Sunday, October 20, 2024

Trek to Kedartal


It has been about two weeks since we returned from our annual Himalayan trek. After having done most of our earlier treks in the Dhauladhar mountains, this was our first foray into Uttarakhand (UK). How different was it compared to the treks in Himachal Pradesh (HP)? 

On a map the trail to Kedartal looks quite straightforward, and benign. It is a glacial lake located about 17km west of Gangotri glacier from which the Ganges river originates. Here the holy river is called the Bhairathi and it rages past Gangotri town, squeezing through rocky cliffs and misty cataracts, towards Uttarkashi.


It is only when you look at the near vertical mountains around Gangotri that you realise that the neat lines marking the path to Kedartal is anything but that. Running eastwards from the town, the trails takes you along steep forested slopes past Kedar Ganga to the first camping site at Bhoj Kharak (8km, 12436ft/3790m). 

The trail goes through a complete transformation the next day when you climb past the pine and birch forests, past the tree-line into grassy slopes of Kedar Kharak (5km, 14050ft/4282m) where the second camp-site is located. From here on it is all moraines - moonscape of broken rocks and boulders  - that leads you the lovely lake at base of three snow-peaks - Bhrigupanth, Thalay Sagar and Jogin I

Given the height of the surrounding peaks not much sunlight reaches these deep valleys. Even on the clearest of days the sunset happens around 2:30 pm. For the rest of the afternoon the campsites are enveloped first by the racing shadows, and then by pitch darkness and cold winds.


In the Dhauladhar mountains of HP, each trail has a character of its own. On some treks (eg., Kugti / Indrahar Pass) you need to carry water until you reach the glaciers, while other valleys (eg., Baleni, Minkiani Pass) there is no shortage of springs and streams to fill your bottles but snow-cover can be very unpredictable. One thing common in most Himachal treks is that you are almost always on routes taken by the shepherds. 

The treks in Uttarakhand, especially on the char-dham routes (Yamunotri, Gangotri, Kedarnath and Badrinath), there are no meadows or pastures across the mountain passes all the way to Tibet plateau. So there are no shepherds to be seen on these routes. What you do see are herds of Bharals or Blue Sheep with their magnificent, curved horns. These animals keep their distance from trekking groups but watching them without precautions can turn out to be dangerous. In a group that we met on our way back, a porter got badly injured from a rock-fall triggered by Bharals.

The trekking scene in UK seemed better structured and regulated compared to HP.  You are not permitted to venture into protected forest areas without a permit or trained guides. These guides, in turn, ensure that those venturing into the mountains are carrying suitable protective-wear and camping gear. These guides can be exacting too - many of our personal sleeping bags were rejected because they were deemed unsuitable for temperatures below -20C. 

All these checks clearly shows on quality of the trails - the pathways are clean and litter-free. No chips packers blowing in the wind or alcohol bottles littering the streams. Camping groups are expected to have toilet tents and pits for safely disposing food waste.

Thanks to the Char-Dham initiative of the central government the road infrastructure in this area is seeing rapid improvement. This also means that the newly widened roads are more prone to landslides and rock-falls. 

So, if you're planning a trek in Uttaranchal, around the char-dham area better be prepared long traffic jams!

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REFERENCES & LINKS

Char Dham - https://www.namasteindiatrip.com/history-of-chardham.html

https://trekthehimalayas.com/kedar-tal-trek



Saturday, September 21, 2024

Kalidasa - Flights of Imagination

How does one express gratitude to an algorithm? :)

Social media in general, and YouTube particular, can lead you to some of amazing young talent. During the Covid years, there was this lady, Anuja K (Out of the Shruti Box), who demystified Indian classical music by relating it not only to popular Bollywood songs but also linked it to other systems of music in the world. There is also a new generation of historians like Anirudh Kanisetti (Thinking Medeival), who brings fresh perspectives to the way we examine our 'messy, bloody, colourful' past.

One aspect common to all these new content creators is that they understand not only the importance pitching to the right audience with appropriate tags and key-words, but also the need to keep their clips of just the right size - not too long, not too short.

