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  About Kashmir 05/18/2025 8:43am (UTC)
   
 

About Kashmir.









Set like a jewelled crown on the map of India, Kashmir is a multi-faceted diamond, changing its hues with the seasons - always extravagantly beautiful. Two major Himalayan ranges, the Great Himalayan Range and the Pir Panjal, surround the landscape from the north and south respectively. They are the source of great rivers, which flow down into the valleys, forested with orchards and decorated by lily-laden lakes.

The Mughals aptly called Kashmir ‘Paradise on Earth’ where they journeyed across the hot plains of India, to the valley’s cool environs in summer. Here they laid, with great love and care, Srinagar’s many formal, waterfront gardens, now collectively known as the Mughal Gardens. Anecdotes of four and five centuries ago describe their love for these gardens, and the rivalries that centred around their ownership. They also patronized the development of art & craft among the people of Kashmir, leaving behind a heritage of exquisite artisanship among thes people and making the handicrafts of the land prized gifts all over the world.



Kashmir is a land where myriad holiday ideas are realised. In winter, when snow carpets the mountains, there is skiing, tobogganing, sledge-riding, etc. along the gentle slopes. In spring and summer, the honey-dewed orchards, rippling lakes and blue skies beckon every soul to sample the many delights the mountains and valleys have to offer. Golfing at 2,700 m above the sea, water-skiing in the lakes and angling for prized rainbow trout, or simply drifting down the willow fringed alleys of lakes in shikaras and living in gorgeous houseboats are some of the most favoured ones.





SEASON



Kashmir has four distinct seasons, each with its own peculiar character and distinctive charm. These are spring, summer, autumn and winter.

Spring, which extends roughly from March to early May, is when a million blossoms carpet the ground. The weather during this time can be gloriously pleasant at 23oC or chilly and windy at 6oC. This is the season when Srinagar experiences rains, but the showers are brief.

Summer extends from May until the end of August. Light woollens may be required to wear out of Srinagar. In higher altitudes night temperatures drop slightly. Srinagar at this time experiences day temperatures of between 25oC and 35oC. At this time, the whole valley is a mosaic of varying shades of green - rice fields, meadows, trees, etc. and Srinagar with its lakes and waterways is a heaven after the scorching heat of the Indian plains.

 

 

The onset of autumn, perhaps Kashmir's loveliest season, is towards September, when green turns to gold and then to russet and red. The highes 





Long before our times, a vast lake filled the land of Kashmir, with a fierce demon living in its waters. The sage Kashyap, acquiring divine powers, drained the lake of its water. Goddess Parvati (consort of Shiva) then crushed the demon to death with a huge mountain, which still stands in Srinagar. Thus goes the story of the creation of this city of breathtaking beauty. According to documented history, the great Mauryan king Ashoka (1st century BC) established the old city of Srinagar and named it Puranadhisthan (now Pandrethan). With the extension of Ashoka’s rule, Buddhism spread in the valley. After him, the Kushana Emperor Kanishka reinforced the spread of Buddhism.

The modern city of Srinagar was built upon the ruins of the capital cities of several kings, including Pravarasen, Lalitaditya, Jayapida and Avantivarman. Srinagar became the seat of government of the Dogras when Maharaja Gulab Singh became the ruler of Jammu & Kashmir. Over the years, the city saw upheavals and a process of change, from a royal retreat to the hotbed of political activity. In the last decade of the 20th century, Srinagar has been racked by some of the worst incidents of violence and killing that the country has witnessed. Several thousand lives have been lost, the once overflowing hotels and streets lie empty, the magnificent Dal Lake is choked up and the people devastated. This human tragedy wrought by incessant conflict between India and Pakistan, has made hell out of what was once described as paradise on earth.



Excerpted from

 

Kashmir 1947, Rival Versions of History, by Prem Shankar Jha.
Sam Manekshaw was at the ringside of events when Independent
India was being formed. Then a colonel, he was chosen to accompany V P Menon on his historic mission to Kashmir. This is his version of that journey and its aftermath, as recorded in the book (in from of an interview with writer). 





