Kasuti - Mother of world Embroidery

Kasuti also spelt kasooti is the oldest form of Embroidery in India. Home to Satavahanas, chutus, Kadambas, Chalukyas, Ratrakutas,Hoysalas,Seunas, Vijayanagar and much more is also home to various arts, Karnataka is said to be the master of all 64 arts and one of them is Kasuti

Kasuti - Etymology
Kasuti can be broken down to ky - hand , suti- weave. Kasuti is called Kashida in North India.

Features
Kasuti was done on Ilkal saris woven in North Karnataka town called Ilkal in pit looms. These are woven in cotton and silk. The Dark background of Ilkal sari provide a good base for the colors used in Kasuti embroidery. These saris had a distinct style- a  4" of border, which was generally in deep shades of red  and this enveloped a well woven sari with a red pallav carrying white panels called tope and tenni. Kasuti embroidery is done above this pallav in a border called bugadi. which forms the base of the embroidery to follow. This continous border is worked in gavanti stitch,which has been known to mean knot stitch or rural stitch. After this the large patterns on the sari emerge. The Chariot Ratha,or a tree with peacocks or flowers and this distribution of motis grows sparse as it travels away from the pallav,becoming  small flowers and dots. Which are worked into the pleats of the sari.

Originally this embroidery was done by women with silk threads,which were taken directly from the weavers of the Ilkal saris. Later weavers sold these saris with 10" of extra silk thread in the wrap, which hung from the pallav area. This way the colours used in the embroidery blended well and the combinations were never garnish. The most readily available medium they could use was their daily clothing, which were saris,cholis,kunchis(bonnets) and lahngas or skirts.

The various themes that are embroidered in Kasuti are that of gopuram, bells, chariots, temple sculpture, flowers, animals etc. Appearing same on both the sides, various designs include Dagabaji Gopura, Gandolagida, Tulasi, Vankipatti, Kayapatti, Gopi Kamala Chittu Kamala, Gundala Gopura etc. Than the geometrical designs of the Kasuti have been educed from the temple structure.

Influences
Kasuti embroidery is every rich in symbolic motifs as the finest examples of this embroidery are found where vijaynagar ,Chalukya court influence was the strongest, the present Bijapur and Dharwad area's. Hence the inspiration of these womenfolk were symbols and designs which came from the temples, cavees, shrines,beautifully sculptured edifices with exquisite patterns, the flora and fauna of the region, and anything that their eyes could relate to.

Religion and Kasuti
Until recently, it was customary for brides to be presented with blue black Ilkal saris with kasuti embroidery on it. In earlier days, the girls themselves embroidered this sari known as chandrakali sari, which is nine yard Ilkal sari to be readied  for their marrige. A Chandrakali sari taken by the bride as she goes to her husband house was traditionally woven with indio dyed warp and black weft. In fact the use of indigo as warp was mandatory in Ilkal sarees and thus the different colours woven would have light and shade effect. The Chandrakala was considered Shubha Shagun- Good Omen.

Among the Lingayats a hand embroidery khun or choli was considered a most appropriate gift for an expectant mother. The dreams and desires of these young girls find experssion in these embroidery pieces. Along the border, one may find horse, which is ridden by horseman, maybe a palanquin, which might take her to her husband's home or two love birds right in the middle of nowhere.

An interesting information is the kasuti is mentioned in bible as per the christian weavers of kasuti. kannada bible shows the kasuti in the book of exodus, chapter 26 shows emboridery and kasuti. The German missionaries put a school and hospital in North karnataka and the school also has kasuti weaving  in their curriculum.

Guru Nanak(1469-1538AD) says Kadh kasida pahreh choli tan tu jane nari(only when you can embroidery of your own costume ,you will be considered  as a woman) same as Chandrkala tradition also practiced in Nanded.

Technique
The most remarkable feature about kasuti is that there is no right or wrong side. Both sides are identical. However complicated the design, the end of the design coincides with the beginning. There is no knot used in the beginning or end of the thread. A small straight stitch is placed at the beginning and end.

Kasuti can be described as a delicate embroidery with geometric designs which when worked very closely can make dramatic patterns. A combination of four main stitches, all based originally on the counted thread method(equi-distance running stitches- by counting the same number of threads), allow many people to work on the same pattern and a change in the working hands does nto affect  the final design. Now the designs are traced on paper or loosely woven gauge, which is then pulled off after completing the work. Kasuti Embroidery is done with four main stitches.