This week the algorithm spirits led me to Navaneet Galagali who has a channel named "Rasaganga" for appreciating literature, poetry and music.  Perhaps it is my interest in Sanskrit that led YT to suggest Galagali's introduction to "Meghadootam", or the 'Cloud Messenger'. Written by Kalidasa, one of ancient India's greatest poets (5th century CE), Meghadoota, describes the plight of an exiled, lovelorn celestial (a Yaksha) who asks a passing cloud to carry a message to his beloved wife.

Sanskrit poetry can be dense and forbidding but Galagali introduces the Meghadoota beautifully in two short clips. Initially I was a bit skeptical when he started off with his Yankee accent but got hooked the moment he switched to reciting stanzas from "Purva Megha" (Eastern Cloud).


On the first day of Ashadha month,

he sees a cloud clinging to a mountain;

It appears as though an elephant

is head-butting the peak!

He welcomes the cloud with love and affection, imagines it be a sentient being, and requests the cloud to carry his message while remembering to take breaks along the way:


As you proceed, use the mountaintops,

as your resting spots;

And quench your thirst,

From the water in the streams;

For its a long way ti Alaka Nagari!


It is a long way for sure! - from hills and plains of central India, all the way across a specific Himalayan pass to the base of Mt. Kailasha where Alaka Nagari is situated.

Navaneet Galagali presents the poem so well that I found myself looking for specific stanzas in the original text. He has only skimmed over the first part of the 120 stanza poem and I look forward to the rest of his series on this, as well as his melodious recitations!

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The Cloud's Itinerary :)

  • Ramtek (Maharashtra)
  • Amrakuta (Amarakantak
  • Alaka (atop Mt. Kailasha)
  • Vidisha (capital of Dasharana Desha)
  • Neechairna Giri (Udayagiri caves)
  • Avanti
  • Ujjain 
  • Shipra River
  • Devagiri - temple of Skanda
  • Charmanvari River (Chambal)
  • Dashapura (Mandsaur)
  • Brahmavarta (between Saraswati and Drishadvati rivers)
  • Kurukshetra
  • Kanakhala (near Haridwar)
  • Gangotri
  • Krauncha Pass / Hamsadwara (Niti Pass bordering Tibet - north of Nanda Devi National Park)
  • Manasarovar Lake
  • Alaka Nagari on 'the lap of Mt. Kailasa)

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REFERENCES & LINKS

* Meghadoota by Kalidasa (5th Century CE) - https://avg-sanskrit.org/avgclasses/Books&PDFs/kavya/Meghaduta/Kalidasas%20Meghaduta%20Skt%20Eng%20-%20KB%20Pathak%201916.pdf

* Meghaduta by Kalidasa - Ashadha maasa (part 1) | Navaneet Galagali - https://youtu.be/ilgqmfO6Sy4?si=ndbQS-DJjidY6A9G

* The cloud's journey - Meghaduta by Kalidasa (part 2) - https://youtu.be/O9JxBm4C1CQ?si=Qh7unO8WeASz5M0P

* Exploring the Geographical Data of Meghadoota - https://ggw.studenttheses.ub.rug.nl/168/1/1112-GW%20%20WESTRA%20M.%20%20Ma-thesis.pdf

* Blogpost - Jaladhara - https://karpuramanjari.blogspot.com/2015/06/


Saturday, September 14, 2024

A Russian Realist in Ellora

 


What did Vasily Vereshchagin see in Ellora?

Vasily was a Russian realist painter who travelled across India during the 1800s and left us scores of amazing paintings that bring back to life a begone era. From the glaciers of Ladakh, grand palaces and warriors of North India, sculptures of the Deccan, as well as iconic images from the revolt of 1857.

A recent thread on this amazing painter appeared on X and it clearly seemed to depict a sculpture that I had seen and photographed in 2023 from one of the Jain temples of Ellora. It depicted a brightly coloured celestial perched on an elephant, and the caption read - "Statue of Vishnu in the temple of Indra in Ellora". Strangely, the same caption on Reddit and WikiArt as well.

I say 'strangely' because anyone who has travelled to Ellora would know that this particular sculpture is from the entrance hall of a Jain temple and that it does not depict Vishnu but Yaksha Matanga, the god of prosperity, sitting on an elephant. It is a stunningly beautiful, large piece of work dating back to the 9th century CE that sits at the entrance of of the rock-cut cave number 32 (Indra Sabha), opposite an equally impressive figure of Siddhaika Yakshini.



