Green light

One of those few photographs I have taken which has people in them. 

This is a place that deserves a post of its own; the Chennai Rail Museum at Perambur, where kids can get to ride a toy train. 

You've got the green light. Go!

 

Anniversary question

It was exactly a year ago that I visited this building for the first time. There is nothing in the picture which explicitly states what this building is. But the colour scheme, plus that Black Maria (okay, it is painted blue, but it was a paddy wagon alright) parked on the right should give you enough indication for making a guess. 

Here are some more clues. The original building, the core of which has been retained here, was built in 1842. In 1856, it was repurposed and continued to function as a key office until about 2012-13, after which it was unused for a while. In 2018, a restoration programme was begun, which brought the building to its current shape - and purpose - in 2021. 

So go ahead, make that guess and tell me what this building currently is. And for bonus points, what office was operating from here between 1856 and the early 21st century!

I guess you would have figured out more clues in the labels!

Top cop the first

A couple of days ago, I was wondering about the first Indian to be the mayor of ChennaiMadras. By some coincidence, I came across this photo of the first Indian to have become the Commissioner of Police of Madras. Both those appointments were from roughly the same time-frame; T. Vijayaraghavacharya served as mayor of Madras in 1916, while the first Indian top-cop of the city took charge in 1919. 

Pasupuleti Parankusam Naidu was born in 1867. When he was 20, he joined the service of the Government of Madras as a clerk in the Water-works Department. But it appears that the young Parankusam was fascinated by the police force, and after three years of dealing with waterworks, he goes off and joins the police. Even if it was at probably the lowest level of the cadre, he was now an officer - a 4th Grade Inspector of Police. Over the next twenty years, he appears to have served with distinction (though I've not been able to access any official records), and in 1911, we see him as the Deputy Commissioner of Police. 

And then, the wait seems to have gone on for a while. Parankusam Naidu's next promotion was in 1919, when he broke the white-plaster ceiling to be the first Indian Commissioner of the city's police force. The Dewan Bahadur title came later, most probably after he retired from service. When that was, or what Parankusam Naidu did subsequently seems to be a mystery even the Chennai Police might shy away from!

 

Forgotten five face

A percussion instrument is called an 'Avanaddha Vadyam' in India. It seems logical to assume that such instruments, played by the performer striking on a taut membrane stretched over a hollow space, can have at most two sides, or faces, to them. But before we jump to that conclusion, let us gently stretch through the different categories of avanaddha vadyams; played by hand, by sticks, using both hands and sticks, struck on one side and stroked on the other, and those that are self-struck. (Maybe an additional category, for the 'stringed percussion' instrument - the bhapang is sui generis, I believe). 

Even the bhapang is a two-sided instrument, and is not one seen very often. An even rarer sight is the panchamukha vadyam, literally the five-faced instrument. I haven't seen one played, ever. For that, I am told that one has to go to Tiruvarur, where it is played during the Trinity Music Festival. Legend has it that the panchamukha vadyam has its origins in the kudamuzham, which was played at the wedding of Siva and Parvati. Looking very much like a pot, the kudamuzham has a large central, circular opening with 4 smaller such openings around it. Hoary literature also has it being one of the instruments played when Nataraja performed the celestial dance. Sculptures from the Rashtrakuta (8th-10th century CE) and Chalukya (10th-12th century CE)  periods show the kudamuzham being played by Nandi, or one of the other Bhutaganas. 

Over the next couple of centuries, the kudamuzham seems to have evolved into the panchamukha vadyam; the five faces became more or less the same size (the central one a tad larger, sometimes), they were named after Siva's five aspects (faces): sadyojatam, isanam, tatpurusham, aghoram and vamadevam. There is some way of distinguishing which is which, because the performer is supposed to stand on the side of the vamadevam while playing this instrument. One day, I will get to see it being played; until then, watching this exhibit at the Tol Isai Kalanjiyam will have to do!