Gavanti or Gaunti meaning konts is a double running stitch and used in straight, horizontal, vertical and diagonal lines.

Muragi is a zigzag running stitch and looks like a ladder when it is used. Small motifs like squares, hexagons, octagons and ladders are created with this stitch. THe Muragi stitch looks identical on both sies of the cloth

Neygi or Negi - the name of the stitch is derived from the kannada word neyi to weave. This darning stitch in which long and short lines are used which gives the effect of weaving.

Menthe - A kannada word meaning Fenugreek seed or a forked stitch, crossed Stitch. This stitch is mainly used to fill motifs

Kasuti Antiquity
Kasuti became famous under Chalukyas of Badami and reached far corners of the country.

Bana Bhatta in Harshacharita in seventh century AD describes the Rajyasri wedding describes Kasuti.

Embroidery of Austria and Hungary bears close resemblance to the embroidery of Kasuti in karnataka.

Celtic stitches of scotland in particular of Holbein stitch used in Elizabethn black work resemble Kasuti of Karnataka.

Holbein was called Spanisshe stitche in 17th century. This apparently was seen in the book printed in Germany 1527, a seamstress of Elizabeth I called it True Stitch-there is no right or wrong side, why so many names for one stitch. The Answer lies in in Egypt. Fragments of printed and embroidery fabrics which have been found in the ruins of Fustat, the capital of Egypt in 14th century. Studies of these fragments which have reached several museums around the world, have revealed that these textiles were indeed made in karnataka. On studying  the pictures, the similarities between kasuti and that particular embroidery which seems to have been done during the rule of the Mamluks(1270-1517) is nothing short of striking.

Laborious process.
The technique is difficult ot learn,as the patterns made by counting warp and weft threads, which when done on dark backgrounds can cause a great deal of eye strain. It is laborious process and taken years to master. Even a minor error during the embroidery process means undoing the motif and redoing it  completely as the error would be spotted afar. This form of emboroidery also requires physical and mental alertness and a great deal of patience.

Revival of Kasuti
There are many who are responsible for revival of kasuti almost made extinct under British rule. Janata shikshana smiti founded by Hukkeri rama roa in dharwad, Laila Tyabji founded Dastkaar, Asha Ben savla, Sabala a NGO in Bijapur to name a few.

Ilkal Saree's
Ilkal saree is a traditional form of saree which is a common feminine wear in India. Ilkal saree takes its name from the town of Ilkal in the Bagalkot district of Karnataka  state, India. Ilkal sarees are woven using cotton warp on the body and art silk warp for border and art silk warp for pallav portion of the saree. In some cases instead of art silk, pure silk is also used. Ilkal was an ancient weaving centre where the weaving seems to have started in the 8th century AD.  The growth of these sarees is attributed to the patronage provided by the local chieftains. The availability of local raw materials helped in the growth of this saree

Uniqueness

  • The uniqueness of saree is joining of the body warp with pallav warp with a series of loops locally called as TOPE TENI technique.
  • The weaver will gait only 6 yards, 8 yards, 9 yards warp due to above TOPE TENI technique. KONDI Technique is used for weft through inserting 3 shuttles.
  • Pallav portion-Design: “TOPE TENE SERAGU” Normally in tope teni seragu 3 solid portions would be in red colour, and in between 2 portions in white colour
  •  Tope Teni seragu has been regarded as a state symbol and was greatly respected during festival occasions.
  • Traditional Borders: (i) Chikki, (ii) Gomi, and (iii) Gadidadi, and modern Gaythri are unique ones in Ilkal sarees - width ranging from 2.5” to 4”
  • Border Colour Uniqueness: Red usually or Maroon dominates.

Description
The peculiar characteristic of the saree is joining the body warp with the pallav warp which is locally called as TOPE TENI. This technique is only used exclusively at Ilkal. If anyone requires Ilkal saree one must prepare a warp for every saree. Warp threads for body is prepared separately. Similarly pallav warp is prepared separately either with art silk or pure silk depending upon the quality required. Thirdly border portion of warp is prepared as like the pallav warp either art silk or pure silk and the colour used for pallav and on border will be one and the same. In general, the length of the pallav will range 16” to 27”. The pallav threads and body threads are joined in loop technique, a typical method which is locally called as TOPE TENI.

