Gyan Darpan
12/04/2014
0
Maharaj Chhatrsal
Chhatrsal Bundela
Click here to read Chhatrsal Bundela Story In Hindi
Showing posts with label Glorious History. Show all posts
Showing posts with label Glorious History. Show all posts
Bundelkhand Kesri Maharaj Chhatrsal
Maharaj Chhatrsal
Chhatrsal Bundela
Click here to read Chhatrsal Bundela Story In Hindi
Where was Rani Padmini of Chittor born?
Gyan Darpan
8/30/2013
0
Padmin permeates our national consciousness as an iconic figure with immortal legancy. She emerges as a brave and worthly individual, capable of meticulous planning and flawless execution. She was also an extraordinarily brave, wise and virtuous women. The confluence of beauty, bravery, wisdom and virtue in the persona of one individual is, indeed, a very rare phenomenon.
No mutch known about Padmin’s family bachground and even the place where she came from as a bride into the ruling family of Mewar. However, she has been repeatedly mentioned in the Hindi literture as a relation of Gora and Badal who were Chauhans and have a haveli to their name in the fort of Chittor. Gora was supposed to be her uncle and Badal, the son of Gajanan, her cousin. Further detail of this relationship are not known. The earliest refernce to Padmini, to our present state of knowledge, is contained in Chhitai Charitra composed in AD 1526. This, however, is just a passing refernce, devoid of any detail about her.
As already brought out, the seas in those times were held in graet awe and their crossing, a big adventure. Thus, Jayasi, Hem Ratan, Labdhodaya and other who have composed works relating to Padmin have chosen to make her a Ceylonse Princess. Their idea was to lend touch of high adventure and drama to their romantic scripts and give Ratan singh, their hero, the image of dashing young prince. We have to keep in mind that all of them were poets out to catch the popular imagination and not proper historians by any chance. Every world of theirs is not supposed to be history. They have, indeed, built quite a few frills and fancies around their narration which need to be carefully separated to get at the historic reality that we are after.
According to Jayasi, Padmin was the daughter of King Gandharva Sen of Ceylon, and Rawal Ratan Singh went all the way to the Island seeking her hand. It took him eight long year to win her in marriage and bring her to Chittor to the great delight of his subjects. A number of other Hindi works on Padmini from the sixteenth century onward like the Gora Badal kavit by an anonymous writer, Gora Badal Padmini Choupai by Hem Ratan, Gora Badal Choupai by Jatmal Nahar, Padmini Charitra Choupai by Labdhodaya and khoman Raso by Daulat Vijay all insist that Padmini came from the Royal family of Singhaldeep,i.e. Celyon or Shri Lanka. Taking them seriously the, the royal family of Udaipur is believed to have invited a delegation from Shri Lanka to examine their antique ancestal ornaments. None of these could be eastablished to be of the Shri Lankan origin. The Celyonese connetion of Padmini is, therefore, highly improbable. Because Rana Ratan Singh had no time on hand for the Island adventure due to war cloud those time.
Col. Tod started compiling his Annals and Antiquities of Rajasthan in 1806 and completed 1829. Padmini is mentioned to be the daughter of King Hamir Sank (Hammir Singh Chauhan) of Ceylon in this work. Tod’s version is, of course, based largely on the Bardic sources, the reliability quotient of witch could not be very high for obvious reasons. In fact, as as per history, the contemporary ruler of Ceylon was King Prakaram Bahu 1V. this, in itself, should go a long way to negate the theory of the Ceylonese origin of our national herione.
Such a hot equatorial region is least likely to be overflowing with fair ladies of class of Padmini as made out in our Hindi litrerature.
Abul Fazal and Haji-ud-Davir do not describe her as Padmini by name, but as an extraordinarily beautiful women of the Padmini class. In fact Col.Tod also write that she was bestowed with the title of Padmini because of her exquisite beauty. Her maiden name may well be different and she may have been renamed Padmini.
Our scriptures divide women into four categories as per their physical, attributes, mental attitudes and spiritual inclinations- Sankhini, Hastini, chitrni and of course, the most cherished , Padmini. This is how these classes have been comprehensively describes by Labdhodaya in his Padmini Charitra Choupai. The issue that need to be settled right now is that our Padmin could not have the Ceylonese background for several reasons. First, Cyelon is the least likely place for women of her class to be found. Secondly, Rawal Ratan singh had no time on hand to go all the way to Ceylon looking for something that could not even be likely to be found there. It is thus, reasonably clear that Ceylon got dragged in to the literature on Padmini only to add a dash of adventure to the romance of the story.