Pass me the card

We have seen cheaters at card games, but not like this. Bridging the real and the make-believe, the 3D gallery at the VGP Amusement Complex makes for an interesting half-hour or so of viewing. All the works here - mostly paintings, but there are a few other installations, as well - are fashioned as trompe l'oeils. Paintings that seem to be more than what they are have been around for quite a few centuries, but they continue to intrigue and amaze us. 

The trick at this gallery is to make sure you become part of the exhibits. Without the real life interaction, they are quite bland. But almost always there is a crowd milling around; even if you are not amused by the pictures, the reaction of visiting children will certainly leave you with a smile. 

Every picture tricks the eye, to twist something that René Magritte might have said. And it is interesting that the Magritte Museum is itself something of a trompe l'oeil!

Forlorn museum

When one think of museums in Chennai, the first one to come to mind has to be the Government Museum at Egmore, with its fabled bronze gallery. And then, you might recall that there is a museum within Fort St George. If you are a fan of the railways, then you would probably put the Rail Museum at the top of your list. And you may somewhere, in the back of your mind, imagine that there might be some specialised museums, such as those for Ramanujan, or Vivekananda. 

A museum for the Public Works Department may not even make your list. But there is one such, inside the PWD Estate in Chepauk. It is a library-and-museum rolled into one, and commemorates the 150th anniversary of the PWD. That dates the museum to 2008, for it was in 1858 that Lord Dalhousie, the Governor General, consolidated various departments into a single PWD in each of the Presidencies. In Madras, it meant the coming together of three major departments: the Maramath department (works relating to irrigation, buildings, waterways, smaller roads and bridges), the Trunk Roads department and the Engineering department. The remit of the Madras Presidency's PWD spread over Tamil Nadu, Malabar, Andhra and into today's Odisha.

Considering that extent, it is surprising that the PWD has been able to fit in 150 years of its history into this rather small, hexagonal building; maybe they haven't been able to get all that organized enough, which may be the reason why this library-museum is almost unknown. There is little indication of the museum hours; that bundled up figure at the top of the steps may be able to guide us, but for the moment, it is unconcerned with our presence!

Animal Farm

It was the last performance of "Animal Farm", performed by the Madras Players and the Stray Factory, at the Museum Theatre today. Had great seats (for a change) and so had a good time watching the performance!

Serenity

The bronze gallery at the Chennai Museum is mainly given over to Hindu deities, but there are some wonderful pieces depicting Buddhist and Jain icons as well. Here is one such, showing the Buddha under the bodhi tree (it has to be the bodhi, isn't it?).

This one is from Nagapattinam and is dated to the 11th century CE. It is not usual for the Buddha to be shown with attendants, so that should make this one also a rare work of art!

Stoned

Chennai has been seeing non-stop rains since Friday; of course the streets are all flooded and the schools have been closed - and it looks like the rain will continue into the next couple of days as well. 

It was probably worse 20 million years ago in this part of the world. During the Mio-Pilocene age, there were severe floods - and probably some volcanic explosions as well. The forests south of modern-day Chennai were washed away and many of the trees ended up around Thiruvakkarai, about 175km away from Chennai. Over the eons, the trees were fossilised and turned to stone. Roughly 200 such fossilised tree-trunks can be seen today at the National Fossil Wood Park in Thiruvakkarai.

One of the chunks was brought over to Madras and placed on display at the Museum. It remains there, open to nature - I guess if it has been weathered over 20 million years, a couple of centuries more or less would not matter. This display, along with the skeleton of a whale, is the first memory I have of the museum's exhibits. Next time you are there, do look out for this - it is quite easy to miss!

Aaagh!

This is one of the pieces exhibited in the outdoor gallery at the Chennai Museum. Don't remember what the significance of this figure is, but boy, I do feel like doing the same thing today!

The other leg

The focal point of the bronze gallery at the Chennai Government Museum is the Natesha at the far end of the ground floor. But that is not the only statue of Siva as the dancer. One half of the first floor of the bronze gallery is given over to a display of about a dozen Nataraja idols. Despite all the irritants in getting a proper view of them, this is something that everyone should have on their must-see list. 