Features
The distinctive feature of Ilkal sarees is the use of a form of embroidery called as Kasuti. The designs used in Kasuti reflect traditional patters like palanquins, elephants and lotuses which are embroidered onto Ilkal sarees. These sarees are usually 9 yards in length and the pallu of the Ilkal saree (the part worn over the shoulder) carries designs of temple towers. This pallu is usually made of red silk with white patterns. The end region of the pallu is made up of patterns of different shapes like hanige (comb), koti kammli (fort ramparts), toputenne (jowar) and rampa (mountain range). The border of the sari is very broad (4 to 6 inches) and red or maroon in colour and is made of different designs with ochre patterns. The saree is either made of cotton, or a mixture of cotton and silk or in pure silk. The colors traditionally used are pomegranate red, brilliant peacock green and parrot green. The sarees that are made for bridal wear are made of a particular colour called Giri Kumukum which is associated with the sindhoor worn by the wives of the priests in this region.

Types of Borders
The design woven in the length wise borders are mainly three types :-

  •  Gomi (more popularly known as Ilkal dadi)
  • Paraspet (Sub-divided into chikki paras and dodd paras)
  • Gaadi

Main Body design

  • Stripes
  • Rectangles
  • Squares

Other Differences
With above broad parameters the Ilkal sarees differ in matters of size, nature and quality of yarn used for different portion of saree as also colour combination and combinations of designs on the borders and main body of the saree. The beauty of Tope-teni seragu is further enhanced at times by weaving in its middle portion, yet another design known as ‘Kyadgi’.

Reference
Kasuti - Karnataka Kashida by Sunita Shahaney
Wiki - Ilkal Saree's

BhavaGeethe - Poetry Marries Music

In 1980, medium wave radio sets across Karnataka began to tune into something new. Each day, for half an hour, people all over the state began to listen to a programme on Vividh Bharati Seva that played non-filmy Kannada songs or bhavageete. In the decade that followed, bhavageete, literally meaning “songs with emotion”, went through an incredible revival. Musty recording studios in Bangalore, Mysore and Dharwad started putting out compilations of Kannada bhavageete on tape, and these cassettes competed with mainstream Kannada film audio releases. Bhavageete combines expressionist poetry and light or semi-classical music, and relies heavily on both words and musical score. A resurgence of enthusiasm for the genre in Karnataka in the ’80s led to a renewed interest in modern Kannada poetry as well. Kuvempu, DR Bendre, Gopalkrishna Adiga and lesser known poets like KS Nissar Ahmed were reintroduced to an entire generation by bhavageete performers like Mysore Ananthaswamy, C Aswath, Shimoga Subbanna and Ratnamala Prakash. Thirty years since that half-hour programme debuted on AIR, bhavageete continues to be a force in Karnataka, with many performers, regular concerts and the odd album release.

As a classical form of "Folk music" Bhavageete has also gained applaud in the rich chronicle of Karnataka Music, which is again exceptionally atmospheric. Both the elements of the classical music and folk music are ideally interwoven in the genre of Bhavegeete. Rustic emotion, native wit and spontaneity are the base of the "Bhavegeete", which pounded a million souls. Bhavegeete, till today stands as that bridge to connect the high and low with its musical and literary expression.

Bhavegeete is an emblematic form of "emotion poetry" where expressing the deep desire of meeting the ultimate, Experiencing the "Omnipresence of the Omnipotent" is articulated amidst light music and perfect verbiage. Love, love for nature, Indian philosophy above all the philosophy of life are all united with the strings of "Bhavageete" which is even lot more than being just a particular form of " Expressionist poetry" This genre of music became popular  as a form of expressionist lyrics especially in Karnataka. Whilst the verve of the Kannada  lyrics enriched the Karnataka bhavageete.