A place known as Pungal in Rajasthan itself has been traditionally famous for Padminis. Dainty-looking women of petite build and chiselled feature are even now found in some part of Rajasthan.
Gaurishankar Hirachand Ojha suggested that Padmini may have belonged to the village of Singholi, forty miles to the east of Chittor. Earlier the Amar kavya Vanshawalis had also mentioned Singoli as the place of birth of Padmini. Since the name of village rhymes well with Singhaldweep, it may have made the poets mind soar to the far away island.
Thus, if we are able to from a final view that our natinal heroine is a historic reality, then we shall also have to recocile to the fact that she did not come as a bride in to royal family of Mewar all the way form Ceylon, but from some place much nearer Chittor.
For more know about our National Heroine Padmini Buy the book “Rani Padmini, The Heroine of Chittor.”written By B.K.karkra
You can get this book online from here
No mutch known about Padmin’s family bachground and even the place where she came from as a bride into the ruling family of Mewar. However, she has been repeatedly mentioned in the Hindi literture as a relation of Gora and Badal who were Chauhans and have a haveli to their name in the fort of Chittor. Gora was supposed to be her uncle and Badal, the son of Gajanan, her cousin. Further detail of this relationship are not known. The earliest refernce to Padmini, to our present state of knowledge, is contained in Chhitai Charitra composed in AD 1526. This, however, is just a passing refernce, devoid of any detail about her.
According to Jayasi, Padmin was the daughter of King Gandharva Sen of Ceylon, and Rawal Ratan Singh went all the way to the Island seeking her hand. It took him eight long year to win her in marriage and bring her to Chittor to the great delight of his subjects. A number of other Hindi works on Padmini from the sixteenth century onward like the Gora Badal kavit by an anonymous writer, Gora Badal Padmini Choupai by Hem Ratan, Gora Badal Choupai by Jatmal Nahar, Padmini Charitra Choupai by Labdhodaya and khoman Raso by Daulat Vijay all insist that Padmini came from the Royal family of Singhaldeep,i.e. Celyon or Shri Lanka. Taking them seriously the, the royal family of Udaipur is believed to have invited a delegation from Shri Lanka to examine their antique ancestal ornaments. None of these could be eastablished to be of the Shri Lankan origin. The Celyonese connetion of Padmini is, therefore, highly improbable. Because Rana Ratan Singh had no time on hand for the Island adventure due to war cloud those time.
Col. Tod started compiling his Annals and Antiquities of Rajasthan in 1806 and completed 1829. Padmini is mentioned to be the daughter of King Hamir Sank (Hammir Singh Chauhan) of Ceylon in this work. Tod’s version is, of course, based largely on the Bardic sources, the reliability quotient of witch could not be very high for obvious reasons. In fact, as as per history, the contemporary ruler of Ceylon was King Prakaram Bahu 1V. this, in itself, should go a long way to negate the theory of the Ceylonese origin of our national herione.
Such a hot equatorial region is least likely to be overflowing with fair ladies of class of Padmini as made out in our Hindi litrerature.
Abul Fazal and Haji-ud-Davir do not describe her as Padmini by name, but as an extraordinarily beautiful women of the Padmini class. In fact Col.Tod also write that she was bestowed with the title of Padmini because of her exquisite beauty. Her maiden name may well be different and she may have been renamed Padmini.
Our scriptures divide women into four categories as per their physical, attributes, mental attitudes and spiritual inclinations- Sankhini, Hastini, chitrni and of course, the most cherished , Padmini. This is how these classes have been comprehensively describes by Labdhodaya in his Padmini Charitra Choupai. The issue that need to be settled right now is that our Padmin could not have the Ceylonese background for several reasons. First, Cyelon is the least likely place for women of her class to be found. Secondly, Rawal Ratan singh had no time on hand to go all the way to Ceylon looking for something that could not even be likely to be found there. It is thus, reasonably clear that Ceylon got dragged in to the literature on Padmini only to add a dash of adventure to the romance of the story.
A place known as Pungal in Rajasthan itself has been traditionally famous for Padminis. Dainty-looking women of petite build and chiselled feature are even now found in some part of Rajasthan.
Gaurishankar Hirachand Ojha suggested that Padmini may have belonged to the village of Singholi, forty miles to the east of Chittor. Earlier the Amar kavya Vanshawalis had also mentioned Singoli as the place of birth of Padmini. Since the name of village rhymes well with Singhaldweep, it may have made the poets mind soar to the far away island.
