguistic scientist) George Grigarson appraised the work of Pundit Upreti in his book “Survey of Indian languages’ (Vol-9, part-6, year-1916).

Dr Guna Nand Juyal is credit to study Kumayuni and Garhwali language scientifically. He detailed about Kumanyuni language in his research book, ‘Madhya Pahadi Bhasha ka Anushilan aur Uska Hindi se Sambadh’ (1967).

Dr Bhawani Datt Upreti published his research book, ‘Pithora Ggarh ki Boli aur uska Lok Sahitya in 1968. Dr Upreti submitted his D.Lit thesis on, Pithora sambhag ki boliyan to Allahabad University.

Dr Bhagat Singh submitted his D.Lit research thesis on ‘Kumayuni Boli ka Varnatmak Adhyayan’ to Jabaalpur University, in 1971.

Keshav Datt Ruvali submitted his PhD thesis kumayuni shabdawali ka vyutpattirak adhyayan to Agra University.

Dr Shobha Ram submitted a thesis on the language spoken by Ban Raut people of Kumayun region in 1972

Dr Munni Upreti submitted her PhD thesis on ‘Kumayuni and Garhwali kriya sanrachana to Allahabad University in 1975.
Part-2 (About the book)

Dr Bhawani Datt Upreti described with complete the following aspects of Kumayuni language in this book, Kumanyuni Bhasha ka Adhyayan, 1976:

• Frontal
• Frontal vowels
• Voiceless
• Prosodic features
• Locative
• Suprafixes
• Imitative
• Intonation
• Nasalization
• Nasalized vowels
• Final
• Indocentric
• Infixes
• Concordance
• Ablative
• Half open
• Half closed
• Semi vowel
• Reduplication
• Suppletion
• Syllable
• Syllabic distribution
• Shape
• Borrowed words
• Fortis
• Initials
• Internal change
• Modified
• Bound form
• Raising
• Repetition
• Imperative
• High vowel
• Higher mid
• Pronunciation
• Articulation manner of articulation
• Articulated
• Uvula
• Uvular
• Phonological conditions
And all the aspects of phonology.

Dr Upreti also gave full details of differentiating aspects of differences among all the main dialects of Kumayuni, and the main differences of kumayuni languages with Garhwali, Punjabi, Nepal, Marathi, Gujarati, Bengali Odiya, Sindhi, Asami, Kashmiri, Rajasthani, Tibbati, Drabid languages and languages of Uttar Pradesh.

We can fully understand the structure and grammar of Kumayuni language from this book This book is really a master piece and easily under stable by a layman too. The book is in

Hindi.
Publisher;
Kumayuni sameeti
632-b
Katara
Allahabad
(2/2/2009)

Great Oad (Architect) of Garhwal - Ghanna Mistry

Great Oad (Architect) of Garhwal-1
Ghanna Mistry (An Expert Stone Carver,Archetect and Builder)
By Bhishma Kukreti


If you are inhabitant of nearby 0f Kasankholi (Lainsdown Thaseel), you will know the creativity, expertise of Ghanna Mistry. If aware Garhwalis pay attention on the old buildings (kood) nearby their areas, they will be surprised that Garhwal has a specific style of vastu (Science of building the building). The building art of Garhwal has taken many shapes and style from other parts of India but the Garhwali Oads (artists and engineers of building the building) kept the specialty of Garhwali Shilp alive till date. Though all the following areas come under Himalayan region, the building art of building system of Garhwal, Kumayun, Kashmir, lower Himachal Pradesh, western Himachal Pradesh, Northern Himachal Pradesh and Eastern Himachal Pradesh differ from each other by many ways, especially shapes, stone, curvature, slanting and wood carving.

Even within Garhwal, each area has its own peculiarity of building art (art of building/vastukala). Most of the studies have been done on temples/famous old architectures of Garhwal. The Garhwali people should come out for exposing the photographs (outside and inside) of old buildings in their villages that the experts or learned people come to knowing the uniqueness and the differences of architectures of each area of Garhwal.