Bhavageethe also known as Sugama Sangeeth, is the semi-classical form of Music, influenced by both the systems of Music Folk as well as classical . Metrical Poetry written in kannada is set to tune by composers.  A group of musicians composed of one or more singers with percussion support and one or two lead instruments (Mandolin, sitar, flute etc.) supported by guitar and bass guitar performs these songs. Of late,  electronic keyboards and synthesizers have crept in as the lead instruments making traditional classical instruments less prominent. “B hrungada Benneri Bantu Bhavageeta”, exclaimed the mystic bard Bendre, tracing the malodorous flight of the Kannada lyric. If the song came riding the bee's back,  then who but the poet can fathom the many fragrances it embodies! A form that is unique to Kannada and marathi languages –the bhavageethe or sugama sangeeta – came with the intention taking to every home verses written
by major poets of the land.  Thus lyric and melody got intertwined into a lasting relationship, like bee and honey. If every Kannadiga worth his salt hums “Hachchevu Kannadada Deepa” or “Ede Tumbi Haadidenu” it's not only a celebration of the immortal lyric, but also of timeless  tunes that dropped it on every lip Coming together.
Scan the pages of BhavaGeethe history and you will see that every great singer who came by gave it a rich, distinct personality.The organic texture of the Kannada lyric at once had a strain of khyal music, carnatic classical, the ghazal, the folk song, apart from the singer's own persona. Now, as you lament the fading away of such a glorious tradition that once throbbed with vitality, M.D. Pallavi renews the faint hope.
MSIL Geethagalu
In 1980, long before it became fashionable for corporate houses to take an interest in culture, Mysore Sales International Limited (MSIL) created and presented a high quality programme of Kannada songs called MSIL Geethegalu.  Thursdays became special for Kannada music lovers. That half-hour slot on Vividh Bharati sparked off great enthusiasm  for the Kannada bhavageete, taking even its sponsors by surprise. Hundreds of Kannada poems sprang to musical life on  audio cassettes, and a genre found its voice. Sugama
sangeeta, the singing of non-film Kannada songs, assumed such momentum  that Bangalore studios were busy for a whole decade, recording one bhavageete album or the other. That movement unveiled musicians like C Ashwath and Rathnamala Prakash, who are celebrities today. And composers like Mysore Ananthaswamy became household names. The mystic poet Shishunala Sharif's songs Taravalla tagi ninna tamboori and Alabeda tangi alabeda were first sung on this programme. These poems had been in circulation in north Karnataka, but they suddenly became popular all over the State after Ashwath made new tunes for them. Sharif's compositions were later recorded in eight cassettes, and set a record in the sale of  Kannada cassettes. Ashwath made the music for 72 Sharif songs. Kannada literary giants of this century -- B M Sri, Kuvempu, D V Gundappa, G P Rajarathnam, K S Narasimhaswamy and others -- became more popular when they were sung by sugama sangeeta artistes,  although one school, led by poet Ramachandra Sharma, maintains that sugama sangeeta can ruin the poetic instinct, which doesn't need  the "crutches" of music.

After a gap of 20 years, MSIL is renewed its association with Kannada music. Its just-instituted Nityotsava Award presented in November to the best male and female singers of the year. "It's our way of discovering sugama sangeeta singers of the future," said I M Vittala Murthy, the poetry-loving IAS officer who heads MSIL.The awards are named after Nityotsava, the first Kannada bhavageete album, and one of the most remembered tapes to this day. It featured the poems of K S Nissar Ahmed, with music by Mysore Ananthaswamy. Later tapes like Bhavasangama and Mysore Mallige also achieved cult status.

Starting this year,MSIL will hold an annual competition to spot young talent from schools and colleges all over Karnataka. Four young people (a boy and a girl each from the school and college categories) will be given Nityotsava Awards and named 'MSIL singers of the year'.



Sources
Music Magazine
IndianetZone
TimeoutBengaluru

Vijnaneshwara - Pioneer Ancient Hindu Jurist


Vijnaneshwara was a prominent jurist of twelfth century India. His treatise, the Mitakshara, dealt with inheritance, and is one of the most influential legal treatises in Hindu law.  Vijnaneshwara was born in the village of Martur, near Gulbarga in Karnataka. He lived in the court of Chalukya Vikramaditya VI (1076-1126), in Kalyan. The Hindu Law of the constitution is based on Mitakshara. Let us see the speech by Justice by Markandey Katju and then continue our discussion.

Speech by  Justice Markandey Katju
When I was informed of the topic: "The importance of Mitakshara in the 21st century" my initial reaction was that Mitakshara has hardly got any importance today except with regard to coparcenary property rights of Hindus. As you all know, most of the old Hindu laws were replaced by parliamentary statutes in 1955 and 1956 viz. the Hindu Marriage Act, 1955, the Hindu Succession Act, 1956, the Hindu Adoptions and Maintenance Act, 1956, the Hindu Minority and Guardianship Act, 1956, etc. These Acts have substituted the Mitakshara and the Dayabhaga law except with regard to succession to ancestral property, which continues to be covered by the Mitakshara vide Section 6 of the Hindu Succession Act, 1956.