Thus, if we are able to from a final view that our natinal heroine is a historic reality, then we shall also have to recocile to the fact that she did not come as a bride in to royal family of Mewar all the way form Ceylon, but from some place much nearer Chittor.
You can get this book online from here
Bhangarh ka sach
Gyan Darpan
4/04/2013
0
Rājasthān ke bhānagaढ़ kā ujaड़ā kilā v nagar bhūtoan kā ḍarāvanā kile ke
nām se desh videsh mean charchit hai| is kile kī yātrā ke lie alavar v
jayapur se saड़k mārga dvārā jāyā jā sakatā hai rel mārga se bhī dausā
relve sṭeshan se utar kar saड़k mārga se is jagah pahuanchā jā sakatā hai
dausā se bhānagaढ़ kī durī 22 kilomīṭar hai| jabaki jayapur v alavar
donoan jagahoan se lagabhag 80 kilomīṭar hai|
bhānagaढ़ ke kile v nagar kī ujaड़ne kī kaī kahāniyāan prachalit hai jinamean rānī ratnāvatī v ek tāantrik kī kahānī pramukh hai, prachalit janashrutiyoan mean kisī mean ratnāvatī ko bhānagaढ़ kī rānī batāyā gayā hai to kisī kahānī mean bhānagaढ़ kī sundar rājakumārī| par donoan hī kathāoan mean is pātra ke sāth siandhu sevaड़ā nāmak tāantrik kā nām v usakā kukṛutya jarur juड़ā hai|
prachalit kahānī ke anusār siandhu devaड़ā mahal ke pās sthit pahāड़ par tāantrik kriyāeँ karatā thā vah rānī ratnāvatī ke rūp par āsakta thā| ek din bhānagaढ़ ke bājār mean usane dekhā ki rānī ki ek dāsī rānī ke lie kesh tel lene āī hai siandhu sevaड़ā ne us tel ko abhimantrit kar diyā ki vah tel jis kisī par lagegā use vah tel usake pās le āegā| kahate hai rānī ne jab tel ko dekhā to vah samaz gaī ki yah tel siandhu sevaड़ā dvārā abhimantrit hai kahate hai rānī bhī bahut siddha thī isalie usane pahachān karalī aur dāsī se us tel ko turanta faiankane ko kahā| dāsī ne us tel ko ek chaṭṭān par girā diyā| kahate hai abhimantrit tel ne chaṭṭān ko uḍākar siandhu sevaड़ā kī aur ravānā kar diyā siandhu sevaड़ā ne chaṭṭān dekhakar anumān lagāyā ki rānī us par baiṭhakar usake pās ā rahī so usane abhimantrit tel ko rānī ko sīdhe apanī chhātī par utārane kā ādesh diyā|
jab chaṭṭān pās āī tab tāantrik ko asaliyat patā chalī to usane ānan fānan mean chaṭṭān usake ūpar girane se pahale bhānagaढ़ nagar ujaड़ne kā shāp de diyā aur khud chaṭṭān ke nīche dabakar mar gayā| kahate hai siddha rānī ko yah sab samazate der nā lagī aur usane turanta nagar khālī karāne kā ādesh de diyā| is tarah yah nagar khālī hokar ujaड़ gayā aur rānī bhī tāantrik ke shāp kī bheanṭa chaḍh gaī|
kitanī sachchāī hai is kahānī mean –
is kahānī mean kitanī sachchāī hai isake bāre mean is bāt se hī jānā jā sakatā hai ki janashrutiyoan mean bhānagaढ़ ke lie prachalit kahānī mean kaī log ratnāvatī ko rājakumārī to kaī log rānī batātean hai| rānī ratnāvatī kā jikra to har koī karatā hai par vah kis rājā kī rānī thī ?
usake rājā v usakā shāsan kāl kaunasā thā?
nagar kis kāl mean ujaड़ā ?
