डचों की कोठी से पटना कॉलेज तक

1632 में जब पुर्तगालियों को हुगली से बाहर निकाला गया तो पटना के साथ भी उनका व्यापारिक सम्बन्ध अचानक ख़त्म हो गया। ठीक उसी वर्ष पटना के बाजार में डचों ( हॉलैंड के निवासी ) का  प्रवेश हुआ। डच ईस्ट इंडिया कंपनी1602 में स्थापित एक चार्टड कंपनी थी, जिसे नीदरलैंड के राज्यों से  एशिया के बाज़ारों में 21 वर्षों तक व्यापार करने की अनुमति मिली हुई थी। 

डच ईस्ट इंडिया कंपनी को दुनियां का पहला बहुराष्ट्रीय कंपनी माना जाता है। यह पहली  ऐसी कंपनी थी, जिसने बाजार में शेयर जारी किये थे।  डच ईस्ट इंडिया कंपनी ऐसी शक्तिशाली कंपनी थी जो युद्ध छेड़ने की क्षमता रखता था। इसे उपनिवेशों की स्थापना का अधिकार था और इसके स्वयं के सिक्के भी थे।

डचों ने गुजरात में कोरोमंडल समुद्र तट, बंगाल, बिहार तथा उड़ीसा में अपनी व्यापारिक कोठियां खोलीं। डच लोग मुख्यत: मसालों, नीम, कच्चे रेशम, शीशा, चावल, शोरा व अफीम का व्यापार भारत से करते थे।

पटना में उन्होंने अशोक राजपथ पर अपनी पहली व्यापारिक कोठी बनाई। पटना उन दिनों शोरा, अफीम, सूती और सिल्क के कपड़ों के लिए मशहूर था। पटना और कसिमबाज़ार इन वस्तुओं के व्यापार के लिए काफी समृद्ध और मुनाफे वाला केंद्र माना जाता था। डचों की रूचि शोरा और अफीम में ज्यादा थी। उसके बाद सूती और सिल्क कपड़ों में।  

18 वीं सदी के शुरू के वर्षों तक डचों ने बिहार में पटना, दौलतगंज, छपरा, सिंघिया और हाजीपुर में जमकर व्यापार किया और खूब मुनाफा कमाया। किन्तु 1712  में पटना में  फ़र्रुख़सियर की ताजपोशी ने डचों के व्यापार पर प्रतिकूल प्रभाव डाला। उधर यूरोप में भी डच कमजोर होते जा रहे थे। उसका प्रभाव हिंदुस्तान पर भी पड़ा।

1717 में फ़र्रुख़सियर से फरमान हासिल करने के बाद ईस्ट इंडिया कंपनी ने डचों को निष्प्रभावी बना दिया। शोरा के व्यापार पर से डचों का नियंत्रण समाप्त हो गया। धीरे-धीरे ईस्ट इंडिया कंपनी ने बंगाल और बिहार के बाजार में अपने को स्थापित कर लिया। डचों ने पटना में जो अपनी कोठी बनाई थी वह अंग्रेजों के अधीन हो गया। काफी दिनों तक यह अफीम के एजेंट मिस्टर विल्टन का आवास रहा। 

1828 तक इस डच भवन में पटना के कलेक्टर का कार्यालय चलता रहा।  2 फरवरी 1835 को जब मैकॉले के मशहूर प्रस्ताव 'भारत में अंग्रेजी पढ़ाया जाय'  को पारित किया गया तब उसके चार महीने के बाद जुलाई 1835 में इस भवन में पटना हाई स्कूल की स्थापना हुई। 1862 में यह कॉलेजिएट स्कूल बना। 9 जनवरी 1863 को इसे एक नया नाम दिया गया, पटना कॉलेज। 

Patna Museum: Down the ages

Situated on Budha marg in the ancient city of Patna, Patna Museum is one of the most important museums in India. It is famous all over world for its rare and priceless collections.

The Patna Museum was established in the year 1917 by sir Edward Gait, the then lieutenant governor of Bihar and Orissa. In the early days it was housed in one of the wings of the Patna High court. With increase in collection, the wing of Patna High court proved to be very much inadequate for the display of exhibits and so the entire collection was moved to the new building which was built in the indo-sarcenic style. It is one of the finest architecture examples in India.

The Patna museum, during the period of ninty nine years of its existence has collected more than fifty thousand objects and thus occupies a very prominent position as a repository of ancient Indian culture and tradition. It is a multipurpose museum and so the collections are varied in nature. There are several sections-such as Archaeology, Ethnology, Natural history, Coins, old arms and trophies, art and miscellaneous. Thangka paintings and rare manuscripts of Tibet brought by great scholar and wanderer Rahul sankritayan is also a very prized possession of the museum.

The archaeology section contains varied antiquities such as pre-historic objects, stone sculptures, bronzes, terracotta, seals and sealing and beads etc. The pre historic objects contain pal eoliths, microliths and neoliths from different parts of Bihar and other places including foreign countries.