The area wise differences in architects of each regions of Himalaya or differences among the sub regions in art of building or architectures is because the differences of economical along with geographical needs of the area and the differences of imagination and implementing capacity of different architects.

Each area has its own great architects (oad). Ghanna Mistry is one of the famous architects of Kamankholi area in Lainsdown tahseel. Ghanna is experts of building TIBARI (a unique drawing or conference hall). Any body can differentiate tibaris built by other oads and the tibaris constructed and fabricated by Ghanna Mistry. Born in 1907 in Kaman Kholi village, Ghanna Mistry is an expert of mining and carving the stones of chajja, urkhyal, jaandur and mundal. People used to wait for months for Ghanna Mistry to start mining the stones from stone mines for various uses for their buildings.

Tibari construction requires various kinds of skills for a chief architect and artists of architecture as co-stone-carvers, wood-carvers and other architectural artists. Ghanna Mistry has the skill of constructing and carving the chajja, tibari, rabam, kup, teere, mor singad, urkhyal.

Mind, Ghanna Mistry like archetects are not educated persons who make sketches on papers. they sketch the outline and planning on mind only or some times sketch on stone by coal.

(Data are collected around 1986, and require further revision, 2/2/2009)

Great Garhwali Personalities - 1

Great Garhwali Personalities-1
Shri Manwar Singh Rawat - Philosopher, Researcher, Man of Poor People
by-Bhishma Kukreti with the help of Jai Krit Rawat

He had a soft corner for the underprivileged. He understood the need of vernacular students, who lacked confidence when confronted with the English speaking student in college, and therefore trained them specially to cope with this by conducting workshops in public speaking, interviews and English conversation.

He held such workshops for junior staff at reputed corporations such as Reliance, BPCL, and EXIM etc. His house was always busy with students and needy people seeking advice.

Professor Manwar Singh Rawat took part in Uttarakhand movement in Mumbai and inspired many Uttarakhandi Mumbaikars for writing letters to their relatives in Uttarakhand. He told many times, that Uttarakhandi Mumbaikars should not do any halla-gulla but should become the medium of inspiring Uttarakhandis living in Uttarakhand.

As a Hindi Research Scholar: Professor Manwar Singh Rawat is always remembered in Hindi world for his unique researches for in the field of Hindi poets and literaratury eminent from non-Hindi speaking areas. He published many articles in prominent Hindi periodicals about the Hindi Poets and prose creative from non- Hindi speaking areas.

A short detail is as:

1. Goa ke Hindi kavi: Sant Sohiroba Nath, 1965, Nav Bharat Times, 28/3/1965

2. Hindi Birodhi Andolan: Rashtra Virodhi Pravriti ka Prateek ( An Interview with annada eminent literature creative), Dharma Yug, 1/8/1965)

3. Daxin ka Nara: hamen filmon men Hindi Chahiye, Madhuri, 30 July 1965 ( An extensive survey in South India for inclination for Hindi)

4. Mahan Vanaspati Shastri Saint Santa Pau, Nav Bharat Times, 2/2/1966

5. Andhra Pradesh men Hindi kafi Lok Priya (An interview with Prof Sunder Reddy of University of Andhra Pradesh), Nav Bharat Times, 13/3/1966)

6. Hindi hi Kyon: Tamil Vidwan ke Vichar (An interview with Tamil language expert Acharya K.D. Jagannathan (Editor of famous Tamil magazine –Kathemahal.), Nav Bharat times, 15th April 1966)

7. Tamil Lekhak Akhilan ki Sahitya Sadhana, Nav Bharat Times, 30 June , 1966

8. Maha Balipuram tamilnadoo ke Hindi guide, hindi digest, August 1966

9. Maine Hindi kaise seekhee, (An Interview with Tamil Dramtist V.C RarmVase)
10. Sampark- Bhasha Samsyayen, Nav Bharat Times, 14th September, 1966

