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Saurath This village is situated in the Mithila region of Bihar. Metahistory makes it
unique. Originally named Saurastra, literally a cultural and intellectual centre of sau-rastra, nations associated with Janaka,
the ancient king of Mithila, whose name finds mention in the Ramayana epic. Tradition has it that the svayambara (self-chosen
form of marriage) of Janaka's daughter, Sita, took place in this village. The presiding God of this village is Somanath. There
is an interesting parallel between the Somnath of village Saurath (Saurastra) in Mithila and the Somnath of the Saurastra
region of Gujarat. The village people have an extraordinary ability to combine myth and history. As historical sources reveal,
in AD 1025, Mohammed Ghazni attacked the famous temple of Somnath located on the western coast in the Saurastra region. He
looted the fabulous wealth of the temple and destroyed it completely. From the imagined sources, it is known that Lord Somnath
appeared in the dream of the two Maithil Brahman brothers, Bhagirathdutta Sharma and Gangadutta Sharma, and asked them to
take His lingam away. The two brothers, following God's instruction, went to Saurastra, brought the lingam to Saurath and
kept Him in hiding for a long time. Later the lingam was duly enshrined.
In the 18th century a Maithil king constructed
here the temple of Somnath. This village has another peculiarity. Almost every year, during suddha or auspicious days for
the settling of marriages, thousands of Maithil Brahmans gather here. Such periodic meetings are called sabha, marriage mart.
It is obligatory for every person desirous of marriage to get a certificate called asvajajanapatra (non-relationship) from
a genealogist, stating that there is no "blood relationship" (as per the prescribed rules of prohibited degrees) between the
two contracting parties. The institution of panjikar, genealogist, was led for the first time by Maharaja Harsimhadeva (AD
1296-1323) of the Karnat dynasty. In course of time genealogical records called utedhpothi assumed gigantic proportions, and
it was felt necessary to make qualified genealogists available to people at certain appointed places throughout Mithila to
facilitate marriages. Earlier, such marriage marts were held in 14 villages, viz. Saurath, Khamgadi, Partapur, Sheohar, Govindpur,
Fattepur, Sajhaul, Sukhasaina, Akhrarhi, Hemanagar, Balua, Barauli, Samaul, and Sahsaula in North Bihar. In and about these
villages lived eminent Sanskrit pandits who were authorities on matters relating to genealogy. It was natural, therefore,
that Saurath was selected as the best place for Maithil Brahmans to assemble and consult genealogists. While Saurath maintains
the tradition, all other villages have discontinued holding the marriage mart.
Maintaining of genealogies is invaluable
for distinguished Maithil Brahman families, because the genealogical records show the names of their ancestors and of the
villages where they resided. The earliest known ancestor of each family, biji-purus, of that line and the village where he
resided was known as moola. Each moola thus came to represent one stock. In Saurath alone, according to the village genealogist
Harekrishna Jha, there are Brahmans of 7 gotras and 42 moolas. In course of time the occupation of genealogist became hereditary.
A separate language was evolved for recording genealogies, which each successive genealogist had to master. Every family has
thus its genealogy preserved in one of the houses of genealogists, beginning at least from the 12th century. The genealogies
of each family contain not only the names of persons generation-wise, as one finds in the genealogies of other societies,
but also the names of villages where they resided and their social and intellectual attributes. If someone in the 16th century,
for instance, was a mahamahopadhya, an honorific title denoting Sanskrit scholarship, this was recorded along with his name.
Not only that, the field of his scholarship and the names of the books he wrote were also mentioned in the genealogical record
of his moola. Saurath possesses invaluable archives of genealogical records. From these records one can establish the continuity
of Sanskrit learning in Maithil villages. The genealogy of Pandit Ghanshyam Mishra, for instance, shows that he had four sons,
all very bright scholars, but the youngest one, Bhanupati, who used to compose poems and songs with the great poet Vidyapati,
became a saint-scholar. One of the cousins of this family was Dhare Jha, who lived in another village but finally settled
in Saurath and became a famous scholar of Tantra. Ghanshaym's great-grandson Giradhari continued the family tradition and
became a scholar of eminence. He had four sons, but his youngest son mahamahopadhya Rajnath Mishra Rajje was exceptionally
brilliant. He was a scholar of many disciplines, Veda, Vedanga, Nyaya, Jyotish, Tantra, and Vyakarana, and had a large number
of disciples many of whom received the highest title of mahamahopadhya. He went to Kashi six months before his death and stayed
there till he breathed his last in 1933. He had a very bright son named Pandit Subhadra Mishra. From this illustrious family,
Pandit Shiva Kumar Mishra represents today the great sanskritic tradition. He is versatile in many fields such as Jyotish,
Tantra, and agriculture. He was influenced by Mahatma Gandhi in his early childhood, and he continues to spread the message
of Gandhi.
