Recipe – No Cook Chana Sattu Barfi


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I had posted a few versions of chana sattu (roasted bengal gram flour) laddus earlier but didn’t post the barfi as the process is the same. Some friends wanted me to share it separately so here it is – the no cook high protein chana sattu barfi. The good thing with sattu is you don’t need to cook it again as its already roasted. You just use it as it is and that is why  these barfi can be made by even those who don’t usually cook or make Indian sweets.

Note – To make sattu simply fine grind the plain roasted Bengal Gram, either with or without skin. You can mix them too. That’s it. It is that simple. I have the method and the nutrition aspect of sattu discussed in an old post. Do look it up. 

You can also buy sattu from the market. Sometimes I buy organic sattu from Aadya or Just Organik, both sattus are fragrant and made from organically grown chana.

To make the Barfi take 1 cup of chana Sattu, 1 tablespoon of warm ghee (clarified butter), 1/4 tsp green cardamom and two tablespoons of fine shakkar or jaggery powder. Make sure to use jaggery or shakkar that’s not chemically treated. I’ve used Organic India’ powdered jaggery which is very good. 

Rub the ingredients together and mix well. There should be no lumps.

Grease a thali or tin lightly with ghee and spread rhe mixture evenly. Let it set for sometime. I keep for 15 minutes or so. Once set you can cut it in rectangular shape.

You can add powered almonds and chopped raisins too but I don’t always like add-on in the melt in the mouth barfi so keep it simple.

You can garnish with finely chopped dryfruit too. Like I did with almonds in some. 

Enjoy the high protein, nutritious, quick and easy Barfi at any time of the day. You can individually wrap them in butter paper as a lunchbox sweet or on the move energy sweet too. Best for small hungers when you are on the move. Ghee is good fat if used correctly and here we use minimal amount just to bind the mixture. 

Check out the other Sattu recipes on the blog too.

Recipe – Boozy Watermelon Granita


 

A juicy red watermelon at the counter made me realise that I never shared the recipe of this super delicious boozy Granita I made last year.  This frozen dessert is perfect treat in this searing heat, super refreshing and delicious.  Let’s say it’s a fancy version of your childhood favorite, the shaved ice with syrups. Barf ka gola.. kala khatta being my favorite. 🙂 

Making Granitas require no special skills, just a little patience, a fork and a deep dish like a loaf pan is all that’s needed. You can use cantaloupes, strawberries or any other fruit too but somehow watermelon is my favourite. Look at that color. Also, they are perfect to make granita with because they contain 92% water in the form of juice.

Go easy on Vodka or the Granita will become a slushy. I usually add it after first two scrapping. Never fails to give that robust flavor.

This one also has fresh ginger juice, crushed fresh mint leaves, lemon juice and zest, a touch of wild forest honey and Smirnoff. Go easy on Vodka or the Granita will become a slushy. I usually add it after first two scrapping. Never fails to give that robust flavor. You can use cantaloupes, strawberries or any other for this Granita and use Gin instead or Vodka if you prefer that.

Ingredients:

  • 1 small watermelon, peeled and deseeded
  • 130ml vodka
  • Zest and juice of 2 lemons
  • Honey as per the sweetness of fruit
  • Fresh crushed mint leaves
  • 2 tbsp fresh Ginger juice

Method :

Choose a ripe, juicy watermelon. Chop and take out the flesh in a bowl. Discard the seeds.

In a blender jar add chopped watermelon, mint, honey, ginger juice, lemon zest, lemon juice and half the vodka. Blend nicely till smooth. Do it in batches to get a even consistency. Remember that the frozen treats taste less sweet than unfrozen ones so add slightly more honey to the pureed fruit.

Transfer the puree into a large bowl then strain it through a seive into a deepd dish / cake tin or loaf tin. I used a 9″ loaf tin. Cover the baking tin with a cling wrap. Freeze it for 2-3 hours. 