11. Bhasha ki aazadi prapt karma abhi baki hai, Nav Bharat Times, Dharma Yug, 2nd april 1966

12. Maha Kavi Daya Ram (a Gujrati poet of 18th century and his Hindi poems), Nav Bharat Times, 24 April 1966

13. Swa Bhasha Ke Madhyam se Hi Swadheen Chintan Sambhava , Bav Bharat times, 16th May 1965

14. kya aapka baccha Pratibhashali hai/, Nav Bharat times, 16/4/1966

15. Gujrat ke Hindi kaviyo ka Holi Varnan, Nav Bharat times, 28/41966

16. Sahitya ke raste Ekta ki Oar (Speech of famous Marathi writer Acharya Purushottam Rege), Nav Bharat times, 27 july 1966

17. shiksha aur Sahitya: Acharya Rege ke Vichar (an Interview with Acharya Purushottam Rege), Nav Bharat Times, 2nd August 1966

18. Swa Bhasha- Gauran dwara hi Rashtra ki Mukti sambahav, (an interview with great telgu poet-Padma Shri Vishva Nath Satya Narayan (Dharma Yug, 1st Sept 1966)

19. Ram RavanLeela, Nav Bharat times, 16th July 1971

20. Hindi ka Swaroop Sthir ho , Nav Bharat Times, 22nd Novemebr 1973

21. Kamban ki Sarswati (about Tamil Ramayan), Hindi Digest, October 1972

22. Rashtra Bhason ki anivartayen (An Interview with a famous Marathi and Hindi writer and the Chairman of Maharashtra Maharashtra rajbhasha), Dharma Yug, 16th October 1971

23. Paper Weight, (a review of drama0 Economic Times, 25th March 1973

24. Dhai Sau Saal Pahle tamil Nadu ke Maharashtriyan Raja ne Hindi men Natak likhe ( Contribution to Hindi by a non Hindi speaker of Non Hindi speaking Area)

25. Durbhiksha peediton ka trata : Kappa, Nav Bharat times, 24th July 1973

26. Rajashthani Bhasha aur Sahitya: Vikash aur Badhayen, Nav Bharat Times, 26th May, 1974

27. Jahan hathi ke Mhawat Hindi bolte hain ( a research on the reasons behing Hhindi speaking ability of drivers of elephant of TamilNadu, Nav Bharat Times, aug 1975

Hindi world will never forget his contribution to throw lights of the contribution of non-Hindi speaking creative to Hindi literature.

Mera gaon Mera Desh Meri English: professor Rawat firm believer that the teaching of English should be in the wisdom of the local area and not on the idioms and proverbs of Britain.

He published a book Mera gaon Mera Desh Meri English ( A Modern Approach to English) for aiming to the rural students of India.

We Mumbaikars are proud of Professor Manwar Singh Rawat. He left this world for eternal heaven on 12th February. His capable son Jaikrit Rawat is a famous dramatist, Hindi movie screenplay writer and famous advertisement expert.
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Great Garhwali Personalities-2
Dr. Hari Datt Bhatt ‘Shailesh’
Bhishma Kukreti

Dr. Hari Datt Bhatt ‘Shailesh’ is famous for his contribution for the uplifting of Gadhwali language literature by many dimensions. Born in 1921 A. D, a small village Bharwadi, Chamoli Garhwal, Uttarakhand was teacher in Doon School Dehradun and had the privilege of being the local guardian of students like late Shri Rajeev Gandhi.

He was always been an active cultural activist for development and saving Gadhwalism. He wrote many articles, more than three hundred stories, more than ten plays and memorial or many personalities and areas, travel stories, adventurous memories of mountaineering in Garhwali and Hindi languages. He published more than twenty books on different subjects. His main books are as:

• Hari Doob ( a collection of Garhwali folk Stories in Garhwali)
• Naubat ( a collection of five Gadhwali dramas)
• Garhwali Bhasha aur uska Sahitya ( A research work and the book is used as reference book on many researches for Garhwali language)
• Garhwali Bhasha par Bhasha Vaigyanik Addhyayan ( A research book on the origin of Garhwali language)
• Kali Das Jeewan Path Par ( A critic book on the literature of Sanskrit classic creative -Kali Das and also proved in support of Lalita Prasad Naithani’s theory that Kali Dash was from Kaviltha, Chamoli Garhwal)
• Dharti ke Phool ( story collection in Hindi)
• Barf aur Barf ( Memorial types of stories in Hindi)
• Sapne aur Sapne ( Story collection in Hindi)
• Chakkar aur Chakkar ( Story collection)
• Keuchh Kahaniyan ( story collection)
• Ghumte chehre (story collection)
• Kala ke Swar (Story collections)
• Parvatrohan ( book about mountaineering)
• Abhiyan and Abhiyan ( memories about mountaineering)
• Solah Samsmaran ( Memories)

He was awarded by Uttar Pradesh government for Garhwali Bhasha par Vaigyanik Addhyayan and play writings. His works on mountaineering and dramas is translated in many Indian and foreign languages.

BBC and Akashvani relayed his many stories and experiences on drama and adventures of mountaineering. He was always active in Garhwali cultural programs until he resided in Dehradun. At present Dr Hari Datt Bhatt resides in Munssorie after retiring from Doon School, Dehradun.

This year (2009), Arjun Singh Gusain Prathisthan, Mumbai awarded Hari Datt Bhatt Shailesh for “Arjun Singh Gusain Purushkar” for his contribution of developing Garhwali literature and mountaineering. Deepa Guasain established Arjun Singh Prasthistan in the memory of her late husband Arjun Singh Gusain, the editor of Hilans and a super activist of Uttarakhand movement.

Hari Datt Bhatt is the father of famous Hindi movie actress and TV serial performer Himani Bhatt Shivpuri
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Great Garhwali Personalities-3
Mitra Nand Dabral (Sharma) (A Garhwali Poet)
By---- Bhishma Kukreti

Garhwali literature has been facing many problems from the beginning when the Garhwalis started publishing various types of literature. The biggest problem for Garhwali literarians or literature creative is finding readers at a place and then distributing the literature to the readers because Garhwalis are scattered here and there in India and abroad. It is commonly said in humorous way among Garhwali literature creative that the Garhwali writer writes Garhwali literature aloof, publishes himself on his cost, reads himself and her or his successors destroy the literature by selling Garhwali literature to raddiwalas. From the beginning, Garhwali writers have been facing the problem of getting the addresses of real readers of Garhwali literature and dispatching them the published materials. This is the reason that even after publishing many books in Garhwali language, many Garhwali authors are unfamiliar or nameless in the jungle of Garhwali literature.

Internet is again bringing the problem for Garhwali literary creative. Those who don’t have facilities for typing Garhwali literature in Devnagari script and then submitting it to the relevant blogs will be in darkness of unfamiliarity.

Mitra nand Dabral Sharma is also such a Garhwali poet who is neither discussed in the literary field nor common Garhwalis know about the big contribution of Mitra Nand Dabral Sharma for Garhwali poems and proverbs.

Mitra Nand Dabral is an Ayurvaidic doctor in Jua area of Tihri Garhwal. His great grand father was the state doctor (Raj Vaidya) of Garhwali kingdom in Shri Nagar. Due to new alignment and other reasons, along with the king, Dabral family had to shift from Shri Nagar to Tihri and used to reside in Kafalpani – dang area (Tihri Garhwal). Mitra Nand comes from the learned family of Dabral of Timali (Dabralsiyun, Pauri Garhwal), From Sanskrit point of view, Timali is famous for college of Sanskrit affiliated to Kashi Sanskrit Vidyapeeth in Timali. The inhabitants of Dabralsyun, Udayapur and Dhangu Patti used to say that the dogs, cats and domestic animals of Timali understand Sanskrit very well. Mitra Nand Dabral was born in Kafalpani (Tehri)

Mitra Nand Dabral wrote many verses in Garhwali languages and he used to try using pure Tiryali dialects in his poems. Though, his contribution in Garhwali poetry and prose require more researches. Till date we have the following details about the published work of Mitra Nand Dabral in Garhwali language:

• Fyunlee- A memorable a collections of various types, styles , forms and subjects of Garhwali poems

• Garhwali Kavita Samgrah: Being a doctor, Mittra Nand Sharma has to roam around Jua area and come in contact with various people. In his medical practice, Mitra Nand Dabral collected many proverb, maxim, axiom, adage or aphorisms of Garhwali vocabulary. He published those proverbs in this volume

• Gangadi chakor: A superb example of mixing tragedy, satire and humour in creating poetry
• Bhaj Givindam ; A collection of Garhwali poems
• Satya Narayan Jee ki Nayi Vrat Katha: Dabral uses new subject in this poetry collection.