At about 2.30 in the afternoon, General Sir Roy Bucher walked into my room and said, 'Eh, you, go and pick up your toothbrush. You are going to
Srinagar with V P Menon. The flight will take off at about 4 o'clock'. I said, 'why me, sir?'
'Because we are worried about the
military situation. V P Menon is going there to get the accession from the Maharaja and Mahajan.' I flew in with V P Menon in a Dakota.
Since I was in the Directorate of Military Operations, and was responsible for current operations all over India, West Frontier, and elsewhere, I knew what the
situation in Kashmir was. I knew that the tribesmen had come in - supported by the Pakistanis.
Fortunately for us, and for Kashmir, they were busy raiding, raping all along. In Baramulla they killed Colonel D O T Dykes. The Maharaja's forces were 50 per cent Muslim and 50 per cent Dogra. The Muslim elements had revolted and joined the Pakistani forces. This was the broad military situation. The tribesmen were believed to be about 7 to 9 kilometers from Srinagar. I was sent into get the precise military situation. The army knew that if we had to send soldiers, we would have to fly them in. Therefore, we had made arrangements .
But we couldn't fly them in until Kashmir had acceded to India. From the political side, Sardar
Patel and V P Menon had been dealing with Mahajan and the Maharaja, and the idea was that V.P Menon would get the Accession, I would bring back the military appreciation and report to the government. The troops were already at the airport, ready to be flown in. Air Chief Marshall Elmhurst was the air chief and he had made arrangements for the aircraft from civil and military sources. 






We went to Srinagar Palace. I have never seen such disorganisation in my life. The Maharaja was running about from one room to the other. I have never seen so much jewellery in my life --- pearl necklaces, ruby things, lying in one room; packing here, there, everywhere. There was a convoy of vehicles.
The Maharaja was coming out of one room, and going into another saying, 'Alright, if India doesn't help, I will go and join my troops and fight (it) out'.
I couldn't restrain myself, and said, 'That will raise their morale sir'. Eventually, I also got the military situation from everybody around us, asking what the hell was happening, and discovered that the tribesmen were about seven or nine kilometres from what was then that horrible little airfield.
Eventually the Maharaja signed the accession papers and we flew back in the Dakota . The people who were helping us to fly back, to light the airfield, were Sheikh Abdullah, Kasimsahib, Sadiqsahib, Bakshi Ghulam Mohammed, D P Dhar with pine torches, and we flew back to Delhi in night. (On arriving at Delhi) I reported to Sir Roy Bucher. He said, 'Eh, you, go and shave and clean up. There is a cabinet meeting at 9 o'clock. I will pick you up and take you there.' So I went home, shaved, dressed, etc. and Roy Bucher picked me up, and we went to the cabinet meeting presided by Mountbatten. There was Jawaharlal Nehru, Sardar Patel, Sardar Baldev Singh and other ministers. Almost every morning the Sardar would sent for V P, H M Patel and myself. While Maniben (Patel's daughter and de facto secretary) would take notes, Patel would say, 'V P, I want Baroda. Take him with you.' I was the bogeyman. So I got to know the Sardar very well. 




At the morning meeting he handed over the (Accession) thing. Mountbatten turned around and said, ' come on Manekji (He called me Manekji instead of Manekshaw), what is the militaryim the military situation, and told him that unless we flew in troops immediately, we would have lost Srinagar, because going by road would take days, and once the tribesmen got to the airport and Srinagar, we couldn't fly troops in. Everything was ready at the airport.
As usual Nehru talked about the United Nations, Russia, Africa, God almighty until Sardar Patel lost his temper. He said, 'Jawaharlal, do you want Kashmir, or do you want to give it away'. He (Nehru) said,' Of course, I want Kashmir (emphasis in original). Then he (Patel) said 'Please give your orders'. And before he could say anything Sardar Patel turned to me and said, 'You have got your orders'. 





I walked out, and we started flying in troops at about 11 o'clock or 12 o'clock.Then all the fighting took place. I became a brigadier, and became director of military operations and also if you will see the first signal to be signed ordering the cease-fire on 1 January (1949) had been signed by Colonel Manekshaw on behalf of C-in-C India, General Sir Roy Bucher. That must be lying in the Military Operations Directorate.

 

 
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Last Updated on November 2008
  Ravees Mir Says
The inspiration for the creation of the arts and crafts of Kashmir is the paradisiacal land of Kashmir in its physical and metaphysical meaning and expression. The artistic genius of the Kashmiri people as expressed in the fields of literature, poetry, literary images, shawl-making, embroidery, embroidered floor-coverings, wood-work and wood-carving, papier-mache and metal-work has been studied by the author, in the beauty of their composition, history, making and design movement.