The museum preserves few of the important finds of harappan civilization which included the terracotta figurines, potteries, copper and bronze objects, seals and sealing of different size. The museum posses the rare collection of bronze images in India. These bronzes were discovered from chausa (Buxar), Kurkihar (Gaya) Nalanda, Belwa, Aluara (Dhanbad), Sonepur (Orissa), Negapattam (Tangore) etc. A large number of bronzes were discovered from Nalanda. These depict. the deities of all the three religion i.e. Buddhism, Jainism and Brahmanism prevalent at that time in India. The figures are dated from post-gupta to pale period.

Museum has a good collection of terracotta, seals and sealing from vaishali, Nalanda and Dharawat. Various sealing have inscriptions, which are important for the study of the economic, political and religions condition of that period.

In the art section in consists of painting on paper of different schools such as the mughal school, Pahari School, Rajput School, Gujrat School and Patna School of Painting. They range in date from the beginning of the 13th century. to the end of the 19th century.

The museum has got a very rich collection of coins, silver and copper punch marked and cast coins are in good number. Indo-greek, Indo-parthian coins are also preserved in this museum.

Numerous tourists and research scholars visit this museum to see the extremely rare and valuable antiquates and art objects from all over the world.

Sikki art: A traditional handicraft

The sikki grass articles made by women of north Bihar are entirely different from anything else, which you see in any other part of the country. They transport you into another world. As the very name indicates, sikki is a plant, which automatically grows by the riverside or roadside of rural area. The places where there is moisture are also suitable for the growth of this plant.

After the rains, it is cut down and divided into thin pieces and preserved in the house for use throughout the year. Though it has its own golden colour, which is very attractive but the village women also dye the grass in red, black, blue and green colours to give the articles made of this – a presentable look.

The manufacture of sikki article is very simple. Women of artistic caliber, settling the different parts of this dried grass in desired shape do stitching work with a thick needle known as Takua. The women make small tray for serving fruits, dry also make large trays known as Dagra. Small baskets are made for their domestic use and organic designs are worked in different colours.

They display human figures, animal’s birds thereon. Each one is unique piece, naive yet highly expressive and most decorative. The elephant with a rider, horse with a rider is fabulous. The clothes box is in the shape of an elephant. While the back of a horse becomes the stand for a large tray set off by gay tasels; a fish serves the purpose of a make up box: an owl whose head can be detached turns into a jar; a bird is made into tray and so on.

It is difficult to trace out the origin of this unique craft, but from a study of social customs and the manner of its manufacture one comes to the conclusion that this must be an ancient craft. 

The fact that sikki is closely connected with the marriage ceremonies is perhaps the main reason why so many different patterns and deigns have been worked into it. It is essential the young bride should learn the art of making objects out of sikki from her childhood, so that at the time of her departure for her new home(sasural), she could carry a good collection with her , It was and is a custom that , along with the dowry, these subjects would also be displayed and villagers would assess the ability of the young bride, from the imagination she had shown in creating new designs.

Bodh Gaya – The abode of enlightenment

Strolling Through the bank of ancient Niranjana (Falgu) river, the first thing that arrested my eyes happen to be the riot of colours. Some monks wearing yellow robes, other Buddhist pilgrims wearing maroon and the tourist donning sundry other colours added brilliance to this holy river.

Come winter this abode of enlightenment really blooms like garden of flowers where all hues of colours and shades add sublime beauty to this ancient place. The most important chapter of Buddhism it was this Falgu river where Siddharta used to bathe regularly. Besides it was this river where he had thrown the bowl of kheer (Rice pudding) given to him by the village lass Sujata. Soon after eating this kheer Siddharta had attained his enlightenment.

Leaving the banks of Phalgu as I started moving towards the Mahabodhi Temple, the sound of the Buddhist holy mantra “Buddham Sharnam Gachchami, Sangham Sharanam Gachchani’ entered into my ears. In and around the Mahabodhi Temple a large number of little shops selling cassettes and CD’s of religious songs and various other items related to Buddhism really create a divine ambience to it.

This holy mantra really transformed my thought process. It took me to the ancient past when this holy words in Pali language beaconed thousands of people from the Tibet (roof of the world), china and other places of South East Asia to this land where Siddharta became Sakya Muni after attaining his Sambhodhi (enlightenment).

Braving hailstorms and very adverse climatic conditions, the foreigners had set foot to Bodh Gaya. Even the Chinese scholar Hiuen Tsiang and Fa Hian had endangered their lives for the sake of these words that says “We take shelter to Buddha’s lotus feet, we belong to Dhamma (Dharma) and we belong to Sangha (Monasteries)” and this holy tradition continues. Bodh Gaya is the supreme pilgrimage of Buddhism.

A flight of steps led me to the inner courtyard of Mahabodhi Temple. On looking at this 170 ft high shrine anybody would praise the nameless ancient masons who had created this architectural wonder centuries ago. This truncated pyramidal shape temple dates back to the 2nd century A.D. This is the oldest and most venerable of all Buddhist shrine. Hiuen Tsiang and Fa Hian had profusely praised the architectural cum sculptural art of this temple.