Mitra Nand is a famous social worker of his area and participates in various cultural and ritual programs with passion, enthusiasm and eagerness. He is very famous for his singing in ‘Radheshyami tarj’
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Great Garhwali Personalities-4
Harsha Mani Bhatt ‘kamal’ (A Garhwali Poet)
By—Bhishma Kukreti

Many creative of Garhwali literature could not get exert further more than their potentiality because of no or very scare infrastructure available for publishing the Garhwali literature in remote Garhwali villages. Harsha Mani Bhatt is also such Garhwali poet who has huge potentiality for creating Garhwali poems of different subject but due to infrastructure available he could do lesser than his present contributions.

Born in the year 1955 A.D., Harsh Mani Bhatt published articles, essays, interviews, travel memoir, literary critic and poems in many local magazines and newspapers of Garhwal.

As far as Garhwali poems are concerned, he published around fifty poems in different medium.

He is famous for his collection of poems – Kuredi ka Beech. The poems are of different subject and orthodox style of Garhwali poetry. He also relayed his Garhwali poems from Akashvani Najeeba bad.

He also teaches students preparing for graduate examination without charging them any fees.

Harsh Mani Bhatt belongs to Karveel –Vaurai, District Tihri Garhwal

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Garhwali Poets-5
Ran Beer Datt
By-Bhishma Kukreti

Last year, I met the Garhwali literature creative group of Syunsee- Baijaron (Dhoundiyal Syun) in Dehradun. One of the group member i.e. famous poetesses of the area Shrimati Shakuntala Ishtwal complained snobbishly that the writers, reviewers or journalists publish about or renounce about the people of Urban areas and they either just ignore the contributor to the society of rural Garhwal. She means the rural creative do not get their due in appraisal and publicity. She is absolutely right.

Take the example of Mumbai, where bhajan, geet, rasayani, or kabbali may be a minor importance for self or group entertainment or recreation causes. But in villages like Dhhound, Chaukhal, Gurfuli, Jogimadhi, Meldhar or Gurfuli, still, the problem of community or individual recreation persists. People of such area require bhajan karta, rasiyan geet gayak, kabbali gayak, popular song singers, or poets for entertaining people. Those who perform these acts of entertainment are really the great social workers. We should bring them in lime light. These society servers should be praised in public forums and web-forums.

Ran Beer Datt is of multi dimensional creativity. He is a popular singer of Dhoundiyal Syun region of Pauri Garhwal. He sings kabbali and ghajal in Urdu and Garhwali as well. Born on 1st July 1974, in a remote village of Gurfuli (Patti-Dhoundiyal Syun, Pauri Garhwal), Ran Beer Datt is also a bhajan singer and people come to listen his bhajans from far areas.

He is strict Arya Samaji and is in the management of Vedasram of Gurfuli. Though, he could not publish Garhwali poems in book forms but he created more than hundred of Garhwali poems and tens of poems are published in local news papers, magazines and souvenirs.

His poems are capable for attracting and engaging the audience in kavisammelan. Mostly, he writes Garhwali poems of pathos rapture and emotion. His Mausyan poem is full of tragedy and the emotion of separation of beloved ones. You will feel sadness, suffering and grief by reading his poem ‘bwai rooni na rai’. ‘Jwai fari bwai’ is a mix of tragedy and satire together.