The ancestral family of the great poet Vidyapati Thakur, the "Kalidas" of Mithila, lives in this village,
with its glory and creativity. Purushottam Thakur, a descendant of the Vidyapati family, is famous for his austerity and religious-mindedness.
He has not taken salt or fried food now for almost 55 years; he eats only fruits, roots and shoots and does not move away
from his hut and temple. There are several pandits in this village who perform sanskritic rituals. Undoubtedly, the Sanskrit
tradition has lost its vigour, and scholars of modern subjects have become important. But people's pride in Sanskrit learning
remains. There is a Sanskrit High School in the village, which is a reminder of the excellence of the Sanskrit tradition.
There are also a Middle School imparting modern education, a Homeopathic Hospital, a Folk Museum, and two Libraries. The educational
status of the 42 per cent literates of the village shows that modern education holds them in greedy grip, but it does not
match the great tradition of Sanskrit scholarship. Of the 400 graduates, 32.5 per cent remain unemployed. In the people's
world view KNOWLEDGE still occupies the central position but MAN is placed on the periphery of TRADITION
SABHA GACHI
In an age when marriages are settled through Internet and solemnised mid-air, hundreds
of Maithili Brahmins in tune with tradition have started congregating in an open field at Saurath village here to find ``suitable''
matches for their children.
The 700-year-old custom of `Saurath Sabha' has, however, fallen prey to the onslaught
of modernity and has not been able to protect itself completely from rising consumerism.
This is evident from increasing
instances of parents of bridegrooms wanting to settle marriages with hefty amounts of money, and the changing attitude of
the youths who are not willing to sit under the open sky in order to get married.
Incidents of parents being cheated
at the Saurath Sabha have also dissuaded many others from participating in the mass-marriage congregation, while special buses
to the event have been discontinued since long.
However, these shortcomings have still not been able to deter the
guardians of thousands of eligible boys and girls who come together to settle the marriages of their wards at the 10-day-long
Saurath Sabha.
The registrars of the 10-day mass-marriage congregation said they expected settlement of at least 2,000
marriages this year, but admitted that the number of people attending the Sabha was on the decline.
Nearly one lakh
Maithili Brahmins used to attend Saurath Sabha about 20 to 25 years back but the number has come down considerably over the
years, they said.
Located near the Madhubani district headquarters, Saurath Sabha commenced from June 18 and is being
organised in an area covering 22 bighas of land that was donated by the Maharaja of Darbhanga.
Historical records
reveal that the Saurath Sabha dates back to 1326 when the formal registration of all Mithila Brahmins also started.
The
Sabha owes its origins to the fact that parents had to cover long distances in inhospitable terrain to find a suitable match
for their children as the Mithila region was criss-crossed by rivers and their tributaries. These difficulties prompted people
to come up with a custom, which could make the task of guardians of prospective bridegrooms and brides easier and, hence,
the Saurath Sabha came into being.
First, this marriage congregation was organised at Sambhaul village on Madhubani-Pandaul
Road. After nearly 100 years, the venue was shifted to Saurath.
Saurath Sabha is only open to prospective bridegrooms.
After getting the consent from parents of prospective bridegrooms, parents of brides visit offices of registrars which certify
their eligibility to settle marriages.
Registrars went through the `family tree' of both parties to verify that the
bride's family did not have any blood or nuptial relationship with that of the grooms side, up to five and seven generations
respectively. Subsequently, the authority letter for the settlement of the marriage is given.
koilakh
The famous temple of Shri 108 Bhadrakali Koilakh Devi is situated
14 kms east of Madhubani.The village Koilakh derives it's name from the
revered deity.The temple management team has done an excellent
job
in keeping the surroundings neat and clean. The special Aarti
which is performed daily in the evenings draws hundreds of devotees ..It is said that nobody has ever
returned empty handed from this sacred place.BHAGWATI ATYANT JAGANT CHATHINH AUR SAB KE ABHILASHA PURN KARIT CHATHINH.BUS
SHUDDH MAN SAU HUNK ARADHNA KARBBAK CHAHI.
The village Koilakh is perhaps the most famous village of Mithila.The
awareness level of villagers ,cutting across caste and religion ,are amazingly high.Though the level of education of
Brahmins is excellent, other castes too are not too far behind.The economic condition of villagers have also improved.
Mahamahopadhyay Umapati,Shri Mdhupji,Shri Yoga Nanad Jha were
from this village as also were the renowned Educationists Shri Nagendra Nath Jha and Shri Chiranjeev Jha.
The only sad part is that the once vibrant Koilakh Chouwk
nowdays wears a deserted look.This is partly bacause
the youth nowdays are forced to migrate to cities to make their living.Industrial and enterprenurial activities are non existent.