is prashnoan par sab chup hai| aksar log is nagar v kile ko 500 varṣha pahale ujaड़ā batāte hai par kile se mile vibhinna rājāoan ke shilālekhoan kī tārīkh dekhane ke bād usake ujaड़ne kī samaya sīmā kāfī kam ho jātī hai| hamane apanī yātrā mean ek mandir (shāyad mangalā devī yā keshavarāya) ke garbhagṛuh ke dvār par lagī ek baड़ī shilā par sanvat 1902 likhā dekhā is hisāb se us mandir ke nirmāṇ kā kāl sanvat 1902 hai to jāhir hai āj se 167 varṣha purva yah nagar ābād thā|
bhānagaढ़ kā itihāsa
apane pās upalabdha itihās kī pustakoan mean muze bhānagaढ़ ke bāre mean jyādā jānakārī to nahīan milī par kuanvar devīsianha manḍāvā ne apanī pustak “rājasthān ke kachhavāha” mean bhānagaढ़ ke itihās kī sankṣhipta jānakārī jarur dī| ab tak muze milī bhānagaढ़ ke kile kī aitihāsik jānakārī ke ādhār par bhānagaढ़ kā kilā jo āmer ke rājā bhagavantadās ne banāyā thā unake chhoṭe beṭe mādhavasianha (mādhosianha) ko milā| bhagavantadās kā swargavās mangasar sudī 7 vi.sa. 1646, 15 disambar 1590 ko lāhaur mean huā thā| isalie yah anumān āsānī se lagāyā jā sakatā hai ki is samaya ke āsa-pās is kile kī rājagaddī par mādhavasianha baiṭhe the| inake adhīn mālapurā bhī thā v muanhatā naiṇasī ke anusār ajamer bhī thā |mādhavasianha (mādhosianha) apane baड़e bhāī āmer ke rājā mānasianha kī bhāanti hī bahut vīr puruṣh the unhoanne shāhī senā mean rahate hue kaī mahatvapūrṇa yuddhoan mean vīratā dikhākar apanī vīratā kā lohā manavāyā thā| āmer mean inakī vīratā ke bahut kisse prachalit the| ek bār ve āmer āye the ki āmer kile ke ek zarokhe se achānak girane kī vajah se unakī mṛutyu ho gaī| jahāँ unakī mṛutyu huī vahāan unakā ek smārak bhī banā hai| rājasthān ke itihāsakār ozā jī ko bhānagaढ़ mean mādhavasianha ke do shilālekh mile the jin par māgh badī ekam vi.sa. 1654 aur dūsare mean 1655 likhā thā|
mādhavasianha (mādhosianha) ke bād unakā putra chhatrasāl jise chhatrasianha ke nām se bhī jānā jātā hai bhānagaढ़ kī gaddī par baiṭhā| chhatrasianha apane do putroan bhīmasianha v ānanda sianha ke sāth dakṣhiṇ mean shāhī senā se bagāvat karane vāle khānajahāँ lodī se yuddha karate hue vīragati ko prāpta hue the| chhatrasianha kā ek putra ajabasianha bhī thā jisane bhānagaढ़ ke pās hī ajabagaढ़ nām se ek nagar basāyā aur vahāan kilā banavāyā| ajabasianha ne balakh yuddha mean apratyāshit vīratā dikhāī thī| chhatrasianha kā bhānagaढ़ mean mile ek shilālekh mean āṣhāढ़ badī 13 vi.sa.1676 aankit milā hai| chhatrasianha kā ek putra ugrasen bhī thā par gaddī par kaun baiṭhā usakā patā mere pās upalabdha pustakoan mean nahīan milā| par bhānagaढ़ mean mile ek anya shilālekh mean māgh badī ekam vi.sa.1722 mean isī vansha kā ek vanshaj harisianha gaddī par baiṭhā|
harisianha ke do beṭe yā usake vansha ke do beṭe aurangajeb ke kāl mean musalamān ban gae the jinakā nām mohammad kulīj v mohammad dahalīj thā jinhean bhānagaढ़ rājya milā thā in donoan bhāiyoan kā ek shilālekh bhānagaढ़ mean milā hai jis par jeṭh sudī 14 1756 aankit hai| in donoan bhāiyoan ke musalamān banane v dillī mean muग़l sattā ke kamajor hone kā fāyadā uṭhāte hue āmer ke mahārājā savāī jayasianha ne in donoan bhāiyoan ko mārakar bhānagaढ़ par kabज़ā kar liyā thā aur is rājya ko apane adhīn kar mādhavasianha(mādhosianha) ke hī vanshajoan ko apane adhīn jāgīradār banā diyā|
Kuchh anutarit prashna
mahārājā savāī jayasianha jī dvārā apane adhīn karane ke bād is kile kā kaun kaun jāgīradār rahā?
kile kā prabandha v niyantraṇ kis jāgīradār ke hāthoan mean rahā ?
rānī ratnāvatī jisake bāre mean kahā jātā hai ki vah pās ke hī ek gāanva tītaravāḍā kī rahane vālī thī kis jāgīradār kī rānī thī ?
nagar kab aur kyoan ujaड़ā ?
aisī kaunasī paristhitayāan rahī hogī ki jayapur āmer ke shaktishālī shāsakoan ke adhīn rahate hue yah sanpanna aur samṛuddha nagar vīrān ho ujaड़ gayā ?