This is a practical age. Lawyers are interested in knowing the law which will help them in their cases, and they are hardly interested in purely academic matters which have little practical application. Hence, hardly anyone reads the Mitakshara or Dayabhaga today, as they have largely been superseded by the statutes made by Parliament.

However, I wish to speak on the topic from a somewhat different angle. 


As is well known, the Mitakshara prevailed all over India except in Bengal and Assam where the Dayabhaga prevailed. The Mitakshara is a commentary on only one Smriti called Yajnavalkya Smriti, whereas Dayabhaga is a digest of all the Smritis.

Although Hindu law is regarded as having emanated from the Vedas (Shruti) the truth is that there is scarcely any law in the Veda (Shruti) and the Hindu law that has really emanated from the Smritis. There were large number of Smritis of which the surviving ones are of Manu, Yajnavalkya, Vishnu, Narada, Apastamba, Gautam, Parasara, Vashist, Katyayana, etc.

As I have mentioned, the Mitakshara is a commentary only on the Yajnavalkya Smriti. The question therefore which arises is as to why Vijnaneshwara chose only the Yajnavalkya Smriti for his commentary. There was Manu Smriti which was held in even greater respect than Yajnavalkya Smriti, but Vijnaneshwara preferred to write his commentary on the Yajnavalkya Smriti rather than on Manu Smriti.
We can get the answer to this question if we compare Manu Smriti with Yajnavalkya Smriti. Manu Smriti is not a systematic treatise. It does not have a clear-cut division between religion and law, as in Yajnavalkya Smriti. If we read the Manu Smriti, we will find that there is one shloka on religion, the next shloka on law, third on morality, etc. Everything is jumbled up. On the other hand the Yajnavalkya Smriti is divided into three chapters. The first chapter is called Achara which deals with religion, the second chapter is called Vyavahara which deals with law, and the third chapter is called Prayaschit which deals with penance. Thus, there is a clear demarcation between law and religion in Yajnavalkya Smriti, which is not to be found in the Manu Smriti. This demarcation between law and religion itself is a great advance over the Manu Smriti. Thus, the Yajnavalkya Smriti marks a tremendous advance in law over the Manu Smriti. Law is now clearly separated from religion. This is analogous to the Roman law or to the positivist jurisprudence in the 19th century of Bentham and Austin.

Also, the Yajnavalkya Smriti is shorter and more liberal, particularly towards women than the Manu Smriti. It was perhaps for this reason that Vijnaneshwara preferred the Yajnavalkya Smriti to the Manu Smriti for writing his commentary.

As is well known, the Mitakshara was written by Vijnaneshwara during the reign of Vikramarka, a Chalukya ruler of the 11th century A.D. Although, the Mitakshara was written by a South Indian, its remarkable feature is that its authority spread all over India except Bengal and Assam (where too it has great respect) and it was accepted as the authoritative text on Hindu law even in North India.

Mitakshara was certainly not a law made by Parliament. In fact, in those days there was no Parliament and the law consisted of treatises of learned jurists. The Mitakshara was accepted as an authoritative text on Hindu law not due to promulgation by any sovereign authority such as the King or Parliament, but due to its tremendous scholarship, logical analysis and the sheer force of intellect of its author.
The importance of the Mitakshara therefore is that it teaches us to have respect for intellect and learning wherever it may come from. As the Rig Veda says,

"Let noble thoughts come to us from every side."
or as it is said:
 "A king is worshipped only in his own country, but a learned man is worshipped everywhere."

This is the lesson which the Mitakshara teaches us in the 21st century. If India has to rise as a nation we must not be sectarian or chauvinists but all must feel like Indians living like a united family and must respect each other, whether we come from North or South, East or West.

The second importance of Vijnaneshwara's Mitakshara in India in the 21st century is the great progress it made in traditional Hindu law by making it secular. In this connection it may be mentioned that in ancient India there was not only great development in Philosophy, Mathematics and Science, but there was also great advancement in the field of law.

Until the Mitakshara of Vijnaneshwara came into existence, Smritis and commentaries were largely religious and not secular. It was the Mitakshara which was the first to make the laws of property and inheritance secular.

The bifurcation of the Mitakshara and Dayabhaga was due to two different interpretations given to a single word "sapinda". Manu has written that when a man dies, his property goes to his nearest "sapinda". The question is therefore what is the meaning of the word "sapinda". That depends upon the meaning of the word "pinda". According to Dayabhaga, "pinda" means the rice balls which are offered in the Shraddha ceremony to one's deceased ancestors. On the other hand, according to the Mitakshara the word "pinda" does not mean the rice balls offered at the Shraddha ceremony at all but it means the particles of the body of the deceased.