In the courtyard, I found a large number of monks moving around barefoot, others deeply meditating without even noticing my presence. Tranquility prevailed everywhere. I had a feeling of boarding in a time machine and entering into the time of Emperor Ashoka, who revived Buddhism. In the premises of Temple the multi coloured flags were fluttering to mutely tell the universe that peace should prevail over anarchy. In his days (2550 Year ago) Buddha also had pleaded against war and fought to establish peace. Looking at the Mahabodhi tree lies near the shrine one really feels that Bodhgaya continues to remain a living page of history. Under this peepal (Bunyan) tree Siddharta attained enlightenment. He became Taltagat the great.

This Mahabodhi tree still appears to be radiating an aura of abiding serenity, spiritual solitude and peace. It is believed that the original Bodhi tree sprang up on the day of Siddharta’s birth.

Bodhgaya may be lying thousands of kilometers away from South East Asia yet it offers the look of typical Asiatic nations (Buddhist countries). The temples, Chaitya and monasteries of various Buddhist nations are built in architectural and sculptural style of those countries of South East Asia. They reflect the very essence of ancient Java, Sumatra, Bali Anuradhapuram (Sri Lanka) and other pockets where Buddhism was carried in 3rd BC by Sanghmitra and Mahindra daughter and son of Emperor Ashoka. Really Bodhgaya appears to be a replica of South East Asia.

The Sun had already set. I could not resists the temptation of witnessing the Arti (showing of lamp) carried out in the Mahabodhi Temple by the devout Lama’s, Monks and others who consider Shakya Muni their supreme solace. Hurriedly I walked to the premises of the shrine to find hundreds of butter lamps and candles lighting there to create a divine atmosphere. The statues of Buddha attained serene glow due to the light of those lamps and candles. The holy sight arrested me. I stood still against a ancient wall. A group of monks were slowly moving with lamps in their hand and chanting “Buddham Sharanam Gachchami, Sangham sharanam Gachchami” in their leaps.

After experiencing this enlightening of Buddhism in its purest essence, that too at the spot of its birth, I started walking towards the hotel through the series of kiosks. The tourists and shop keepers were bargaining with each other. Why to blame them? They are all mundane creatures. After leaving the crowded market place as a moved to the hotel nearby, suddenly “Buddham Sharnam Gachchami…” Echoed in my ears. Really how different is the mundane world with the realm of spirituality.

Glorious and Magnificent Pilgrimage of Sikhs: Takhta Har Mandir Sahib

The founder and the first Guru of Sikhs Guru Nanak Dev,while undertaking his first journey towards eastern direction of the country came to Patna in the year 1507. During his sojourn in Patna he stayed with his devotee Jaitamal. During his stay in Patna he came in contact with Jauhari Salis Rai, who later became his devotee.Remaining four months in Patna, Gurunanak Dev offered preaching’s almost every day in morning and evening. At the time of his departure from Patna and giving the status of Sangat ( Sacred Place of Worship ) he declared Salis Rai his successor .

Ninth Guru of Sikh – Guru Teg Bahadur was the another first Guru of his sect , who undertook journey outside of the Punjab for the expansion of his sect . Those days he was on the journey of Assam. He was accompanied by his mother Nanki Devi. wife Gujari Devi, Brother Kripal Chandra and other Sikh courtiers . In way to his destination passing through Varanasi, Sasaram and Bodh – Gaya he halted at Patna for a few days. His family stayed at the same Sangat. On this very place on 26th of December, 1666 accordingly Poush Sudi 7 of 1723 Vikram era, Govind Rai (the original name of boyhood of Guru Govind Singh . ) took his birth . At the same time a Muslim Fakir Sayyed Bhikhan Shah residing at Ghoran of Patiala – hundred miles away from Patna visualized unique light on the horizon. Noticing that light he bowed down in worshiped form and uttered that the almighty has sent a new brilliant illuminating light on the earth in shape of a child , he set out towards the direction of that light with a view to have a glimpse of that sacred and newly born pious soul performing a long and tedious journey he reached Patna . To test the newly born baby he carried two pots with him – one filed with milk and other of water. Covering both of them properly he placed them before the child and realize that if he ( the child ) touches the pot of containing milk he would consider him to be follower of Islam and simultaneously on event of his touching pot of water – he would take him to be Hindu . But to the utter surprise the boy placed his both hands on twin pots simultaneously. This filled the Fakir with immense pleasure and he exclaimed with cheers – this country really needed a person like this .

Guru Govind Singh spent his first seven years of his infancy in Patna. He mentioned in his autobiography “ Vichitra Natak “ that this is the same place where I was born in Patna In course of time at the place of his birth a magnificient harimandir was constructed. But when this mandir was actually constructed there is no specific authentic information in this regard. However there is a record of some repair carried out for the first time in building by local king Raja Fateh Chand maini in 1722. is available. Mulla Ahmed Babahani who came here in Patna towards last days of 18th century has mentioned in his book Mirat ul Ahiwal the following facts -‘ devotees of Guru Govind Singh has built a palatial magnificent building in the memory of Guru Govind Singh and named as Hari Mandir. This has became the center of strength and power of Sikhs. This is also famous by the name Sangat ( a sacred place of assembly for religious discussion and discourses ) Sikhs have made it a seat of their pilgrimage . It has become a symbol of respectful dedication and devotion of Sikh community.