purā shahar aur mahal ujaड़ gayā sabhī nirmāṇ jamīandoj hue par vahāan bane mandir surakṣhit kaise rahe ?
aise kaī prashna hai jinake nivāraṇ ke lie shodh kī āvashyakatā hai| ek samaya samṛuddha rahe bhānagaढ़ nagar ke itihās ko āpake logoan ke sāmane rakh sakūँ isakī maian purī koshish karūँgā|
siandhu sevaड़ā dvārā nagar kā nāsh v bhūtoan kā sacha
ujaड़ā bāज़āra
is kile v nagar ke ujaड़ne ke sanbandha prachalit kahāniyoan v jana-shrutiyoan kī ūpar charchā kī jā chukī hai par kile v nagar ko dekhane ke bād āsānī se anumān lagāyā jā sakatā hai ki kile v nagar kā nāsh kisī chaṭṭān dvārā nahīan kiyā gayā hai balki nagar ujaड़ jāne v khālī ho jāne ke kaī varṣhoan bād tak āsa-pās ke grāmīṇoan v anya logoan dvārā khālī paड़ī imāratoan se jarurat kā sāmān nikālane ke chakkar mean imāratean khanḍahar mean tabdīl huī hai vahī kile v mahaloan ko unamean gaड़e dhan ko nikālane ke lie choroan dvārā khudāī karane ke chalate nuksān pahuanchā hai sāth hī paryaṭakoan dvārā bhī nagar v mahal kī ṭūṭī dīvāroan par chaढ़ne ke kāraṇ nukasān pahuanchā hai|
surakṣhit gopīnāth mandira
maje kī bāt yah hai ki nagar mean banī haveliyāँ v bājār mean banī dukānean khanḍahar mean tabdīl ho gaī par bhānagaढ़ nagar mean bane prāchīn mandir vaise ke vaise surakṣhit hai hāँ unakī mūrtiyāan jarur gāyab hai| yadi prākṛutik vipadā yā tāantrik dvārā apanī shakti se nagar kā ujaड़nā mānā jāya to fir mandir kaise bach gae ?
bāt sāf hai ek to mandiroan mean lage daravāje ādi gharoan mean istemāl lāyak nahīan fir log mandiroan kā devatāoan ke ḍar se nuksān pahuँchāne kī himmat nahīan juṭā pāte|
kile v ujaड़e nagar mean bhūtoan kī bāt kī sachchāī jānane ke lie ājatak kī ne ṭīm pairānārmal upakaraṇoan v kaimaroan ke sāth purī rāt kile mean bhramaṇ kar gujārī unhean n to koī bhūt hī milā n unake upakaraṇoan ne koī aisī bāt darja kī ki jisake sahāre vahāan bhūt hone kī puṣhṭi ho|
hamane bhī apanī yātrā ke daurān vahāan taināt purātatva vibhāg ke karmachārī se bhūtoan ke astitva par charchā kī to karmachārī ne batāyā ki vahāan kul nau karmachārī aise hai jinhean tīn tīn kī ṭolī mean tīn shifṭoan mean kilā parisar kī surakṣhā mean taināt rahanā paड़tā hai aur rātrī gashta bhī ve karate hai| rātrī gashta karate samaya unhoanne kabhī vahāan bhūt hone kā ahasās nahīan huā aur n hī unhean kabhī ḍar lagā hāँ jangal hone kī vajah se jangalī jānavaroan kā ḍar jarur hai jisake lie unhean satarka v chaukannā rahanā paड़tā hai|
ājatak v jī ṭīvī ke kāryakram mean bhī karmachārī sāth the tab bhī unhoanne koī bhūt nahīan dekhā usake bāvajūd ājatak ke is khulāse ke bād ki kile mean koī bhūt nahīan hai jī ṭīvī vāloan ne bhūt hone kī zūanṭhī kahānī prachārit kī jise mahaj jī ṭīvī dvārā apanī ṭīārapī kī bhūkh miṭāne kā hathakanḍā mātra kahā jā sakatā hai|
bhānagaढ़ ke kile v nagar kī ujaड़ne kī kaī kahāniyāan prachalit hai jinamean rānī ratnāvatī v ek tāantrik kī kahānī pramukh hai, prachalit janashrutiyoan mean kisī mean ratnāvatī ko bhānagaढ़ kī rānī batāyā gayā hai to kisī kahānī mean bhānagaढ़ kī sundar rājakumārī| par donoan hī kathāoan mean is pātra ke sāth siandhu sevaड़ā nāmak tāantrik kā nām v usakā kukṛutya jarur juड़ā hai|