The term "sapinda" as used in the Smritis and by the commentators before Vijnaneshwara meant only those connected with the funeral obligations. Vijnaneshwara's definition of "sapinda" as one connected by the particles of the same body was apparently unknown to any previous commentator. He cites no Smriti in support of his view, but only the Vedic texts on the theory of heredity which do not mention "pinda" or "sapinda" at all. As Nilakantha says in "Samskara Mayukha":

"Vijnaneshwara abandoned the theory of connection through the rice-ball offering and accepted the theory of transmission of constituent particles."

In this connection the Mitakshara may be contrasted to the Dayabhaga system. In the chapter which deals with the subject of succession, Dayabhaga appeals to the doctrine of religious efficacy at every step, testing the claims of rival heirs by their numbers and nature of their respective offerings. On the other hand, the Mitakshara never once alludes to such a test, as noted by the Privy Council in Balasubrahmanya Pandya Thalaivar v. M. Subbayya Tevar, IA at p. 102. The claims of rival heirs are determined primarily by the test of degrees of propinquity and not religious efficacy. Even persons who confer no religious benefits to the deceased are admitted as heirs for the reason of affinity. Vijnaneshwara states emphatically that "sapinda" relationship does not depend upon the relationship of the deceased through the offering of the "pindas" and his getting it or not, but it depends upon having the same particles of one's body. Vijnaneshwara's new definition was therefore revolutionary. It divested the word "sapinda" of its religious meaning, and was in keeping with the new orientation which he gave to the Vyavahara or civil law by treating property and inheritance as purely secular matters, like the Roman lawyers. He rested the rules of law on purely practical and rational considerations. Combating the view that the wealth of a regenerate man is designed for religious uses exclusively, Vijnaneshwara says:

"If that were so, other purposes of opulence and gratification, which are to be effected by means of wealth, must remain unaccomplished and if that be the case, there is an inconsistency in the following passages of Yajnavalkya, Gautama and Manu, 'Neglect not religious duty, wealth or pleasure in the proper season.' "

As stated above, Vijnaneshwara relies on no Smriti authority in support of his contention that the word "sapinda" has a secular and not religious connotation. Instead, Vijnaneshwara displayed his creative brilliance by relying for this purpose on Jaimini's Lipsa Sutras as he calls the 3rd Adhikarana of Chapter I Book IV of Jaimini's Sutras.
According to Vijnaneshwara, the origin of property is popular recognition, and hence the basis of inheritance and succession is relationship by blood. While Jimutavahana makes the text of Manu on the subject the foundation of his principle of inheritance (because Manu emphasises the spiritual aspect), Vijnaneshwara mainly relies on the text of Yajnavalkya, because the latter prefers the matter of factual aspect. Vijnaneshwara utilises the Mimansa Adhikarana as interpreted by Prabhakara who is reputed to be an heterodox propounder of the Mimansa Sutras, while the orthodox interpretation of the Adhikarana as given by Savaraswami and Kumarila Bhatta gives no support to Vijnaneshwara's views.

Thus, we see that Vijnaneshwara utilises the Mimansa principles, particularly, the Prabhakara school, for striking out a new, secular path in the field of law.

This new, revolutionary change in the law which Vijnaneshwara effected by his new definition of the word "sapinda" had remarkable practical effects. For instance, Jimutavahana who wrote the Dayabhaga, did not permit inheritance to a son at birth. This is because Dayabhaga followed the traditional rule that only the person who can perform Shraddha for his ancestor can inherit the property.

In the book called Parvana Shraddha the list of persons who can perform Shraddha is mentioned. At Serial No. 1 of the list is the son. At Serial No. 2 is the son's son, etc. The general rule is that if a person at a higher position in the list is available, then one cannot go down the list, and the list terminates there. For instance, if the son is alive, then the son's son (i.e. grandson of the deceased) has no right to perform the Shraddha, because the grandson is at Serial No. 2 in the list given in Parvana Shraddha, whereas the son is at Serial No. 1. Hence, the grandson of the deceased has no right to inherit the property when the son is alive, because the grandson has no right to perform Shraddha when the son is alive. It is for this reason that there is no inheritance at birth in Dayabhaga when the father is alive. This is in sharp contrast to the Mitakshara in which the son inherits a share in the ancestral property at birth.