Vasily's painting also brings up intriguing questions - was this 1000+year-old sculpture in such good condition when he visited Ellora in the 1870s? The bright paints on the sculpture indicates that it was being worshiped even in the 1800s...if so who gouged out Matanga's eyes and broke his nose? Did Vasily leave any notes from his amazing travels to Central Asia and India?

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REFERENCES & LINKS

Sunday, August 18, 2024

Solar Intensity Meter


This is one of the most fascinating analogue instruments I have seen.

Simple, elegant, rugged and functional, this instrument is called the Campbell Stokes Sunshine Recorder. It was invented in the mid 1800s, and the design remains more or less the same today. At a time when just about everything works on electronic sensors and wireless transmission, this equipment contains just three components - a metal base, a glass ball and a piece of paper. 

Once properly aligned to the correct latitude-longitude, the instrument simply catches the suns rays throughout the day and burns a line through the blue-paper (the "sunshine-card"), placed at its base. The stronger the sunlight, the broader and deeper the burn!

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REFERENCES 

https://en.wikipedia.org/wiki/Campbell%E2%80%93Stokes_recorder


Saturday, August 17, 2024

Ladakh Surprises

 


The first thing that hits you about Ladakh is the distances - everything is so far away!

What seems like a short drive through the valley turns out to be a long, winding, day long trip. You drive for one whole day and look a map in the evening to discover that 10 hours of driving has only revealed to you a small corner of Ladakh. The forbidding remoteness of the mountain ranges is only revealed in areas where the pukka roads end. 

You may have heard that Leh district is the second largest (after Kutch) in India, covering an area of 45,110 sqkm, with a population density of just 6 people/sqkm. The number may not mean much until you spend hours on the roads without seeing another human being, or consider, for perspective, that the whole of Kerala state is smaller at 38,863 sqkm!

One whole day to drive to Alchi Monastery, Nimoo Dam and back, another whole day to take you from Leh, across the Khardungla Pass, past Khalsar on the Shyok river valley, and then, past Thoise, to Turtuk.  Another full day through the Nubra river valley to its headwaters below the Siachen glacier. On both these routes, parts of the road is submerged under swift streams, and you see suspension bridges buffeted in the raging waters of the Shyok and Indus..


As you move from one valley to another, you see a distinct variation in the colour and hue of the mountains. Bald slopes that look light brown and beige colour in the Nubra Valley seem to shift to shares of purple and pink in the Zanskar ranges. 



Ancient Routes

On the road to Alchi, next to the Indus river, is a fenced enclosure with hundreds of petroglyphs. Some of these drawings on the boulders are said to date back to the Neolithic or Bronze age, showing ibex, snow leopards, hunting scenes. The more recent - and numerous - ones date back to the Buddhist era. Stylised chortens with human figurines dancing on top.

These drawings actually take advantage of the fact that the stone surface has a distinctly different colour. So whatever material they used for these drawings etched away the surface colour, leaving the lighter sub-surface colour exposed. Similar petrogyphs were also seen in the Nubra river valley. On our way back from Taksha village towards Pamanik hot-springs, a boulder stood by the roadside with the very same ibex drawings!


Around Diskit and Hunder, on the broad valley where the Shyok and Nubra rivers meet, you see a paradox. An area where there is plenty of fresh water, you see barely any vegetation. The whole area is covered with sand dunes. Double-humped bactrian camels forage among the bushes.  It is not difficult to imagine the times when long caravans of these camels carried goods, ideas and people across these mountain valleys, to Tibet, Yarkand and beyond, to Central Asia.


Rivers Running Backwards

Ladakh is flanked by two mountain ranges - Zanskar to the south and Karakoram to the north. Rivers flow very differently between these ranges - the Nubra flows south-east from the Siachen Glaciers, and then after going about 70km in this direction, abruptly changes to flow almost backwards to the north-west direction after joining the Shyok river at the Hunder-Diskit junction.


River Shyok, on the other hand, starts off from the same set of glaciers north of Siachen, flows in the same SE direction for more than double the distance, and near Dubruk, does a V-turn and flows westwards for about 200km and becomes the Indus before deciding that it must go southwards after all!






Sunday, July 28, 2024

Switching to Sony


Over the past two weeks, I have been looking for options. Now there are so many that I am spoilt for choices - the world of digital cameras has changed a lot over the past 15 years. Cameras have become lighter, smarter and a lot more user-friendly.