prachalit kahānī ke anusār siandhu devaड़ā mahal ke pās sthit pahāड़ par tāantrik kriyāeँ karatā thā vah rānī ratnāvatī ke rūp par āsakta thā| ek din bhānagaढ़ ke bājār mean usane dekhā ki rānī ki ek dāsī rānī ke lie kesh tel lene āī hai siandhu sevaड़ā ne us tel ko abhimantrit kar diyā ki vah tel jis kisī par lagegā use vah tel usake pās le āegā| kahate hai rānī ne jab tel ko dekhā to vah samaz gaī ki yah tel siandhu sevaड़ā dvārā abhimantrit hai kahate hai rānī bhī bahut siddha thī isalie usane pahachān karalī aur dāsī se us tel ko turanta faiankane ko kahā| dāsī ne us tel ko ek chaṭṭān par girā diyā| kahate hai abhimantrit tel ne chaṭṭān ko uḍākar siandhu sevaड़ā kī aur ravānā kar diyā siandhu sevaड़ā ne chaṭṭān dekhakar anumān lagāyā ki rānī us par baiṭhakar usake pās ā rahī so usane abhimantrit tel ko rānī ko sīdhe apanī chhātī par utārane kā ādesh diyā|
jab chaṭṭān pās āī tab tāantrik ko asaliyat patā chalī to usane ānan fānan mean chaṭṭān usake ūpar girane se pahale bhānagaढ़ nagar ujaड़ne kā shāp de diyā aur khud chaṭṭān ke nīche dabakar mar gayā| kahate hai siddha rānī ko yah sab samazate der nā lagī aur usane turanta nagar khālī karāne kā ādesh de diyā| is tarah yah nagar khālī hokar ujaड़ gayā aur rānī bhī tāantrik ke shāp kī bheanṭa chaḍh gaī|
kitanī sachchāī hai is kahānī mean –
is kahānī mean kitanī sachchāī hai isake bāre mean is bāt se hī jānā jā sakatā hai ki janashrutiyoan mean bhānagaढ़ ke lie prachalit kahānī mean kaī log ratnāvatī ko rājakumārī to kaī log rānī batātean hai| rānī ratnāvatī kā jikra to har koī karatā hai par vah kis rājā kī rānī thī ?
usake rājā v usakā shāsan kāl kaunasā thā?
nagar kis kāl mean ujaड़ā ?
is prashnoan par sab chup hai| aksar log is nagar v kile ko 500 varṣha pahale ujaड़ā batāte hai par kile se mile vibhinna rājāoan ke shilālekhoan kī tārīkh dekhane ke bād usake ujaड़ne kī samaya sīmā kāfī kam ho jātī hai| hamane apanī yātrā mean ek mandir (shāyad mangalā devī yā keshavarāya) ke garbhagṛuh ke dvār par lagī ek baड़ī shilā par sanvat 1902 likhā dekhā is hisāb se us mandir ke nirmāṇ kā kāl sanvat 1902 hai to jāhir hai āj se 167 varṣha purva yah nagar ābād thā|
bhānagaढ़ kā itihāsa
apane pās upalabdha itihās kī pustakoan mean muze bhānagaढ़ ke bāre mean jyādā jānakārī to nahīan milī par kuanvar devīsianha manḍāvā ne apanī pustak “rājasthān ke kachhavāha” mean bhānagaढ़ ke itihās kī sankṣhipta jānakārī jarur dī| ab tak muze milī bhānagaढ़ ke kile kī aitihāsik jānakārī ke ādhār par bhānagaढ़ kā kilā jo āmer ke rājā bhagavantadās ne banāyā thā unake chhoṭe beṭe mādhavasianha (mādhosianha) ko milā| bhagavantadās kā swargavās mangasar sudī 7 vi.sa. 1646, 15 disambar 1590 ko lāhaur mean huā thā| isalie yah anumān āsānī se lagāyā jā sakatā hai ki is samaya ke āsa-pās is kile kī rājagaddī par mādhavasianha baiṭhe the| inake adhīn mālapurā bhī thā v muanhatā naiṇasī ke anusār ajamer bhī thā |mādhavasianha (mādhosianha) apane baड़e bhāī āmer ke rājā mānasianha kī bhāanti hī bahut vīr puruṣh the unhoanne shāhī senā mean rahate hue kaī mahatvapūrṇa yuddhoan mean vīratā dikhākar apanī vīratā kā lohā manavāyā thā| āmer mean inakī vīratā ke bahut kisse prachalit the| ek bār ve āmer āye the ki āmer kile ke ek zarokhe se achānak girane kī vajah se unakī mṛutyu ho gaī| jahāँ unakī mṛutyu huī vahāan unakā ek smārak bhī banā hai| rājasthān ke itihāsakār ozā jī ko bhānagaढ़ mean mādhavasianha ke do shilālekh mile the jin par māgh badī ekam vi.sa. 1654 aur dūsare mean 1655 likhā thā|