Similarly, in Dayabhaga the unborn son in the mother's womb cannot inherit a share in the property, because an unborn son cannot perform Shraddha. On the other hand, in the Mitakshara an unborn son in the mother's womb gets a share in the ancestral property. Dayabhaga prefers the father to the mother, because he presents two oblations in which the deceased son participates, while the mother presents none. Vijnaneshwara takes exactly the opposite view on the ground that "her propinquity is greatest". The view of Vijnaneshwara is reflected in the Hindu Succession Act, 1956 because the mother of a deceased Hindu is a Class I heir, and is hence automatically entitled to a share in the property of her deceased son, whereas the father is only a Class II heir, and will only get the property if there is no Class I heir. Thus even today a mother's position is higher than the father so far as succession is concerned, and this is in accordance with Vijnaneshwara's view.
Similarly, the right of a daughter to succeed is rested by Jimutavahana upon the funeral oblations which may be hoped for from her son, and the exclusion of widowed, or barren, or sonless daughters, is the natural result. The Mitakshara follows Brihaspati in basing her claim upon simple consanguinity. As a son, so does the daughter of a man proceed from his several limbs. How then can any other person take her father's wealth? And he excludes neither the widowed nor the barren daughter, but prefers one to another, accordingly as she is unmarried or married, poor or rich, that is, according as she has the best natural claim to be provided for.
The right of a daughter's son when he succeeds on the death of the widow and daughter certainly rests far more upon consanguinity than on religious efficacy. The preference of the daughter's son to agnates, whose claims based upon pinda offerings are stronger, can only be explained by propinquity. No doubt, according to Manu, Vishnu and Yajnavalkya, a daughter's son should perform Shraddha for the maternal grandfather. But, from the way Vishnu expresses it, the rule appears to be recommendatory. According to the Mitakshara, the Shraddha of the maternal grandfather is not obligatory but is only optional, except when the mother's sapindikarana has taken place with the maternal grandfather.

The express view laid down in the Mitakshara on the Shraddha rites that sapinda-relationship with the deceased is wholly independent of his being benefited by the pindas or not, is decisive and is consistent only with the conclusion that propinquity must be judged without reference to the grades, number or quality of the funeral offerings.

The conclusion therefore is irresistible that the Mitakshara does not admit religious efficacy either as a basis of heirship or as a measure of propinquity. The rules governing the right to perform Shraddhas or the offering of pindas, though in part determined by propinquity, are also in part influenced by different considerations. Religious efficacy as deduced from these rules can therefore furnish no safe or satisfactory test as regards the order of succession.

The above discussion shows that Vijnaneshwara struck a totally new note in the development of Hindu law and made it secular. This has great importance for the 21st century when secularism is absolutely essential for the unity and progress of the nation.

India is a country with tremendous diversity, innumerable religions, castes, languages, ethnic groups, cultures, etc. Hence only secularism and respect for everybody can keep the country together and make it progress. That is also the mandate of the Constitution, vide Articles 25 to 30 of the Constitution.

Apart from the above, the Mitakshara of Vijnaneshwara liberalised the law with regard to women. He provided for maintenance not only of the chaste wife but also the unchaste wife and unchaste widow. Also, while earlier writers circumscribed women's property within the narrow limits prescribed by Manu, Vijnaneshwara included all property however acquired within the definition. In this connection his liberal views evoked protests from conservative scholars, one writer going so far as to say that a particular rule was evolved by Vijnaneshwara out of his brain (LodiksydfYir) and hence deserved no consideration. However, ultimately all scholars recognised and accepted his views. Due to his progressive views women became entitled to hold and inherit property.

Hence, even though the Mitakshara may not be in vogue today except in matters of Hindu coparcenary property, yet the path it has shown is the path which India should pursue for its progress and prosperity.
I will conclude by quoting the Mitakshara:

There neither was, nor is, nor will ever be a city like Kalyana, or a king like Vikrama or a pandit like Vijnaneshwara. May these three live for ever.