What I loved about the D90 kit was that it was sturdy and versatile with a superb battery life - on a single charge I could get over ~850 frames, without the hassle of carrying around the clunky charging kit. The 18-105mm lens was great for wide-angle shots, portraits as well as a respectable zoom. What I did not like was the bulk - it was way too heavy to lug around for treks in the Himalayas. The battery for all is greatness on the plains would simply fail at low temperatures. On brilliant starlit nights when temperatures dropped below zero, the battery would play dead and miraculously come back to life when we descended to warmer climes. 

 

So what was I looking for? First of all, I wanted to graduate from an APS-C to a full-frame digicam, from an SLR to a mirror-less camera. The camera had to be weather-sealed; it had to be as light and compact as possible, and still have a decent battery-life. I knew mirrorless cams were battery hogs, but still, I did not want to carry around chargers/adaptors, and I wanted a camera that offered the highest possible exposures on a single charge.

 

My first option was to stick to the Nikon family. I was familiar with the layout of the camera, and I had been a happy customer for the past 15 years. Unlike the Canon G9 which died on me within a year of purchase in Japan, this one never gave me any trouble (until last week), from the time I had purchased it in 2009 from Yodobashi-Akiba,Tokyo. Starting with the trek to Mt. Fuji summit a week later, it had been with me through all kinds of terrain - mountains, deserts, beaches, humid tropics, the works.


The problem with the Nikon D-90 was that its lenses could be used only on APS-C format bodies, unless, of course you were willing to spend about 25k to buy an adaptor. For that price, I could get a new set of primes! So the Nikon Z5 was out. If I were to stick to APS-C format, FujiFilm offered some good choices with models like the X5 but the price and weight brought me back to the question - if I had to spend so much money anyway, why not focus on full-frames?


This brought me to the Panasonic Lumix S5. I liked the sturdiness of this camera and the demo where mugs of water were poured over it without any apparent effect. Then again, the weight and overdose of knobs and dials on the body put me off. Lens options are limited too.


It is as this stage that I came to know about the Sony E-mounts. Unlike Nikon which has a different set of mounts for its full-frame and APS-C cameras, Sony has the same one across its detachable lens formats. Folks using their APS-C lenses on a Sony E-mount would only had to content with a crop-factor instead of buying separate adaptors. Thanks to this brilliant idea, the E-mounts had arguably the widest range of affordable third-party lenses from Tamron, Sigma, etc..


On a visit to the Sony Camera Lounge in Lajpat Nagar, I noticed a smaller, lighter model - the Alpha-7C2 with a 28-60mm kit lens. From its size I assumed this was an APS-C model but was quite amazed to learn that this was Sony's first full-frame, compact model launched as A7C in 2020. I loved its clean lines, weather-proof built, the retro look of its silver trimming, minimalist use of dials and switches, its fully articulating screen, and the fact that it had an EVF view-finder too!


I liked the fact that the A7C had been tried and tested in the market for the past four years. It had now been replaced by the A7C-2 which is substantially more expensive. This meant that the older model was selling for an attractive discount :) The die was cast. Future Forward, LPN was offering a great deal too (cash + UPI ) - A7C body + battery + external adapter/charger + carry-bag. 


Now for the E-mount full-frame lens. Nearly all the reviews on the internet (there are loads!), had rated the standard 28-60mm kit-lens rather poorly, so, I decided to pair my A7C with a Tamron 28-200mm. The set looks beautiful. In terms of size it is just about the same weight and volume as the Nikon D90 + 18-105mm. This meant that my old faithful Lowepro would do just fine.





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REFERENCES & LINKS


CAMERAS - APS-C 

35mm Full frame 

Comparisons

Full-frame lenses

Lens Comparison:

Sony A7C Reviews

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Monday, July 15, 2024

Nikon D90 - Death of a Beloved Camera

My heart sank last week in Kamal-tal. 

I was taken a few family pics next to this lovely lotus pond in Naukuchiayal, Uttrakhand, when my Nikon-D90 suddenly stopped working. A strange growl inside the camera and then silence. I tried removing the 18-105mm lens, battery, memory card, rebooting time and again on different settings...but nothing would work. On the panel was an adamant "Err" message that just refused to go away. 