The Natarajas range in antiquity from sprightly 500-year olds to more solemn 1100-year olds. They have been collected mostly from Madurai and Thanjavur; with one or two from Nagapattinam, Kanchipuram and Tiruvallore. They are wonderful examples of Chozha bronzes, prized by collectors the world over. There are several more such, which continue to be present in their temples and shrines, being used as objects of worship even today. The ones in the museum were recovered from their hiding places; they were hidden from rapacious invaders and very often forgotten for centuries before turning up on a farmer's ploughshare. 

They are much sought after by "collectors" the world over and have attracted unscrupulous middlemen, who think nothing of bribing, threatening or browbeating temple-guards in remote villages and spiriting away similar idols across the world. One of the most notorious of such antique smugglers, Subhash Kapoor (who is now in the Puzhal prison, facing trial) had managed to get several of them out, over several years, selling them not just to secretive or unscrupulous collectors, but bizarrely, even to the National Gallery of Australia. That last one is now on its way back, but many of the others would remain out of reach. The returning Nataraja is 900 years old and is in the regular posture, with its left leg raised. It is reportedly worth $5.6 million. Imagine what this one, from the 9th century CE, in a rare posture of raising the right leg, would be worth - at least now, go take a look at it!

Hidden treasure

By rights, this building should have celebrated its centenary with great pomp and show five years ago. Its foundation stone was laid by the grandson of the lady whose name it bore; called the Victoria Memorial Hall, it took three years to build. Prince George (later King George V) laid the foundation stone on January 24, 1906 and it was open to public on March 23, 1909. Henry Irwin, the architect who is usually remembered in the context of Indo-Saracenic style, took inspiration from Mughal and Rajasthani designs for this building. The canopied turrets and the Jaipuri-Jaina windows got this building to stand apart from its neighbours.

The first occupant of the building was the Victoria Technical Institute which had until then been functioning from the museum itself. The VTI operated from this building until 1951, when it was taken over by the government. It continued to be associated with arts and crafts, for it now housed the National Art Gallery. There was quite a lot of art there, with paintings from the Mughal period, rock art, traditional Indian paintings and quite a few paintings from the British era. Most of those works were moved to the new art gallery building right next to this, sometime in 2003; for by then, the Victoria Memorial Hall had been deemed unsafe for use.

Last year, a renovation project was announced with much fanfare. Apart from putting up a metal screen/barricade around the front of this building, not much more was done on the renovation front. In some ways, this is quintessential Chennai: grand ideas and beautiful structures. But somehow, they stay hidden, not thrusting out in-your-face, but knowing that there is beauty here, even if you have to come over all the way to this corner of the museum and have the patience to look beyond the barricades!

Further light

The Government Museum in Chennai has a very eclectic collection of artefacts. From the crocodile that was found in the Cooum to a schoolboy's toy bus claiming to be a model of the MTC buses, the collection has something in it for everyone.

The pride of the museum, however, has to be its bronze gallery. Even if it is only they who say it, no one would dare to counter their claim that the museum has the largest collection of such antique metal under one roof. The gallery is home to over 1,500 pieces, the huge majority of them representing Hindu Gods and Goddesses. Roughly a hundred of the pieces are Jain and Buddhist; the remainder are a bewildering mix of periods, schools and sources. Having been the Presidency Museum, it was the place where any kind of uncommon object was sent out to from anywhere in the Presidency. 

The pièce de résistance of the bronze gallery is this figure of Siva performing his cosmic dance. All the other pieces in the gallery are enclosed in glass cases. The beautiful Ardhanarisvara image, set on a revolving base, grabs your attention as soon as you enter. There are several others that hold you spellbound. But taking a picture is a challenge, thanks to be intervening layers of glass and the reflections therefrom. The idol of Siva, set on a raised stage at the far end of the gallery, has its special background. With no glass covering it, visitors can marvel at this wonderful figure from the 12th century CE; and no, it is not called the Nataraja, or "King of the Dance". Given the intense feelings it brings out in anyone who passes by, it seems more meaningful to call him what is a greater title - Natesha, the "God of the Dance"!