Ran Beer Datt has similarities with the poems of Jaggu Naudiyal (another Garhwali poet) in terms in term s of tragedy or sorrow creation by poems. Mother, eparation, parting, pain and death are the central points in the verses of Jaggu Naudiyal and Ran Beer Datt. Ran Beer uses tenderness and hurting very delicately in his poems of pathos

Kulbeer Singh Rawat ‘Chhilbat’ a famous humorous Garhwali poet of the Dhoundiyal Syun area told me that when Ran Beer tells the ‘mausyan’ poem to the audience, many women and children start wailing. Ran Beer is famous ‘rulandu kavi’ in the area.

Kaima lagan min khairi
bwai mausyan cha merit

yo bhagi vasant lauti aand
mee ruwai ki chali jaand
bhaut yad aandi teri
kaima lagan khairi teri?

Mi jab dwe salai chhau
Tiabri men thain chhodige
Mee tain nangi thaulim chhodi ge
Meri kismet futi rai

Anghami main danda jandoo
Mausyani daryun kampanu raindu
Pallai kaunkali hati, khuttyun
Ghamai saar dhayyam baithi jandoo
Swachadu, apni bwai hoondi meri
Kai man lagan min khari teri?

Dagdya gailya aakhar sikhdin
Mi, karam footi baulu karnu raundoo
Khanu ni mildoo putgi bhauri
Kab tak khan min khairi
Bwai mausyan cha meri

He published three poems in Gwai a collection of Garhwali poems of fourteen Garhwali poets of Syunsi Baijaron (Dhoundiyal Syun). Dhad Prakashan, Dehradun published Gwai in the year 2007.

Since, he is busy in his daily deeds; Ran Beer could not find the time to publish his unpublished work in book form. (31/1/2009, Vasant Panchami)
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Great Garhwali Personalities-6
Purna Chandra Badola (A Famous Painter and Photographer)
By-Bhishma Kukreti

Today, Garhwalis of Garhwal and other areas have many types of resources for achieving the national or international fame. However, around thirties of last century, it was a dream like touching the god for getting the nationwide fame in art of painting and photography for a poor Garhwali. The resources will never be hurdle for those who want to achieve the goal of his life.

All the Garhwalis of coming time shall always remember Purna Chandra Badola for his finding ways and means to achieve, which other inhabitants in his area cannot dream. Purna Badola did not live long but his achievement is, now, part of our cultural history.

Purna Chandra Badola was born on 1st July, 1910 A.D. in Badoli village, Chaund Kot (Patti –Guradsyun of British era) region. Badoli is the original village of Badola caste. Chaund kot region have been famous for doing unbelievable achievements and it was said in the British time that British administrators were always afraid of Chaundkotya people because of their modernity in thinking and adaptation of change very fast. After getting primary education from Ekeshwar, Purna Chandra was sent to Lucknow for further studies. Purna Chandra was creative from the beginning and he used to draw picture on the stones, walls or other objectives by coal. If the occupants of Badoli and nearby villagers would see paintings of coal on any objective, they would easily, understand that Purna was there. By nature, Purna Badola was adventurous, used to get excitement by newer creativity and never liked on going the same old uneven or irregular path, which other people were habitual. Purna Chandra Badola took the line of painting, drawing and photography in Lucknow. He studied thoroughly the fineness of painting, drawing and photography from Lucknow art School.

Purna Chandra Badola of Badoli (then British Garhwal) was one of the founders of Academy of Art and painting in Lucknow University.

In 1936, Badola took part in art-exhibition in famous Maisure Dashara Exhibition at Bengalore. Badola got eulogize from national and international art critics and congratulations from legendary artists of that time. Badola got awards for his two paintings- ‘Vismriti and Pyala’ and ‘Sandhya Deep’ from the jury consisting of International/national art critics and artists.
He exhibited his painting and photography more than ten places across India. He put his paintings and photography on display for exhibition in Lansdowne in 1936 and in 1940 at Kotdwara.

Around 1935, along with famous creative of India, Vishwanber Nath Jijja, he traveled Badrinath Himalaya and both painted the beauty of Himalaya thereafter. The stunning paintings of Himalaya got appreciation from various fields of creativity.

Out of hundred paintings, ‘Purva aur Pashchim ki Sabhyata’ is called badola’s best painting.