Check to see if the ice crystals have started to begin. Take it out and drag a fork over the Granita to break the ice, scrape it from sides till you get to the less frozen parts,  cover and put it again in the freezer for 50 minutes. Do it a couple of times. During the second round add the remaining Vodka and mix well. You can use sugar, maple syrup or agave nectar for sweetening too. I like the taste if raw organic honey.

Repeat the process until the entire mixture is properly frozen and shaved. Store the Granita covered in plastic wrap till ready to use.

Scoop and serve garnished with muddled mint and chilled watermelon and lemon wedges.

 

 

 

 

 

Wayfaring Review : A Journey Beyond the Baggage of Pronouns In the tradition of Hafez, Rumi and Al Arabi – Djelloul Marbrook


I have been absent from blogging since long for various personal reasons. Once the issues are resolved I’ll try to be regular. Meanwhile please keep showing love on my personal Instagram page. That’s where all the action is right now. 

This is the pre launch book review of my second book Wayfaring.  The website on which it was published is not working and many of my readers missed this exceptional piece of writing. 

Djelloul Marbrook is a friend and editor-in-chief of The Arabesques Review Magazine where the review was first published.

I am sharing this with permission from the writer.

Originally from Algeria, Djelloul now lives in the USA. An exceptional poet, writer, he’s someone I look up to as a student learning the craft of writing. I feel very honoured that he took time out to read and write such a glorious review for a book very close to my heart.

 Here is the full review:

A Journey Beyond the Baggage of Pronouns,In the tradition of Hafez, Rumi and Al Arabi

(Wayfaring Tikuli, Leaky Boot Press, UK, 134pp, $12.70)

You is the crucial word in this riverine collection of poems. In their often apostrophic poise they recall Louis Malle’s Phantom India (https://en.wikipedia.org/wiki/Phantom_India), the 1969 film that memorably traces the bloodstream of the subcontinent.

When a poet says the I word once too often poems become forests of girders, obstructing our vision. But the poet Tikuli uses the word to stir the elements of nostalgia, melancholy and fragility until all are ennobled. That is the role of the word in her alchemical project. 

Those three elements in the wrong hands smudge the past, blur it, but in the right hands, in Tikuli’s hands, Wayfaring (https://www.amazon.com/Wayfaring-Tikuli/dp/1909849545) becomes a singular act of recollection, reminding us that the unrecollected life is a job left undone, a mission unaccomplished, a task reneged. 

I see him, I see him

standing there, a body trapped in soul, 

always watching

the memories and the rubble of our home….

the poet says at the beginning of “Ghosts of War.” The I is not about her, it’s about activating an elixir, about taking us to a bombed, ruined mosque, to a ghost.  

Tikuli’s use of the pronoun you, the second person, is Sufic when it least seems so. The You of this device is the Sufi dervish’s Beloved. A man or a woman or a child or some other living thing may stand in for the Beloved, but the Beloved, who may be addressed erotically or casually or conversationally, is always that “cloud of unknowing,” that divine idea into which eventually we disappear.

The love poem of the dervish may pass society’s inspection as a tale or an ode or an elegy or a sensual adventure, but at heart it’s always a prayer, a participation in a holy, a celestial project. 

Tikuli is a skilled plein air painter; her palette of words is spare, meticulously chosen and applied in a variety of metrical patterns that, while not avant-garde, are modernist and reliable. The reader is never required to study her metrics; her focus is on the act of recollection and its requisite imperative. She has stories to tell, portraits to paint, ghosts to address, and issues to redress.

The impulse to call Wayfaring a stately transit from irregular ode to free-form ballade is checked by Tikuli’s eschewal of standard metric schemes and rhyme, and to claim that Wayfaring is nonetheless just such a transit, as I do, opens the door to a brief discussion of rhyme in modern poetry. 

End-rhyme bears with it, unlike internal rhyme, a kind of closure, and that closure is not in concert with the rush of cyber-age information and the inquiries that rush requires. End-rhyme, unless it’s handled with extraordinary subtlety, the kind Sylvia Townsend Warner and William Butler Yeats possessed, tends to trip up and shut down inquiry. That’s why Tikuli and other modernists so often dispense with it, preferring assonance and other devices. But that makes modern poetry difficult to characterize without a new poetics. 