Throwing light

Pradeep Chakravarthy is a management consultant. But he is more than that, as well. He is deeply interested in the history and heritage - of this part of the world, specifically. He has written "Thanjavur: A Cultural History" and has also been the editor of a collection of writings on Kodaikanal. So, when he announces that he is going to lead a session to explain the basic differences between the Pallava, Chola and Vijayanagara styles, there is a rush to be part of that session. We were lucky to get in, and there we were at the Museum on Sunday morning. 

Basically: the Pallavas were the earliest of the three - their sculptures of Gods, or humans, were natural, showing them in relaxed postures, low on detailing, oval faces, cylindrical headgear. Through the Chola period, the figures became more stylized, the headgear conical, faces rounder and the body began to take postures that would have been difficult to sustain in real life. The volume of sculptures grew through the Chola and the Vijayanagara dynasties, and they became more 'industrialized'; templated designs and details, churned out by moderately skilled craftsmen, sacrificing originality and natural representation for the ease of mass production.

There were more details, and Pradeep weaved them into a tapestry of how life must have been in those days of yore; it was a compelling performance. The importance of noticing details, which is what helps you become a more-than-an-open-mouthed-gaper, was especially brought out right at the start. What most people would consider to be run of the mill stone columns near the statue of the Buddha are actually columns from the Pallava era, with inscriptions revealing what the king Mahendravarman considered himself to be. For more on that, over to Pradeep himself!

Movement memorial

In 1852, the government took over the Madras School of Arts, that had been established by a surgeon, Dr. Alexander Hunter, a couple of years earlier. More than a century later, the second Indian principal of that establishment - which was by now known as College of Arts and Crafts - was instrumental in creating a movement of painters and sculptors that sought to combine modernism with local influences of myth, legend and art heritage. That principal was Kovalezhi Cheerampathoor Sankaran Paniker. His fellow teachers, and several students pursued this artistic ideal and that group became the vanguard of the Madras Movement. 

Many artists of that movement were extremely individualistic and it seems to me something of a miracle that they held together for long enough for their work to come under a 'category'. But they did and their work, recognized as and identified with the Madras Movement is feted around the world. They came together to form the Cholamandalam Artists' Village in the late 1960s, but it was only in the last decade that the artists have ventured to create a Centre for Contemporary Art. 

Housed within that Centre is the KCS Paniker Museum of the Madras Movement. It has works from almost every significant member of the Movement. Most of Paniker's own works, however, are not here; they are not with the Cholamandalam Artists' Village, either. They are not even anywhere in Chennai, for the Government of Madras (as it was in those days) did not take up Paniker's offer to donate his works to the state; and so they moved away to the Art Gallery at Thiruvananthapuram!

Lonesome George

Under the pretext of easing traffic flow around the new Assembly complex being constructed on Mount Road, the magnificent statue of King Edward VII which was there has been carted away. Even more mindlessly, and shamefully, the statue of King George V near the War Memorial was also hacked off - both father and son are now covered in sackcloth and dumped somewhere on the grounds of the Government Museum. Sad.

The argument that the statues were reminders of the dark period of imperialism may have been valid at some time, but both Eddie and George had become part of the city's landscape over the years. If nothing else, the statues were much easier on the eye than several others that had come up at various street corners.

Now, the only statue of King George V that remains is the one on NSC Bose Road. Presumably, it has been left standing because it was put up by public demand and sponsored by Govindadoss Chatoorbhoojadoss, who was Sheriff of Madras in 1914 when this statue was unveiled. Today it stands alone - but keeping a watchful eye on all the vehicles around!

Forgotten escape

Although the Japanese did not make too many serious efforts to attack Madras during World War II, the threat of air-raids was real enough for the city fathers to change the landscape and create an underground shelter. The Japanese did make an attempt, however. Some say that it was only a training run by a Mitsubishi Zero (or a Rufe, the Zero's seaplane version) which dropped a bomb near the Fort St George and then never came back.