In 1781 Charles Willikins who has witnessed a building of Sikh college here has mentioned – “ the construction of building on the birth place of Guru Govind Singh is scattered in about 40 sq.m which is about 6 to7ft above the surface of the land. In the center there is a big room which is surrounded by other rooms. All the arch and wooden pillars there are beautiful attractive and ornamental carvings. The building is of greater length in comparison to his breadth. Whole surface is covered with carpets. By the side of the wall about 6 to 7 palanquin are placed on which the Guru Granth Sahab – the holy religious scripture book is placed . One small room is decorated with golden cloths where Manji Sahab ( palanquin with Guru Granth Sahab ) is placed in well arranged gorgeous decoration. Just above the palanquin a golden chain is having various bouquet are arranged. By the side by which there are three donation pots in which visitors inserts their donations and gifts. Letters inscribed on the Guru Granth sahab are all golden. But the present building of Hari Mandir Shaeb does not exist in the previous original form. Suitable changes have all along been done in it . Now the whole structure made of marble presents a very attractive and marvelous look. Depicting the memories of Guru Govind Singh various objects used by him such as his cradle, his wooden footwear ( Kharaun), his apron, books and other memorable commodities are well preserved there. It is said Guru Govind Singh had inscribed his name on the Dharma Granth by sharp point of his arrow.


The four most important pilgrimage of Sikh are Amritsar, Anandpur Saheb, Naded Saheb and Patna Saheb . All these were established by Guru Govind Singh. Patna Saheb is his birth place . Beside there are some additional places here which are places of importance for Sikhs.

Gurudwara Ghat Sahab- It is an old house of Guru Nanak Dev’s devotee bhakta Jaitamal . This place was made sacred firstly by the visit of Guru Nanak Dev and nextly by Guru Teg Bahadur . Guru Teg Bahadur has stayed there with his whole family in the year 1666. This is stationed at Ashok Rajpath at the distance from 4 km from Harmandir . Guru dwara Govind Ghat- It is located at the bank of river Ganga at the distance of only 200 hundreds yards from Harmandir. This is famous with the name Kangan Ghat . it is the same Ghat from where boy Govind singh has thrown the golden bracelet in to the river Ganga . The local king of the time Raja Fateh Chand Maini together with his queen was great admirer and devotee of Guru Govind Singh . Due to being issueless, both of them were very sad. One day he narrated his agony to Pandit Shivdutta . Pandit Shivdutta was having held respectful position among the Hindus. Pandit Shivdutta informed them that a boy gifted with divine qualities Govind Rai by name will transform their dejected and disappointed life into joyful one. On this assurance lives of the couple was filed with pleasure . They use to look after Govind Rai with affection and respect . One day while the queen was busy in her worship in her prayer room Govid rai suddenly appeared there and set in the lap of the queen . He was playing with his colleagues else were and together with all of them he reached there . Govind Rai spoke to the queen that they got tired due to playing and feel hungry. He demanded some edible from the queen. This was an occasion of pleasant surprise for the queen. She embraced Govind Rai . Both king and queen were quite happy. The king got prepared bread baked in Ghee ( Puri ) and fried gram . The same was served on child Govind Rai and his companion . Since than it has become a tradition to serve the Sikh devotee with fried bread and gram.

Guru Ka Bag – Towards east of Har Mandir Sahab there was spacious garden of trees belonging to two Nawab brothers – Rahim Baksh and Karim Baksh. These two brothers were admirer of Guru Nanak Dev. They were very much impressed by Govind Rai also . Guru Teg Bahadur , when arrived at Patna from Punjab , he stayed in the same garden for a while . Before arrival of Guru Teg Bahadur the garden was presenting a deserted look as all the trees were dried. The dried garden change into green once soon after the entrance of Guru Teg Bahadur . Getting the information of this miracle both Baksh borthers ran up the garden and made earnest request to Guru to accept the ownership of the garden which they willingly offered to him. Guru accepted the offer and garden has become famous as Guru Dwara Guru ka Bag which has a pond. This is located at the distance of 4 km from Hari Mandir Sahab .

Guru Dwara Handi Sahab – At the time of his departure from Patna together with his family members Guru Teg Bahadur made a first halt at a place near Danapur , about 20 km west of Patna in the house of an old lady Yamuna Devi . She prepared in a earthen pot a mixture of boiled rice and pulse food preparation to serve only Govind Rai .But miraculously enough the limited food preparation became such in as even after serving all the members of the party , the quantity remained intact . A Gurudwara has been made here also and once in a year, a holy performance is held here by Takht Hari Mandir Sahab .

Preserved memorable materials associated with the life of Guru Govind Singh in Takht Hari Mandir Sahab .