In singing of exile, loss, remembrance, grief, journey, Tikuli often uses the pronoun you as Sufi and other mystic poets used thou, to address, to praise, to love, to mourn, but, above all, to open the door to what can be recollected, what can be salvaged, learned, what can be turned into light in the same way a solar lantern collects sunlight all day to illuminate night. Such a lantern must be placed, as these poems are, in a certain order to create a path. That’s why at the very end of Wayfaring the poet says:

….until the sun explodes in my room

separating the night from dark

naked, I wait somewhere between

a lighter shade of white

and a darker shade of black

Tikuli is one of poetry’s antidotes to the fatal, calamitous insistence on being right that besets so many societies. That insistence turns a blind eye and a blank mind to the distinctions she makes in this passage, and in so doing it menaces us. Tikuli offers the eternal aspiration of the dervish to make something in praise of the holy whole to which we belong.

One of Wayfaring‘s triumphs is to give us a collection that, like prayer beads, progresses not only to a way of responding to what befalls but a way of enhancing our observation of what we encounter. Wayfaring‘s strung poems integrate peripheral with head-on vision: the sidelong glance is not lost to central vision, and for that reason in her work we see through much better than human eyes, sometimes the way a circling hawk sees the inhabitants of a field or wood. But the poems don’t merely report, they imagine the songs of people and place. They move like a pavane from the forests of I to the seas of you to the heavens of they, no small feat for any poet. 

Consider the last five lines of her poem, Hazrat Nizamuddin Auliya Dargah (https://en.wikipedia.org/wiki/Nizamuddin_Auliya):

Two lovers completing each other

like reunited hemispheres.

It is this cosmos wherein exists

the inexpressible, visible only

to those with eyes which can see.

It’s the poet’s ambition to express the inexpressible. But to do that, ego must be divested. That’s at the heart of Sufism. It’s what the Sufi saint of the poem understood so indelibly. It’s what Hafez, Khayyam and Ibn al Arabi, among many others, understood. Finally, beyond the I, you and they is the holy of holies into which the wayfarer must disappear. None of the pronouns suffice, nor do our names and our possessions. 

Addressing the Beloved in poetry is rather like alchemy. To win the patronage of rulers, those coveters of wealth, the alchemists said they intended to transmute base metals into gold. But their real purpose, the best of them, was to ennoble the human soul by finding the elixirs that would ennoble the soul’s baser elements. That’s what is happening when poets like Khayyam and Hafez and Tikuli address you. This you is an elixir.

We wayfare to become the verb, to absolve ourselves of the profane pronouns and the nouns. Wayfaring is testament to this recognition.

                                                                         —Djelloul Marbrook

Delhi Monuments – Lal Gumbad


 

Wandering around Delhi you may come across many pieces of history now forgotten and lost to time. One such lesser visited monument is the Tomb of Sufi saint Sheikh Kabiruddin Auliya known as Lal Gumbad. Oblivious to the hustle bustle around it the elegant building stands in a gated walled complex in utter neglect. Though it is in comparatively good state the other structures that lay scattered in the ground around it are a repository of decay.

Sheikh Kabiruddin Auliya is believed to belong to the Chishti Silsila. The Sufi saints were known for their piety and simplicity and never had such grand tombs of marble and sandstone built over their graves. Mostly they were modest enclosures, usually open from the sides. It is believed that Kabiruddin was a disciple of Sufi saint Roshan Chirag Delhi, who was the spiritual successor of the world-renowned Nizamuddin Auliya.

Most of the saints of Chisti order were buried in open grounds and later chatris wee built over the graves. Many other graves, wall mosques would come up around the saint’s grave over a period of time. This particular tomb is not just grand as a structure it has ornate walls, pierced jaali screens, and, according to the local lore, gold filial atop the dome which is thought have been stolen centuries ago. And yet, the plaque inside the tomb ascribes it to the saint. There are many theories about the structure and one such says that it was built by Firoz Tughlaq for himself but later given for the Sufi saint’s burial.