Not much is known of the bombing; unlike the half-hour blitz by the S.M.S.Emden in 1914, which added the word emden (or emenden, if you like), meaning 'fearsome' to the Tamizh lexicon, the Japanese bombing seems to have been too mild to be remembered. Indeed, memories of the threat seem to have eclipsed the fact of its having happened. The official website of Chennai district lists it as a 'historical event', though with the rather dry entry, "1943 Japanese Fighter Plane dropped bombs on City and disappeared". A more tangible memory of that bombing is displayed in the Fort Museum - a fragment of the bomb itself, mounted on a brass plaque alongside a similar fragment from its 'illustrious' predecessor.

Another memory, though a tangential one, is the film 'Andha Naal' - the main character ('Sivaji' Ganesan), a traitor leaking secrets to the Japanese during World War II, being murdered on the night the Japanese bombed Madras!

Interior, day.

Well, it is not exactly the setting for a play, but it just gives you a sense of what the Museum Theatre looks like inside. It is quite a steep drop from the doors to the stage, giving you a sense of being in an amphitheatre of olden days. A big difference is that the hall is not really semi-circular, but more a deep horseshoe. It was built more for vocal expositions than for theatrics, which is probably why it was okay to have seats at 90-degree angle to the stage. In today's times, someone in that seat would miss out on almost every expression the actors convey, so there are always two wedges of empty seats along the sides.

The 'pit' is not really as well defined as the one in the Music Academy; in fact, it is non-existent, if I'm right. Now that I think about it, I realize I have no idea where the production crew, which would normally be in the pit, sits in this theatre. The space in front of the stage is filled with seats, almost up to the footlights. There are about a hundred seats there and those are the pricey ones; if you've opted for a cheaper ticket, the best thing to do is to rush in when the doors open and take your place somewhere just behind a railing which separates the 'front-benchers' from the rest.

For this event, there were no tickets - it was a quiz competition and everyone was trying hard to get into the front, so as to not miss a single pixel of the questions being projected - and during the break, one member of each team seems to have stayed behind to guard the hard-earned seating!

Guarded entrance

What is it about Chennai's museums that get them to display armament outside? True, Chennai does have some kinds of martial traditions, but those do not really define the city. In fact, the armed forces would be fairly low on most people's list when they think about Chennai. And yet, the two major museums in the city are fronted by cannons (or mortars, if you insist).

You might remember one of those cannons outside the Government Museum - and here we have a couple of guns, on either side of the main door to the Fort Museum. There are a couple of other field guns, too, on the verandah. All these were apparently seized from his army after Tipu Sultan was defeated at Srirangapatnam in 1799 - and since Madras was the headquarters in those days, the spoils were brought back - and have remained here since!

Terrible lizard

Sir Richard Owen searched around for a word to describe the creature whose fossils he had found and chose to make a portmanteau of the Greek words deinos (fearful) and sauros (lizard). He probably didn't realize that the word would go on to become a cover-all for an entire set of creatures that came and went over a span of 65 million years. Today, kids under 10 will reel off the names of at least 20 individual species of that era without once thinking of them as dinosaurs - but that's the only way adults seem to be capable of describing them.

It is heartening to see that the Children's Museum in Chennai does not pander to adults, but gives the Tyrannosaurus its proper name on their website. This fibreglass model was installed, along with that of a Stegosaurus, about 25 years ago and has been quite popular with the visitors; in fact, there is a museum at Palayamkottai which has replicated it for its display. Even allowing for a liberal interpretation of what the Tyrannosaurus might have looked like, the eyes make it out to be more fearful than fear-inducing; the colours have been changed over the last generation. I seem to remember both animals being ruddy-brown when they made their first appearance, rather than the green-and-cream scheme they've been bestowed with now.

Interestingly, Greek mythology also describes Deino as a gray witch, who shared one tooth and one eye with her two sisters. This dino does not have to do things like that, at any rate!