1. Guru Granth Sahab with the signature of Guru Govind Singh .

2. Oil paintings depicting the childhood activities of Guru Govind Singh known as picture Chhabi Sahab .

3. A small cradle – on which child Guru Govind Singh used to sleep known as Pandhura Sahab .

4. Small sword of Guru Govind Singh .

5. Four small arrows used by Guru Govind Singh .

6. Clay round marbles with which Guru Govind Singh used to play .

7. Small iron chakri which Guru Govind Singh used .

8. Small spear like double blade sword – known as Khanda .

9. Tiger nailed shaped dagger.

10. Wooden comb of Guru Govind Singh .

11. One pair of wooden foot pair filled with ivory used by Guru Govind Singh .

12. Order sheet ( Hukmanama ) granted by Guru Govind Singh .

13. Apron of Guru Govind Singh .

14. Wooden footwear made of sandalwood used by Guru Teg Bahadur .

15. Order sheet ( Farman ) of Guru Teg Bahadur .

16. A well used by mother of Guru Govind Singh known as Mata Gujri Ka Kuan.

Sujani: a primitive handicraft of Bihar

As its very name indicates, it is made of torn and tottered useless clothes of daily life. It is made and prepared with patches of different clothes, preferably of the cotton. By setting them in separate layers and then stitching – it takes swollen shape that is why it is said Sujani . Sujani is generally used as carpet or mat stretched on naked floor or wooden cots – giving physical comfort to slippers. It generally serves the purpose of bedding. It is as comfortable as Tosak. If it is not too fat and heavy and can be easily folded, it can be used as wrapper also.

There is no specific proof of its origin. Since it is used and made by mostly poor people, nobody bothers to know its history. The members of the poor families, who are not affluent like rich cannot afford seasonal costly clothes to fight the vagaries of the weather. As such the various dresses, which became unserviceable, were not thrown like waste materials rather they were thought to be used again by giving a desired shape to them. Consequently setting different unserviceable and useless clothes together binding them with shape is given – and thus Sujani comes into existence. In backward and poor families such sujani is very common. If we happen to pass through the slum areas, huts made of dried long grass or paddy bases on the stump of bamboo, we can see such sujani, though not in a very presentable shape, dirty and cramp stretched on the threshold on the front position of the hut.

How sujani has come to light? What factors are responsible for its coming in existence are some interesting and curious questions which occasionally flashed before our mental eyes. To put even completely useless article for use, has been special efforts of human being. Poverty and inability also pave way for the partial relief. Prominently these two factors seem to be responsible for existence of Sujani . But if we go to the past, when men were uncivilized or semi civilized not fully acquainted with the art of living comfortably and living in the Jungles like wild beasts, they might have living on the fruits and other wild articles – even on the meats of the animals and birds. In those state of affairs they might have been using the big leaves of trees as plates. Placing together more than one leaves, they might have given a bigger shape to so-called leaf plates or dishes. Likewise in the preparation of sujani the same idea would have prevailing. 

The very name of sujani does not give fair meaning. People discard and look down upon it. And discredit it with ugly sounding name as gendra , khendra and logad etc.

Since its preparation is time consuming affair and patience and perseverance is required for it, like preparation of Rangoli, Madhubani painting etc. It is a work to be performed exclusively by women folk. It is purely needlework, and for beauty and perfection- skill of embroidery is needed for it.

Of late women of affluent society of Bihar undertook this work and they started preparing sujani on costly new fabrics also Needle stitches play important part in its preparation. Through figures, pictures, events are started to be depicted on Sujani. The use of such sujani is now no more remain confined to bed but other fashionable garments are also now a days prepared on sujani style which are much in demand. 

Earlier sujani was personal pastime, confined to limited families. But during the last two decades, it has become popular among various families. So many people have adopted it as useful art. Interestingly Aditi, an institution devoted to expansion of the domestic art and handicrafts by popularizing it beyond the boundaries of this country and started to boost its commercially. Sujani has now gained a new name for its unique style as a result of which artisan engaged in this performance could get chance to visit foreign countries like United Kingdom etc.

In this context special mention may be made of Sanjeev Upadhayaya and his wife Preeti of Patna who are engaged as whole time performer of sujani arts. 

The wonderful Thangka

Thangka are paintings of sacred, ritualistic and ceremonial subjects on Buddhism hung up in temples, monasteries and private chapels. Such painting are meant for meditation as they are the manifestation of the deity. The Buddhists have rituals galore.

The Tibetan painting can be examined at two distinct levels: its visual vividness and portrayal of Bhuddhism pictorially. These painting symbolizes the real points of Buddhism , its endless variety of socio-religious themes and attempts to express the mystical world which is very complicated.

Thangka are paintings or, occasionally embroidered pictures, usually called “banners”. They first came into use about the tenth century. Before that time painting was mostly confined to frescoes on the walls of the temples or monasteries or in caves. Most of the Thangka we see in the Occident probably date from the 17th century to the 19th century.

These Thangka are hung in the temples and at the family alters in homes. They are also carried by the Lamas in religious processions. This particular school of art expresses the mode of life of the Tibetans in an unique style with total honesty, sincerity and beauty. The Thangka painting portrays how artistic and sensitive the Tibetans are. In Tibetan language Thangka means something that can be rolled. These painting are done on cloths and rolled. The term Thangka is derived from two words: Than and ska. These two words mean realistic form and personification of the avtar (reincarnation).