The arts and crafts of Kashmir testify to the Kashmiri artist being a true lover of nature. Nature is reflected in the polished mirror of the designs and decorative patterns of ornamentation of the Kashmiri arts. Poetry in form to reach the realm of thought, idea, dream and vision that shows joy in this world as the world is joyful in Him.


The Kashmiri artist or craftsman can afford only two luxuries – the birds and the flowers – which grow wild, and the land holds one in charm by its free beauty. This natural beauty and the beauty of its arts and crafts have made Kashmir famous through the ages.

Also, Sufism, Islamic form of mysticism, has as in the case of the whole of the Islamic world permeated the Kashmiri society, though and literature and the philosophy f the creation of the arts and crafts of Kashmir, which also fulfill though in a meager way the economic needs of the maker. So it is metaphorically the desire for meeting the harmonious lip to express the pain of love, which results in the profound meaning of expression of the Kashmiri arts.

As in the weaving of the poetry of the harmonious beauty of shawls painstakingly, in one of the most difficult weaves of the world, each strand of thread moves in a static medium with such sinuous grace and force of expression as not only to enchant one in its fineness of grace and sensuous beauty but also to speak of the attractive, sensitive and appealing to the senses beauty – which intrigues, charms, captivates and absorbs the one touched and affected by it – of the land from which the materials of making and forming and composing and drawing the shawl spring forth. In a measure of transcendence the radiant and magnificent patterns and designs, in the case of Kashmiri metal-work, take back to the earth – from the material to the de-materialisation of the object afforded by the luminosity and movement of the line of the decorative pattern, though on the surface, to almost make one experience, if you like, something sacred – the bowels of which yield the raw materials and the rocks from which they are extracted. The Kashmiri embroidered rugs display the ‘soofyana rang’, while the wood-work and wood-carving praises the nature by taking it back to the woods. The papier-mache decorative designs in their miniature style of painting portray the verdant green and colorful landscape and the flowers in bloom and singing birds of the beautiful valley of Kashmir.

Nature speaks in the Kashmiri arts and crafts in the language derived mainly from Persian aesthetics a development of Islamic aesthetics – in the expression of the design of the arts; which has certainly taken Islam to be the influence and hence is born of the spirit of Islam itself.

The evolution of the significant and important ornamental design lay-out in Kashmiri arts and crafts is defined by the term arabesque with its centre being everywhere and nowhere to be seen as it is a continuous pattern so intricate as to make the eye tired of detail and carry it in a level of manifestation to the feeling, dream and vision of the transcendental meaning of life. It expresses the unity of existence in the continuous cycle of creation and re-creation with its underlying factor being that the things come and go but what remains constant is this very cycle and this passion and urge and love of creating and creation, celebrated by man by creating himself, as a defiance of nature (by creating a composition of a universe of art) but ultimately realizing his complete dependence upon it in thought, idea, dream, vision and material of existence and creating.

Thus there are levels of manifestation in the metaphorical and aesthetic expression (on the surface appearing to be endless cursive shapes, circles, polygonal figures and arabesque) to be explored and understood according to one’s knowledge and gift of ability to conceive the picture or the painting with its order, beauty, balance and harmony, which is truly man’s existence and which brings forth the expression of art. This beauty, poetry, music and dance of life is a way of bringing about recollection and of awakening within man an awareness of that supreme Beauty for posterity, of which all terrestrial beauty is but a pale reflection, for as Rumi says, as translated by Nicholson, that Kings lick the earth of which the fair are made. For God has mingled in the dusty earth a draught of Beauty from His choicest cup. It is that, fond lover – not these lips of clay – you are kissing with a hundred ecstasies. Think, then, what must it be when underfiled!

And the artist is a lyre whose strings are plucked by the Creator in a musical harmony with the embellishing ornament stylisd to the point of losing all resemblance with nature and obeying only the laws of rhythm – being a real graphic of rhythms with each line undulating in complementary phases, and each surface having its inverse counterpart for a balanced, harmonious composition – of the design of movement or the movement of design. Thus the ornament tries to stop the mind of the onlooker affected by it or the one who appreciates it and is absorbed in it from attaching itself on any particular form. This hindrance is to dissuade and stop one from arranging a definitive saying of “I” as an image says “I”.




Ravees Mir (Gemologist)

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