Dr.S.S.Jha along with Shri Moti Lal Thakur (NRI) has set up a
charitable hospital which has brought great respite for the people of this region along with the latest healthcare facilities.Though
there is a government hospital too but then that is run by Bihar Govt......
The village library has also been refurbished and for a change
daughters and daugters -in-law are managing this.Kudos to this initiative.
Bhadrakali Natya Parishad, establised in 1936 is
one of the oldest centres for dance and drama.Had it been situated in any of the Metroplitain cities,it would have easily become the foremost institution.Stalwarts like Biru babu
,Ramanji would have become hosehold names in India.A very famous Television actor and model Narendra Jha(Kanhaiyaji)
learnd the basics of the craft here itself.
Prominent jounalists like Ajit.KJha, S.N Jha, P.KMishra
etc.hail from this great village.. Amit -a youth leader is
the Secretary of the Mandir trust .
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An Inspiring Speech - Worth Reading …….
Imagine life as a game in
which you are juggling some five balls in the air. You name them - work, family, health, friends and spirit and you're
keeping all of these in the air. You will soon understand that work is a rubber ball. If you drop it, it will bounce
back. But the other four balls family, health, friends and spirit - are made of glass. If you drop one of these,
they will be irrevocably scuffed, marked, nicked, damaged or even shattered. They will never be the same.
You
must understand that and strive for balance in your life." …… H O W ?
1. Don't undermine your worth
by comparing yourself with others. It is because we are different that each of us is special.
2. Don't set your
goals by what other people deem important. Only you know what is best for you.
3. Don't take for granted the things
closest to your heart. Cling to them as you would to your life, for without them, life is meaningless.
4. Don't
let your life slip through your fingers by living in the past or for the future. By living your life one day at a time,
you live all the days of your life.
5. Don't give up when you still have something to give. Nothing is really
over until the moment you stop trying.
6. Don't be afraid to admit that you are less than perfect. It is this
fragile thread that binds us to each other, together.
7. Don't be afraid to encounter risks. It is by taking chances
that we learn how to be brave.
8. Don't shut love out of your life by saying it's impossible to find time. The quickest
way to receive love is to give; the fastest way to lose love is to hold it too tightly; and the best way to keep love
is to give it wings.
9. Don't run through life so fast that you forget not only where you've been, but also
where you are going.
10. Don't forget, a person's greatest emotional need is to feel appreciated.
11. Don't
be afraid to learn. Knowledge is weightless, a treasure you can always carry easily.
12. Don't use time or words
carelessly. Neither can be retrieved.
Life is not a race, but a journey to be savoured each step of the way.The
Evolution of Nepal's International Boundary with China and India
Like most of the countries of the world, the existence of Nepal had been recognised even before the international
boundaries had been fully and finally established. Mention of Nepal is found in the ancient history of both China and India.
Nepal-China boundary is as old as the history of the two countries, but in contrast to the very ancient cultural, social,
political and economic relations, Nepal-India boundary has a comparatively recent origin and its present boundary demarcation
and delimitation took place after the Anglo-Nepal War of 1814-16. In contrast to Nepal's boundary with India on three sides:
west, south and east, the boundary between Nepal and China lies in the north only. However, the demarcation of Nepal-China
boundary had been a problem in the past, because more than 90 percent of the frontiers run through high altitudes with rocks
and snow, glaciers and ice fields which are entirely uninhabited. Both countries have respected and continue to respect the
existing traditional and customary boundary line and have lived in amity. No remarkable or noticeable territorial dispute
has existed between Nepal and China. The few territorial disputes that existed were over rival claims for the settlements
of Kimathanka in the Sankhuwasabha and Taplejung districts, the area adjoining the border of Rasuwa, and Nara Nangla of Humla
district with the origin of dispute dating back to 1815, 1818 and 1834 respectively (Nepali, 1964:1).:These disputes were
resolved by the Nepal-China Joint Boundary Commission on October 5, 1961.Read More....http://www.nepaldemocracy.org/documents/treaties_agreements/nep_india_open_border.htm
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HISTORY $ CULTURE
The history of Mithila does not center round Violent feats of
arms but round Courts engrossed in the luxurious enjoyment of literature
and learning. Butwhile Mithila's fame does not rest on heroic deeds
it must be duly honored as the house where the enlightened and learned
might always find a generous, peace and safety. Before 1000B.C,it was
the great center of Hindu learning from the sixth to third century before Christ,Vaishali,a town in its border was a buddhist
stronghold and in fifth century after the sun of Buddhism had set Mithila again sprang into notice as the home of Hindu enlightment.When
eventually the first flood of Muslman invasion coming down the Ganges,did spread Bihar,it subsided,leaving Mithila with Hindu
Kings still holding courts where poetry and learning were alone honored. Tulsidas gives elaborate description of the Mithila in Ramayan.The whole region was decorated