At the initial phase only the painting related to life of Lord Buddha used to be given in the Thangka painting but gradually included portrayal of different other subjects related to Buddhism. Often they depict stories which the Lamas use to illustrate their sermons.

The Thangka are usually painted on canvas, sometimes on paper, but rarely on silk. The canvas is sized with one part glue to seven parts white chalk mixed with tepid water. Then it is stretched on a frame to dry. It is rubbed with a smooth stone, sprinkled lightly with water, and again left to dry. After studying under the guidance of a Lama artist, the student monk prepares the canvas and puts the outline on the canvas from a transfer of dotted lines. Then the colors are made ready. At first the colors were made from minerals and vegetables. The blue and green mineral colors are ground from mineral rocks found near Lhasa. The Yellow comes from the province of Khams. The reds are made of oxide, of mercury, and the vermilions is imported from India and China. Gold is brought from Nepal. The vegetable colors are: black, made from soot of pine wood; indigo, from the indigo plant from India; yellow, from a flower growing in the vicinity of Lhasa, the utpala flower;  lac, from the lac insect of India and Bhutan.

The minerals are ground, and then mixed in various proportions with water, glue, chalk, and lac or alum to give the different degrees of consistency and shading. The plants and vegetables are boiled before being prepared with the required amount of glue.

The brushes used are pine twigs hollowed at one end, into which goat or rabbit hairs are inserted to the required thickness. A compass made of two pieces of split bamboo is needed also in order to get the correct measurements of the figures on the canvas, according to the canonical rules. Usually the student does the work up to this point. The lama artist continues from there. He paints in the landscapes and figures. The important details, such as the faces of the deities and the inscriptions, are executed on auspicious days decided on by the astrologer Lamas. When the painting is finished, it is mounted with a silk or brocade border, and usually a thin silk dust-curtain is put over it. Around the painting there should be a narrow red border, then a narrow yellow boarder, and last the wide blue mounting, in proportion to the size of the canvas. When the original mountings wear out, they are sometimes replaced by other colors. Usually there is a flat stick to which the banner is attached at the top. At the bottom there is a roller, sometimes with ornamental ends, to weight the banner and keep it straight and firm. Red, yellow, and blue are the three primal colors used in mounting the banners.

When the banner is finished, it is consecrated by a high lama. Occasionally one finds on the back the print of the hand or of the foot of a Living Buddha. The subjects and composition are often very striking and vivid, and they produce spectacular effects when seen by the light of the flickering butter lamps in the dim interiors of the temples.

It is necessary to go to the symbolic perception of thangka painting to understand different aspect of the Tibetan Buddhist. The followers of Buddha adopted the system of painting as the best method to propagate the religious concept of Buddhism as the rolled thagka were much easier to carry then the idols. In fact they used these painted rolls as a substitute for idols to popularize the philosophy of life and practical teachings of Lord Buddha. The Thangka painting acted as substituted form of books on Buddhism also. Even the kings following Buddhism laid more emphasis on these paintings then books that led to the popularity of Buddhism all over Tibet. These painting played a prominent role in spreading Buddhism to different countries including Japan, China, Java, Sumatra, Burma  and Sri Lanka.

According to famous writer Tucci the thangka represents the symbolic as well as imaginary facts through colors. By the medium of thangka the Buddhism finds its depiction. Tucci, an Italian expert on Tibet says - “This particular painting is mirror of actual Tibetan life. It reflects the philosophy and religious precepts of Buddhism as a whole. “

The Dalai Lama however believes the thangka painting shows the inner eye and very high depth of knowledge of the Tibetan Lamas regarding philosophy, religion and practicality vis-a-vis the Buddhism. Certainly, this school of art, the Dalai lama says, gives joy to many, posses curiosity among several people and offers new inspiration to the people to wake up to new awakening.

जब बुकानन ने मनेर का मक़बरा देखा

स्कॉटलैंड में पैदा हुआ पेशे से डॉक्टर रहे बुकानन 1794 में ईस्ट इंडिया कंपनी की नौकरी में सर्जन के तौर पर शामिल हुआ था, लेकिन उसकी रूचि प्राकृतिक इतिहास और भूविज्ञान में थी।  इसलिए हिंदुस्तान आते ही तत्कालीन गवर्नर जनरल लार्ड वेलेस्ले ने उसे ईस्ट इंडिया कंपनी के अधीन इलाकों के इतिहास, कला -संस्कृति, व्यापार, सामाजिक तथा धार्मिक रिवाजों, कर्मकांडों, रीति -रिवाजों, कृषि, वास्तुशिल्प और प्राकृतिक संसाधनों  के सर्वेक्षण के काम में लगा दिया।

शुरू के वर्षों में उसे अंदमान द्वीप पर वनस्पतियों के शोध पर लगाया गया। टीपू सुलतान से मैसूर जीतने के बाद गवर्नर जनरल ने उसे मैसूर राज्य के सर्वेक्षण का काम दिया। उसे व्यवस्थित ढंग से शोध करने में महारत हासिल था। 1807 से लेकर 1815 तक वह कंपनी के अधीन सारे इलाकों का सर्वेक्षण करता रहा। इसी क्रम में वह बिहार भी आया।