Back in the hotel, I looked up this problem on the net. There were numerous videos that explained how this error message would turn up even in the more advanced Nikon cameras. The mirror had jammed. It had got stuck at a midway point on a slant, blocking the aperture. Some of these self-help videos has a fix where a screwdriver's nudge would make everything click back in shape. There were also numerous shorts which simply showed the problem without offering any solutions other than 'if this happens, go to the service centre'.

Over the past 15 years a lot of memories had been captured in this sturdy, beautiful camera. I had purchased it from Akihabara, Tokyo,  in 2009 along with with a pair of binoculars ahead of my trek to the top of Mt. Fuji. Initially it had been a pain - especially on hiking trails - lugging around 1.5 kg of equipment (body 703g + 18-105mm lens 420g + bag). However the quality of photos made it completely worthwhile. So it stayed with me through innumerable family functions, treks, portraitures (Nikkor 50mm 1:1.8D), school functions and social events. 

So back in Noida, I looked up the nearest Nikon service centre and handed my D90 in. A few days back the service engineer called back to say that the problem had been solved - there had been an issue with the gears connected to the actuation motors. The repair cost me over Rs. 4000.

Is it time to let go? 

The last time I had a similar problem was in Japan, with my Canon G9. It was a sturdy-looking   pocket-sized, flip-screen camera which had died on me within a  year a purchase. Luckily it has still within the warranty period and I had taken it to the service centre and got it repaired for free. To be on the safe side, I had sold it at Wonderex-Tsukuba and got a fairly decent price for it.

There is no Wonderex in India and I don't have much hope of getting a good price for the old D90 body. So the question now is - what should be my next digicam? 

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REFERENCES

Nikon D90 mirror stuck - https://photo.stackexchange.com/questions/74780/nikon-d90-mirror-stuck

Err - https://nikonites.com/forum/threads/error-shutter-release-button-mirror-stuck.13236/




Thursday, May 30, 2024

Turquoise Reflections



How do birds engage with mirrors? Do they see in their own reflection, a rival, an encroacher who needs to be driven out, or a playmate?

Last week, in the little town of Dewathang in south-eastern Bhutan, I found myself in a small roadside lodge. As soon as I entered my room I saw something moving behind the curtains - it was this small bird with its brilliant blue plumage glinting in the evening sun. 

The last time I had seen such a bird was through a pair of binoculars. This time I was just a couple of inches away, looking through a glass-pane with a reflective film on it. The bird kept fluttering against the pane, stopping every now and then, to look intently at itself until darkness set in after sunset.

Do these birds get excited / agitated only when they are looking at reflections on the vertical plane? Are they tuned to ignore reflections on a horizontal surface such as a puddle or pool or water?

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LINKS & REFERENCES

* Verditer - from old French verd de terre - 'green of the earth'! - https://www.collinsdictionary.com/dictionary/english/verditer


Tuesday, May 28, 2024

Choeten Kora, Trashi Yangtse

 The road to Trashi Yangste is not an easy one. Unlike most roads we saw in Eastern Bhutan, the one that branched-off north from Trashigang was particularly bad. 

As we drove on a mud-path cut into steep slopes and dense forests, past recent landslides and rock-falls,  I imagined our final destination to be some sort of one-horse town; one in which there would be a few houses along the roadside; a town where we would have to wake up somebody to cook dinner and find a bed for the night..

It was late evening by the time our Pajero stopped and the driver announced, "We've reached!".  What stood below us was not a tiny settlement but a lovely little town built alongside a river. There were broad roads, numerous buildings, shops, lodges, snooker parlours, and, the biggest surprise of all - a beautifully lit up Choeten sitting like a jewel at the head of the valley.

This was the Chorten Kora, a shrine modelled on the Boudhanath stupa in Kathmandu, and revered by  people across the eastern Himalayas, from Nepal to Arunachal Pradesh, and maybe beyond.

I visited this shrine early next morning. What struck me the most was the deep sense of order, symmetry and rhythm within the complex. 

Each side was divided into two parts with four sections each. Niches within each of these four sections had exactly six prayer wheels. So as you walked along each side of the Chorten you could swing with your fingers 48 prayer-wheels or 192 prayers with each circumambulation! 