for the marriage of Sita with Ram. These decorations consisted chiefly of vivid murals depicting mythological personages,
deities of the Hindu pantheon and the flora and fauna of the region. This art of painting, an established tradition even then,
has survived to this day, passed down for centuries from mother to her daughter. Today, these ceremonial decorations
- popularly identified as Madhubani paintings, after the town which is a major centre of their export - can be seen on house
walls in the districts of Champaran, Saharsa, Muzaffarpur, Vaishali, Darbhanga, Madhubani , Samastipur, parts of the
districts of Monghyr, Begusarai, Bhagalpur and Purnea, which together form the region of Mithila. Well marked naturally by the foothills of the Himalaya in the north, the river Ganga in the
south and by the rivers Mahananda and Gandaki in the east and west respectively, Mithila spreads over 25,000 sq miles of rock-free
alluvial plains. It is dotted over by thousands of pools, and crops of cotton, indigo, sugarcane, wheat, rice, lentils, maize
and all the vegetables of a temperate clime are grown here. It is this fertility which inspired people to name it Madhubani,
the Forest of Honey. The folk paintings of Mithila are-the
exclusive monopoly ot women artists. This is a communal activity and one in whicl young girls are allowed to assist. This
enables them to learn early to draw and paint - skills which are put to the test when, as grown-up women, they are expected
to present the kohbar- a picture used as a marriage proposal, to a man or their choice. Heavily charged with tantric symbolism
in its basic design and composition, a kohbar depicts a pictorial intercourse using the lingam (phallus) and yoni (vulva)
symbols. Not only can this fresco be seen on every bedroom wall in Mithila but the first kohbars in a courtship are used to
wrap various gifts. Another central figure of Maithili paintings
is Krishna, the eighth avatar (incarnation) of Vishnu and one of the most popular gods in India. The ecstatic circle in which
he leads the gopis or his cowherd-lovers is interpreted as the wheel of life, of appearances revolving eternally. If the Shiva
lingam represents mystic ecstasy, and Krishna the passionate repetition of the act of love, Rama - the seventh avatar oi Vishnu
- is archetypal together with his wife Sita (an incarnation of Vishnu's wife, goddess Lakshmi), of marital devotion. Other
avatars of Vishnu; female deities like Kali, Durga, Parvati - different aspects of the same power; Lakshmi and Saraswati are
all honoured at appropriate times. These divine beings are positioned centrally or lineally in the framework. In the dense
background are depicted their consorts, their respective mounts, fruit bearing trees, clumps of bamboo, floral motifs and
numerous other symbols to which the viewer can relate without mental strain. A scale is established to convey vastness by juxtaposing figures of human beings, animals and birds - with towering
forms. The smallest of gaps is then filled with birds, leaves, flowers or ceremonial objects to show the fecundity of nature.
Viewed as a whole, the harmony reflected in the utilization of space and in the picturisation, conveys the artist's understanding
of peaceful co-existence of man and bird and beast. This understanding
of the importance of living in harmony was, in the past, extended even to the practice of preparing colours from plant extract.
Three cardinal rules governed this : no one was to destroy another's garden, no money was to be spent on the collection of
materials, and no colours were to be made out of edible plants. The artists used the juice of locally available creepers and
flowers : henna leaves, the palash flower, bougainvillaea and the sap of the neem tree, to obtain
a range of colours. For black,they ingeniously removed the soot collected on the underside of their earthen cooking vessels
and fixed it by using the viscous substance surrounding the seed of the be I fruit. Nowadays, paints are generally bought in the bazaars rather than prepared indigenously. Colours are available in powdered
form, which are then mixed with goat's milk. For black, the women rely on burnt straw and for white, on powdered rice diluted
with water. The colours are usually deep red, green, blue, black, light yellow, pink, and lemon. Two kinds of locally made
brushes are used once the paints -e ready. A small bamboo-twig with a slightly frayed end is sed for outlines and tiny details.
The filling in of space is .one with the aid of a pihua, made from tying a small piece of cloth to a twig. The outline is
drawn in a single flow of the brush without preliminary sketching. Although
to the outside world Maithili paintings are available on paper, the usual base on which the women paint are the mud-walls
of their dwellings. However, the use of paper (as gift wrapping) as a canvas was known long before these paintings acquired
saleability. It is also used to preserve the more elaborate or less frequently drawn pictures on a smaller-scale, which then
serve aide-memoires. the Mithila murals convey a sense of
timelessness, it is t'.ue to the lack of significant variation in style from p^neration to generation. Though new schools
are born with e ich generation, the similarities in the use of colour, form aid iconography appear like strong currents of
inherited knowledge. Many Maithili women have received recognition fur being mistresses of their art and yet it is not a unique
n dividual sensibility that speaks through their artistic creations. Visible in their offerings is an anonymous creative mind
with millennia of traditional knowledge.
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