1807 की सर्दियों में उसने सर्वेक्षण का काम शुरू किया। इसकी शुरुआत उसने पूर्णियां से की। भागलपुर, मुंगेर, पटना, गया, शाहाबाद होते हुए वह गोरखपुर तक गया। अपनी यात्रा वह अक्सर घोड़े पर सवार होकर ही करता था। उसके साथ उसके कुछ कारिंदे भी होते थे।

बुकानन 4 नवंबर 1811 को पटना पहुंचा। 16 अक्टूबर को वह मुंगेर से चला था। सूर्यगढ़ा, प्रतापपुर, इन्दूपुर, बड़हिया, मेकरा होते हुए 26 अक्टूबर को वह बाढ़ पहुंचा। 1 नवंबर तक वह बाढ़ में रुका रहा।  

3 नवंबर को वह बैकठपुर पहुंचा। वहां से फतुहा। रास्ते में उसे राजा सिताब राय का बगीचा भी मिला, जो उनदिनों उजाड़ हो चला था। पटना के पूरबी द्वार के पहले उसे जाफर खान का विशाल बगीचा मिला। बगीचे के नजदीक उसने एक भव्य भवन देखा, जो किसी बड़े व्यापारी की थी। उसके नजदीक उसने एक विशाल मंदिर और तालाब का भी उल्लेख किया है। पटना में वह 6 नवंबर तक रुका रहा। इस अवधि में उसने यहाँ का व्यापक सर्वेक्षण किया। घोड़े पर सवार होकर  वह यहाँ के चप्पे -चप्पे में घूमता रहा।

6 नवंबर को वह फुलवारी शरीफ के लिए रवाना हुआ। सिलाव,  राजगीर,पावापुरी,लछुआर, नालंदा, गया,बोधगया, सासाराम, रोहतास इत्यादि होते हुए वह 27 फ़रवरी को मनेर पहुंचा। उसने लिखा है, 'सोन नदी के किनारे होते हुए मैं मनेर पहुंचा। शेरपुर के नजदीक गंगा नदी सोन में आ मिलती है। मनेर एक घनी आबादी वाली बड़ा इलाका है। यहाँ के निवासियों के मकान ठीक ठाक हैं। पश्चिमी छोड़ पर एक विशाल और खूबसूरत तालाब है। सोन नदी से यह भूमिगत सुरंग द्वारा जुड़ा हुआ है। लेकिन इस वक्त इसका पानी गन्दा और झाड़ -झंखाड़ों से भरा हुआ है। तालाब के चारों ओर ईंट की सीढ़ियां बनी हुई हैं। हर तरफ चबूतरा बना हुआ है। चबूतरा गुंबदों से ढका हुआ है। लेकिन ढंग से रख रखाव नहीं होने से ये गुंबद ढह रहे हैं। इसके दक्षिण यहाँ के पीर का मक़बरा है। यह ईटों की दीवार से घिरा हुआ है। अंदर में एक मस्जिद है। फकीरों के ठहरने के लिए मठ भी बने हुए हैं। पीर के पोते ने उनके सम्मान में यहाँ पर एक शानदार मकबरे का निर्माण करवाया है।'

इस मकबरे की तारीफ करते हुए बुकानन लिखता है,' अपने सर्वेक्षण के दौरान मैंने इतनी खूबसूरत ईमारत अब तक नहीं देखी थी। आमतौर पर जिस तरह से मुसलमानों के मकबरे बनाये जाते हैं, यह भी बना हुआ है। चुनार से लाये गए बलुआ लाल पत्थरों से इसे बनाया गया है। यह इंडो -इस्लामिक वास्तुशिल्प का बेहतरीन नमूना है।'

बुकानन ने विस्तार से इसके वास्तुशिल्प का वर्णन किया है। लेकिन इसके साथ ही उसने  मकबरे के आस पास जो दृश्य देखा, उससे वह मर्माहत हो गया। उसने  क्षोभ के साथ लिखा है,' मकबरे के अंदर फकीरों को  खाना बनाने की छूट मिली हुई थी। ईटों को अंगीठी बना कर उस पर वे मिटटी के बर्तन में खाना पका रहे थे। अंगीठी से निकलता धुआं मकबरे की खूबसूरत दीवारों पर अपनी छाप छोड़ रहा था। कोने में बने एक कक्ष को एक जंगली सा दिखने वाले फ़क़ीर ने अपना ठिकाना बना रखा था। उसने खिड़कियों को मिटटी के बने बर्तनों से ढँक दिया था। दीवार में बनी खूबसूरत जालियों को उसने गोबर के उपलों से बंद कर दिया था। अंदर में बैठ कर वह आग जला कर अपने हाथ सेंक रहा था। यह सब देखना असहनीय था।'

मकबरे की दुर्गति से व्यथित हो वह लिखता है,' मकबरे के रख-रखाव पर पीर के वंशज खर्च करना नहीं चाहते हैं। जबकि उनके पास 6000 बीघा जमीन का मालिकाना हक़ है। इसके लिए उन्हें कोई मालगुजारी भी नहीं देनी होती है और जमीन भी बहुत ही उपजाऊ है। लोग बताते हैं कि उससे हुई पूरी आमदनी  निठ्ठले, घिनौने, आवारा, फकीरों पर खर्च की जाती है।'

बुकानन को मनेर आये हुए करीब दो सौ बरस हो गए। मनेर के मकबरे में कोई फर्क आया है क्या ?