As if to keep time for each step and each breath you took, there were also two large water-driven prayer wheels by the river-side, gently tinkling their bells.

What is the significance of these numbers? Why are prayer-wheels and stupas by the roadside always built in units of 1, 2, 6 or 8?


There is no doubt deep symbolism in each of these elements. 

Is there a book that explains all this?

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LINKS & REFERENCES

* A brief history of Choeten Kora - https://himalaya.socanth.cam.ac.uk/collections/journals/jbs/pdf/JBS_06_01.pdf

* Symbolism of the Stupa / Chorten - https://www.buddhanet.net/e-learning/history/buddhist-art/stupas.htm 





Friday, April 12, 2024

Sweetness and Curvature

 This piece on Sahyadri Grapes was a revelation to me. 

It appeared on on ThePlate, an interesting publication I had not come across earlier; the style of writing was chatty and engaging and I learnt a whole lot of things about farmer-producer companies that are setting new benchmarks for the production and export of fruits and vegetables.

I was particularly surprised to learn about the barriers faced by Indian exporters in getting their products cleared, especially in the European markets. While some of these barriers, such as limits to pesticide residue, seem quite sensible from the point of view of health and wellbeing of the consumers, some others seem completely whimsical, bordering on Euromyths. The EU, it seems, sets standards on the curvature of bananas and limits the sweetness of fruits imported into their common market.

What exactly are these standards? Why were they adopted?

Curvature of Bananas: European Commission regulation 2257/94 decrees that bananas in general should be “free from malformation or abnormal curvature”. Those sold as “extra class” must be perfect, “class 1” can have “slight defects of shape” and “class 2” can have full-scale “defects of shape.” This standard applies to bananas of the varieties (cultivars) of Musa (AAA) spp., Cavendish and Gros Michel subgroups.


Far from being a whimsical, curvature of a banana seems to be a good indicator healthy growth - the amount and sunlight the plant was exposed to during its growth phase, and the resulting distribution of hormones.

Sweetness of Fruits: The Brix scale is used to measure the sweetness of fruits such as grapes. Article 50(2)(a) of Regulation (EU) No 1151/2012 of the European Parliament and of the Council on quality schemes for agricultural products and foodstuffs. 

According to the Plate article, "..the Brix content for grapes to Europe must range from 16 to 20 degrees, whereas the Indian palate prefers sugar content 24 degrees or higher". The relevant EU regulations however seems to set only minimum limits for sweetness, ranging from 12-14 degrees on the Brix scale.

There have been reports of export consignments getting rejected for exceeding limits on pesticide content in the fruits, but have there been cases where a rejection has happened due to excessive curvature or sweetness? 

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REFERENCES & LINKS

* Why are bananas bent? - https://uniquetimes.org/the-curious-case-of-curved-bananas-why-are-they-bent/

* https://www.standard.co.uk/news/uk/bendy-bananas-why-are-they-staying-eu-rules-b1080788.html

* https://www.forbes.com/sites/timworstall/2016/05/12/to-properly-explain-the-eus-bendy-bananas-rules-yes-theyre-real/?sh=4bcf67a86fc9

* https://www.cbi.eu/market-information/fresh-fruit-vegetables/table-grapes/market-entry

* https://unece.org/sites/default/files/2023-02/FFV10Carrots_2021_e.pdf

* Measuring sweetness - https://www.refractometer.eu/scales-for-sweetness-measuring

* https://www.yara.co.uk/crop-nutrition/grapes/managing-grape-sweetness/

* https://eur-lex.europa.eu/legal-content/EN/TXT/HTML/?uri=CELEX:52020XC0615(01)&rid=1

* Chaptalisation - process of adding extra sugar to grapes! - https://en.wikipedia.org/wiki/Chaptalization

* https://www.freshpoint.com/news/understanding-brix-is-a-higher-number-always-better/

* APEDA Guidelines (2007) - https://apeda.gov.in/apedawebsite/Grapenet/regu_fresh_grapes08.pdf

* Banana export guidelines - https://www.corpseed.com/knowledge-centre/export-banana-from-india

Sunday, March 10, 2024

Ananathashayana Vishnu



This must be one of the most beautiful sculptures I have seen of Anantha-shayana - Vishnu reclining on the 'endless' serpent, Anantha

One of the largest of these Ananthashayana sculptures is at the Padmanabha-Swami temple in Thiruvananthapuram, a city which itself is named after the deity. At the sanctum of this temple, the reclining Vishnu is so large that he needs to viewed through three separate doors that open into a dark, mysterious looking chamber lit by oil lamps. 