mādhavasianha (mādhosianha) ke bād unakā putra chhatrasāl jise chhatrasianha ke nām se bhī jānā jātā hai bhānagaढ़ kī gaddī par baiṭhā| chhatrasianha apane do putroan bhīmasianha v ānanda sianha ke sāth dakṣhiṇ mean shāhī senā se bagāvat karane vāle khānajahāँ lodī se yuddha karate hue vīragati ko prāpta hue the| chhatrasianha kā ek putra ajabasianha bhī thā jisane bhānagaढ़ ke pās hī ajabagaढ़ nām se ek nagar basāyā aur vahāan kilā banavāyā| ajabasianha ne balakh yuddha mean apratyāshit vīratā dikhāī thī| chhatrasianha kā bhānagaढ़ mean mile ek shilālekh mean āṣhāढ़ badī 13 vi.sa.1676 aankit milā hai| chhatrasianha kā ek putra ugrasen bhī thā par gaddī par kaun baiṭhā usakā patā mere pās upalabdha pustakoan mean nahīan milā| par bhānagaढ़ mean mile ek anya shilālekh mean māgh badī ekam vi.sa.1722 mean isī vansha kā ek vanshaj harisianha gaddī par baiṭhā|
harisianha ke do beṭe yā usake vansha ke do beṭe aurangajeb ke kāl mean musalamān ban gae the jinakā nām mohammad kulīj v mohammad dahalīj thā jinhean bhānagaढ़ rājya milā thā in donoan bhāiyoan kā ek shilālekh bhānagaढ़ mean milā hai jis par jeṭh sudī 14 1756 aankit hai| in donoan bhāiyoan ke musalamān banane v dillī mean muग़l sattā ke kamajor hone kā fāyadā uṭhāte hue āmer ke mahārājā savāī jayasianha ne in donoan bhāiyoan ko mārakar bhānagaढ़ par kabज़ā kar liyā thā aur is rājya ko apane adhīn kar mādhavasianha(mādhosianha) ke hī vanshajoan ko apane adhīn jāgīradār banā diyā|
Kuchh anutarit prashna
mahārājā savāī jayasianha jī dvārā apane adhīn karane ke bād is kile kā kaun kaun jāgīradār rahā?
kile kā prabandha v niyantraṇ kis jāgīradār ke hāthoan mean rahā ?
rānī ratnāvatī jisake bāre mean kahā jātā hai ki vah pās ke hī ek gāanva tītaravāḍā kī rahane vālī thī kis jāgīradār kī rānī thī ?
nagar kab aur kyoan ujaड़ā ?
aisī kaunasī paristhitayāan rahī hogī ki jayapur āmer ke shaktishālī shāsakoan ke adhīn rahate hue yah sanpanna aur samṛuddha nagar vīrān ho ujaड़ gayā ?
purā shahar aur mahal ujaड़ gayā sabhī nirmāṇ jamīandoj hue par vahāan bane mandir surakṣhit kaise rahe ?
aise kaī prashna hai jinake nivāraṇ ke lie shodh kī āvashyakatā hai| ek samaya samṛuddha rahe bhānagaढ़ nagar ke itihās ko āpake logoan ke sāmane rakh sakūँ isakī maian purī koshish karūँgā|
siandhu sevaड़ā dvārā nagar kā nāsh v bhūtoan kā sacha
ujaड़ā bāज़āra
is kile v nagar ke ujaड़ne ke sanbandha prachalit kahāniyoan v jana-shrutiyoan kī ūpar charchā kī jā chukī hai par kile v nagar ko dekhane ke bād āsānī se anumān lagāyā jā sakatā hai ki kile v nagar kā nāsh kisī chaṭṭān dvārā nahīan kiyā gayā hai balki nagar ujaड़ jāne v khālī ho jāne ke kaī varṣhoan bād tak āsa-pās ke grāmīṇoan v anya logoan dvārā khālī paड़ī imāratoan se jarurat kā sāmān nikālane ke chakkar mean imāratean khanḍahar mean tabdīl huī hai vahī kile v mahaloan ko unamean gaड़e dhan ko nikālane ke lie choroan dvārā khudāī karane ke chalate nuksān pahuanchā hai sāth hī paryaṭakoan dvārā bhī nagar v mahal kī ṭūṭī dīvāroan par chaढ़ne ke kāraṇ nukasān pahuanchā hai|
surakṣhit gopīnāth mandira
maje kī bāt yah hai ki nagar mean banī haveliyāँ v bājār mean banī dukānean khanḍahar mean tabdīl ho gaī par bhānagaढ़ nagar mean bane prāchīn mandir vaise ke vaise surakṣhit hai hāँ unakī mūrtiyāan jarur gāyab hai| yadi prākṛutik vipadā yā tāantrik dvārā apanī shakti se nagar kā ujaड़nā mānā jāya to fir mandir kaise bach gae ?