History of Vijnaneshwara

 He wrote a law treatise in the 11th century, which is still in circulation. Serious efforts are now on to resurrect the greatness of Vijnaneshwara, the author of Mitakshara, gathers Anand V Yamnur  


An emperor in the 11th century touched the feet of this man to salute him. The inscriptions on a stone plaque, dated 1124 AD, found at the Kalingeshwara Temple in Martur village, 18 kilometres from Gulbarga, reveal: “Ariraya Mukuta Tadhita Charanan-enalu Negabdi Vikramankana Ratnokara Nichita Mukuta Tadhita,” meaning “When Emperor Vikramaditya bent down to salute Vijnaneshwara, the Emperor's jewelled crown touched the feet of Vijnaneshwara”. Such was the respect Vijnaneshwara commanded during his time. The inscriptions state that Vijnaneshwara lived in the court of Emperor Vikramaditya (1076-1126 AD).


He wrote Mitakshara, a law treatise explaining the Yagnvalkya Smruthi, propounded by philosopher Yagnvalkya. Except for minor changes, the laws in India relating to Hindu Joint Family, distribution of property, property rights, stree dhana (women property), and succession are still governed by Mitakshara. Though written 10 centuries ago, the relevance of Mitakshara is greatly felt, especially in the courts all over the country.


Till 1932, little was known about when and where Vijnaneshwara lived, and where he wrote his Mitakshara. The credit of discovering the time and place of Vijnaneshwara goes to Prof P B Desai of Dharwad. In the journal Prachina Karnataka: Hosa Belaku (Historical Karnataka: New Light), dated February 1, 1932, he wrote about a stone inscription at Kalingeshwara Temple at Martur, which discloses that Vijnaneshwara was a Kannadiga, and was born at Masemadu village in the present Bidar district. It was only recently that the famous epigraphist Sitaram Jagirdar took out a paper impression of the Martur inscriptions, and published its contents. Dr Jagirdar points out that the stone inscriptions date back to 1124 AD. The inscriptions also disclose that Martur was the place of work of Vijnaneshwara, and in recognition of his merit and contribution, he was gifted lands and honoured by Emperor Vikramaditya the VI of the Chalukya Dynasty.


Vijnaneshwara’s original name was Kancha, and he was the son of Somaraj and Bhagyavanithe. His wife's name was Kethikabbe. Of his four sons, Beethiraja got the temples of Shiva and Mahadeva constructed at Martur, and for this, the land was donated to him on January 6, 1123. Through the inscriptions it is clear that Vijnaneshwara lived in Martur, where he also wrote his commentary Mitakshara. Until the inscriptions were deciphered, it was believed that Vijnaneshwara was born in the Kalyan region of Maharashtra. But, the Martur inscriptions prove that the legal luminary of the forgotten era was a Kannadiga born in the Kalyan region, which is now Basavakalyan in Bidar district.


In 1970 the present Bihar Governor M Rama Jois who served as the Chief Justice in Punjab began writing a book Legal and Constitutional History of India. At that time, he came across the earliest translations of Mitakshara by H T Cole Broke of the UK (1867), and by Prof J R Gharapure of Pune (1912). Greatly impressed by the work, Justice Jois erected a befitting memorial for this medieval India’s greatest jurist. The fact that Vijnaneshwara was a Kannadiga and hailed from the Gulbarga region was little known to the world. The need to create awareness about this great personality among the common people, and promote research on his works led to the establishment of Vijnaneshwara Souhardhaka Co-operative Society. The Society came into existence last year in Gulbarga with Justice Jois as its chief patron. The main aim of this Society is to construct a befitting memorial for Vijnaneshwara at Martur at a cost of Rs one crore, and start a full-fledged research centre to study the life and works of the man. The State Government has already allotted six acres of land for the purpose. A local farmer Gundappa Kambar has donated half-an-acre of his land as a tribute to this great personality of yesteryears.



Sage Yajnavalkya
Sage Yajnavalkya was son of Devarta. Mahamuni Vaishampayana was his guru. Maitreyi and Katyayani were his wives. Chandrakanta, Mahamegha and Vijaya were his sons. He learnt Taittiriya Smahita from his guru Vaishampayana. However, once his guru was angry on him and asked him to omit the entire knowledge he learnt from him. Then Sage Yajnavalkya decided to worship Sun god and acquired fresh Vedic knowledge from him directly. His discourses with his wife Maitreyi about absolute Self was called Brihadaranyaka Upanishad. Sage Yajnavalkya was also the author of Yajnavalkya Smriti, Yajnavalkya Shakha, Pratijna Sutra, Satapatha Brahmana, and Yoga-Yajnavalkya.


I thank Unknown Rajesh for bringing up to my notice


Source
Sulekha
EBC
Payer

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