This particular sculpture is much smaller and it is carved on the outer walls of the Dashavatara Temple temple located, surprisingly, in Deogarh, Uttar Pradesh. Surprising because - thanks to the ravages of the Islamic period - it is difficult to find any sculptures with their noses and limbs intact in all of North India. 

Built on the banks of the  Betwa river, bordering Madhya Pradesh, this lovely little temple built by the Gupta dynasty around 500 CE, is now in ruins. For some reason, this particular panel is mostly intact. 

On the foreground are six standing figures. Three to the left are armed male warriors displaying their heavy swords - heavy, broad-tipped battle swords drawn  for action. However the remaining three are unarmed, an look completely relaxed. The lone woman on the extreme right has an elaborate hair-do and seems to to be striking a pose, waving to the onlooker.


Above them is Vishnu reclining on the Anantha serpent, looking serious and meditative on his lotus-bed. His consort is gently holding up his ankle while she delicately tweeks his toe. Behind her is Shiva with a cobra wrapped around his neck like a muffler. A lady with a scar on her left breast, stands next to him with a mace (or is it a musical instrument?). On the top-most panel are six smaller figures, all seated on something or the other - a bird (swan or peacock), an elephant, a lotus bloom, a bull (seats two) and an unknown guy trailing along.

Who are these gods? Why is Brahmna depicted here in deep meditation on a lotus, with what seems like the carcass of a cow on his shoulder and chest??

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REFERENCES & LINKS

Deogarh - https://en.wikipedia.org/wiki/Deogarh,_Uttar_Pradesh

Ananthashayana Vishnu - https://en.wikipedia.org/wiki/Anantashayana_Vishnu




 

Sunday, February 04, 2024

On Diminishers and Illuminators

An interesting talk by David Brooks: 



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LINKS

* Thornton Wilder and The Angel That Troubled the Waters: A Plea for Physician Healing - "...Without your wound where would your power be? It is your very remorse that makes your low voice tremble into the hearts of men..."

* Michael Gerson on Depressionhttps://unitedbrainassociation.org/2019/03/28/the-importance-of-coming-out-bringing-mental-illness-into-the-light/

Saturday, February 03, 2024

Ramah, Ramou, Ramah!

Last week marked the political re-inauguration and 'consecration' of the Sri Rama temple at Ayodhya. 

While I am still trying to understand the complex ways in which this event was built ground-up from the community-level across most of north India - the house-to-house campaign with the "akshath", the all-day langar (community kitchen) that was set up across housing societies with live broadcast of the events taking place in Ayodhya that day, bright orange flags fluttering everywhere...it did bring back memories.

At school Sanskrit had been a compulsory subject for a few years. I hated it - especially because it brought down my (already pathetic) grades. We had to learn by rote a table with the various usages of the name, "Rama":


It was drilled into our heads so well that we could recite it anywhere, anytime! The only thing I never understood was why we were learning this. 

A few months ago, while trying to understand my mother's fascination for Sanskrit shlokas, as well as the ease with which she memorised poetry in complicated meters (eg., Shyamala Dandakam of Kalidasa), I stumbled on this YT series from the Chinmaya Foundation - Sanskrit for Shastra Study by Ved Chaitanya

This turned out to be fascinating. For the first time I began to understand why I had learnt Rama-Ramou-Ramah decades ago! 

I have not even reached half-way through this 53-session series but each session is nicely paced out. While in 7th grade perhaps my Sanskrit teacher did tell us that the Rama-series represents 'nominative cases for masculine nouns'. Even if she did I would not have understood. Thanks to this series and to CIF, a new, exciting world is opening up now!

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LINKS & REFERENCES

* Chinmaya International Foundation - CIF - https://www.chinfo.org/ 

The first session (1/53):









Monday, January 22, 2024

Locavore



The yummiest Kachori's are sold in the back lanes of Khari Baoli. A small eatery in Khajuraho served the the best dry-mango pickle I have tasted, and some of the nicest meals I have had were served in tiny, family-run eateries in Kyoto...