पटना कभी कपड़ों का बहुत बड़ा उत्पादन केंद्र था

पटना सिटी के इलाकों में घूमते हुए आज यह यकीन कर पाना मुश्किल होगा कि कभी यह इलाका कपड़ों का बहुत बड़ा उत्पादन केंद्र और बाजार था, जहां से दूर देशों में कपड़ों का निर्यात किया जाता था।

1790 की एक रिपोर्ट के अनुसार यहां 11,000 दुकानें थीं जिनमें 153 दुकानें धुनियों की थी जो रजाई के लिए रुई तैयार करते थे। 50 दुकानों में  कपड़ों पर छापा का काम होता था। इसके अतिरिक्त 7 दुकानों में रुई बेचा जाता था। 124 दुकान बजाजों के थे, जो कपड़े बेचा करते थे। 71 कालीन के कारखाने थे जहां दिन-रात कालीन तैयार किये जाते थे।
इसके बीस वर्षों के बाद जब बुकानन इस इलाके में सर्वेक्षण का काम करने आया तो उसने यहां कपड़ों के कई कारखाने देखे जहां उम्दा किस्म के कपड़े तैयार किये जा रहे थे। उस वक्त ब्रिटेन से आयातित कपड़ों का यहां कोई नामोनिशान नहीं था।

बुकानन की रिपोर्ट के अध्ययन से यह पता चलता है कि पटना जिला में बुनकरों के 175 गांव और मोहल्ले थे जहां के निवासी उत्पादन के काम में लगे हुए थे। यद्यपि इसके दस वर्षों के बाद ही यहां ब्रिटेन से आयातित कपड़े बिकने लगे थे क्योंकि उस पर कोई टैक्स न लगने की वजह से वे बेहद सस्ते होते थे।

1830 आते-आते ब्रिटेन से प्रचुर मात्रा में कपड़ों का आयात किया जाने लगा। अगले तीस वर्षों में यानि 1860 तक पटनावासियों की निर्भरता पूरी तरह ब्रिटिश कपड़ों पर हो गयी। एक आंकड़े के अनुसार जितना कपड़ों का उत्पादन यहां के कारखाने कर रहे थे उससे चार गुना ज्यादा ब्रिटेन से आयातित कपड़ा यहां के बाजार में भर दिया गया। टैक्स न लगने की वजह से ये बेहद सस्ते थे इसलिए स्थानीय निवासी इन्हें खरीदने लगे।

 यह यहां के हथकरघा उद्योग के लिए बड़ा आघात था। रही सही कसर कानपुर और मुम्बई के कारखानों में बने सस्ते कपड़ों ने पूरी कर दी। 1870 के आस पास इन कारखानों के कपड़ों से यहां के बाजार भर गए थे। मशीन में बने सस्ते धागों ने भी यहां के हथकरघा उद्योग को क्षति पहुंचाई। 

सिर्फ मोटिया कपड़े इस आक्रमण को झेल गए थे। यह अभी भी सस्ते और आयातित कपड़ों की तुलना में मजबूत होते थे। यह ग़रीबों का कपड़ा  था। वही इसके खरीदार होते थे। इसे स्वदेशी धागों और मशीन के बने धागों को मिला कर बनाया जाता था। 

आयातित कपड़ों का असर पटना के निकट बाढ़ के बुनकरों पर भी पड़ा। इनके द्वारा उत्पादित वस्त्र बख्तियारपुर, फतुहा और नवादा के बाजारों में बेचे जाते थे। इन बुनकरों को सूती तौलिया, सूती चादर और टेबल क्लॉथ बनाने में महारत हासिल था। ये इसे दानापुर में बेचते थे जहां से इन्हें कानपुर भेजा जाता था।      
हथकरघा उद्योग के पतन ने स्थानीय आबादी के एक बड़े हिस्से को नुकसान पहुँचाया। धुनिया, जो रुई साफ़ करते थे, सूत काटने वाले जिनमें महिलाएं होती थीं और बुनकर जो मुस्लिम जुलाहे और हिन्दू ततवा होते थे, सबों का रोजगार छिन गया था।  

बुकानन की रिपोर्ट के अनुसार पटना के 278 धुनियों, 23,400 सूत काटने वालों, 2,010 बुनकरों के घर और  2,692 कारखानों पर इसका असर पड़ा। इस तरह यहाँ का फलता फूलता उद्योग मेनचेस्टर  में बने कपड़ों और बाद में हिंदुस्तान के कारखानों के सस्ते कपड़ों से पूरी तरह नष्ट हो गया।