bāt sāf hai ek to mandiroan mean lage daravāje ādi gharoan mean istemāl lāyak nahīan fir log mandiroan kā devatāoan ke ḍar se nuksān pahuँchāne kī himmat nahīan juṭā pāte|
kile v ujaड़e nagar mean bhūtoan kī bāt kī sachchāī jānane ke lie ājatak kī ne ṭīm pairānārmal upakaraṇoan v kaimaroan ke sāth purī rāt kile mean bhramaṇ kar gujārī unhean n to koī bhūt hī milā n unake upakaraṇoan ne koī aisī bāt darja kī ki jisake sahāre vahāan bhūt hone kī puṣhṭi ho|
hamane bhī apanī yātrā ke daurān vahāan taināt purātatva vibhāg ke karmachārī se bhūtoan ke astitva par charchā kī to karmachārī ne batāyā ki vahāan kul nau karmachārī aise hai jinhean tīn tīn kī ṭolī mean tīn shifṭoan mean kilā parisar kī surakṣhā mean taināt rahanā paड़tā hai aur rātrī gashta bhī ve karate hai| rātrī gashta karate samaya unhoanne kabhī vahāan bhūt hone kā ahasās nahīan huā aur n hī unhean kabhī ḍar lagā hāँ jangal hone kī vajah se jangalī jānavaroan kā ḍar jarur hai jisake lie unhean satarka v chaukannā rahanā paड़tā hai|
ājatak v jī ṭīvī ke kāryakram mean bhī karmachārī sāth the tab bhī unhoanne koī bhūt nahīan dekhā usake bāvajūd ājatak ke is khulāse ke bād ki kile mean koī bhūt nahīan hai jī ṭīvī vāloan ne bhūt hone kī zūanṭhī kahānī prachārit kī jise mahaj jī ṭīvī dvārā apanī ṭīārapī kī bhūkh miṭāne kā hathakanḍā mātra kahā jā sakatā hai|
Click Here to Read in Hindi
Johar & Shaka
Gyan Darpan
7/25/2010
1
Every community of the world has struggled to secure their independence and prosperity and have made every possible sacrifice. In fact wars between humanity also took place with the suspect that someone will snatch their rights or at times to make it modern practical and ahead of others. Not only this, with this environment we would need to kick start a new war against terrorism for our independence and safety and keep struggling till we do not suceed.In the history of war tradition of Rajasthan, Johar and Shaka has a special space where inspite dependency on others people prefer to welcome death happily when they could not live further in their survilence. Then comes the stage of JOHARS and SHAKAS.
JOHARS: In order to to save from after effects of wars and to save themselves from the hands of beasts and maintain dignity, females of braves used to remember their regional gods and after taking tulsi with holiwater of the Ganga used to offer themselves in pyre. By their this attitude they used to assure their brave mens that the they wll not let the enemies conqure them and let them destroy women’s pride. Johar tradition used to give a sense of satisfaction to those who used to handle the war ground that any adverse aspect of wars can not touch their dear ones. This deadly act of sacrificing their lives became popular with the name of Johar. The maximum number of Johars and Shakas happened in Chittorgarh’s Fort where queen Padmini of chittor burnt herself along with 16000 other brave women in August, 1303.
SHAKA: When these warriors used to see their women and other dear ones burning themselves, they used to wear saffron clothes and attack enemy forces in such a way that either they will win and destroy the enemy front or wil; kill themselves then and there. When they decided to devote themselves for their state they either made their state free or lost their lives in a adorable mannner which s known to all as SHAKAS. Johar Shaka story Read In Hindi Click Here
what is johar
what is shaka
johar and shaka
chhitaur ke johar