Good food is often underrated, and very often served far from the world of frenzied reviews, tik-tok videos and reels. It often reminds me of Joshua Bell, one of the finest musicians in the world of western classical music, who once went busking as an experiment. At the busy entrance of a metro station in Washington, he played his violin for nearly an hour - six classical pieces from Bach, Massenet, Schubert and Ponce. Hardly anybody noticed, and even fewer stopped by to listen. From the people who did not recognise him he got about $20 in change. The very next night, he played at a fancy music concert where each ticket cost about $100!

Food and music was on my mind when I read this nice piece on Chef Thomas Zacharias. A chef for over 15 years, after training abroad and serving in leading restaurants, decided to travel the forgotten corners of the world to seek out ingredients, techniques, food traditions, folklores, stories and food recipes, from farmers and indigenous communities. 

What are some of the perspective-shifting foods he's discovered? Young sweet-potato leaves in Meghalaya, Atam (sour-fruit) from Goa, Thaavu (wild fern) from Chalakudy river basin in Kerala, and fire-ant chutney in Jharkhand! 

Thankfully for us, this chef's discoveries are being presented online: The  Locavore - a platform for spotting sustainable food practices around India!

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REFERENCES & LINKS

* Seth, Udbhav (2024): 'My trips taught me more than cookbooks ever did', Indian Express Eye, 7 Jan., 2024, URL - https://indianexpress.com/article/express-sunday-eye/chef-thomas-zacharias-indigenous-ingredients-9098402/ 

* The Locavore - https://thelocavore.in/ 


Saturday, January 20, 2024

The Balkh Connection - Resurrection of Persian


A carpet from Balkh adorns our living room. It is a constant reminder old assignments with the UN in Afghanistan, of traveling long dusty roads lined with the relics of various wars, of bustling markets and lovely lilt of Dari language.


Dari is a variant of Persian widely spoken in the country. I had always imagined that the Persian influence on Afghanistan dated back to the reign of kings ranging from Cyrus to Nadir Shah. Today, while communing back home on the metro listening to an episode of the Empire podcast, I realised the extent of my naivety.

There was a time when the Persians ruled most of the territory that extends from today's Punjab to Turkey and North Africa. The mighty Achaemenid kings - Cyrus, Darius, Xerxes - ruled from Persepolis (559 - 330 BC), until the empire was destroyed by Alexander. Then came the Seleucids (312 - 62 BC) who were contemporaries of Chandragupta  of the Maurya empire in India; the Parthians (247 - 224 BC) and the  Sasanians (224 - 651 CE).

Then came a time when the conquerors got conquered. The endless wars between two great empires, the Romans and the Persians, exhausted both and enabled a new kid on the block, the Arabs driven by the zeal of a brand new religion, to colonise  Persia. Over the next 200 years, Arabic took over as the official language, Persian language, culture and religion got subsumed. Amazingly some of the most prominent Vezirs appointed by the Arabs were the Barmakids, a clan of hereditary Buddhist priests ("Pramukh") from the Nawbahar monastry in Balkh who had converted to Islam!  

One of the few holdouts was Khorasan, an area which is mostly the provinces o Herat and present-day Afghanistan. 

It is under the patronage of the Saffarid kings of Khorasan that Persian language survived. The poet, Ferdowsi started writing the epic Shahname under their patronage. However, by the time he finished his magnum opus, the Saffarids had been defeated by the Ghaznavids, and the new king Mohammad of Ghazni was too busy plundering India and did not think much of Persian poetry. 

It is Persia that owes much to Afghanistan - not the other day around!

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BUT-SHIKAN  à¤¬ुत-शिकनبت Ø´Ú©Ù†

This word, meaning "iconoclast", is an honorific adopted by many Islamic rulers in India. Sikandar Shah Miri, a ruler of Kashmir was called Sikandar Butshikan for the zeal with which he destroyed many monasteries and temples.

So the question is - does 'but' refer to icons of the Buddha?

A friend who loves Urdu poetry insists that the word comes from Persian. So did the ancient Iranians also take delight in destroying temples? Turns out that they did - hundreds of years before Persia was overrun by conquering armies from Arabia under the banner of Islam, it was Zoroastrian rulers who destroyed buddhist monasteries and temples in the Khorasan region!

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REFERENCES & LINKS