Situated in Sadhna Enclave, Malviya Nagar, this sandstone structure of Tughlaq period is known as Lal Gumbad though it doesn’t have a red dome. How it acquired the name is a mystery. It does have sloping red sandstone walls. The somewhat pointed and not so round dome used to be white but has blackened over the period of time.

If you look at the structure it resembles a mini fort rather than a saint’s Dargah. In appearance it reminds one of Ghiyasuddin Tughlaq’s tomb, albeit this tall square structure is a poor replica of it. Built in 1397, it is a typical example of Tughlaq architecture. The structure stands on a raised plinth and has sturdy sloping walls covered with strips of dressed red sandstone that turn slightly inwards as they go up. The Tughlaq tombs had walls with thick base making it easy for the single dome to sit properly atop the squat building. The plastered conical dome springing from the low octagonal drum of this tomb is strikingly different than other Tughlaq era tombs.

On the North and South side walls one can see mihrabs with ornate sandstone jaalis. The west wall exterior is plain from outside but has a deeply recessed arch inside. One can see lotus bud motifs in marble on the arches that have false decorative pillars below them. The Eastern archway is elaborately carved and as one enters the damp, dark funerary chamber one comes across nine graves. The grave of a male in the center is a somber one. One can see a lot of lotus bud ornamentation in marble inside, very typical of Khilji period in my opinion, though I am not an expert. The great wooden door is kept locked mostly to prevent worshiping I guess.

The tomb is also known as Rakabala gumbad due to the story that rakhabs were fixed on the western slopping wall to steal the gold finial.

The exquisite domed gateway is now gone and so have the enclosure walls. The whole place, except the main tomb, looks more ruinous than what it was even say 10 months back. Not that the tomb of Hazrat Shaikh Kabir-ud-din Aulia is in perfect condition. The massive wooden door is charred from below due to the burning of incense sticks, earthen lamps etc. Overgrowth has taken over many of the dilapidated structures there. Encroachments and sheer neglect has caused the eastern gateway to become dilapidated. Its floor has eroded and is in dire need of repair.

The other domed structure in the complex is filthy and smells disgusting. I think it also acts as a store. I couldn’t approach the wall next to it as there was garbage of all sorts, broken glass and an overgrowth of low thorny bushes. Why aren’t the concerned authorities maintaining this place? Going by the photographs of last 5-6 years things have just deteriorated. The way things are going we will lose most of the lesser known monuments due to sheer neglect and apathy. I think all these gated monuments should be ticketed. It will definitely improve the situation.

There are several scattered graves and remains of at least five wall mosques in the enclosed area around the tomb. All of these belong to Lodi period. The most prominent one is located to the west of Lal Gumbad. Here, there are recessed arches on the western prayer wall and two short walls returning on the North and South too contain arches. One can see some fading incised plasterwork depicting floral motifs as well as geometrical shapes on the main qanati (wall) masjid.

There is a platform in front of the wall with a single grave. The corners of the western wall are strengthened by circular bastions. Two other mosques have three mihrabs and a third one has a single mihrab.

Everything is surrounded by weeds and grass. It is remarkable how these structures have withstood the ravages of time. Nothing much is known about who is buried in these graves. Perhaps people who were close to the saint.

Many locals were lounging around the grassy patches that cover some of the space in the complex. No tourists were there and according to the local boys hardly any visit the place as it is infested with bad elements mainly gamblers and addicts. I could feel the piercing gaze of young men who were killing time there.

The 620-year-old tomb, one of the finest pre-mughal structures and the ruins around it are dying a slow death. There is a dire need to preserve Delhi’s built heritage.

As I walked around the unkempt but manicured grounds that once formed the fourth city of Delhi- Jahanpanah, founded by Muhammad Bin Tuglaq, I thought about the times we live in and the ruinous state of affairs that have marred the social fabric of our country once known to be secular and tolerant. In retrospective these abandoned ruins seemed calming to the senses.

Unfortunately I missed out photographing some important aspects of the place. I will update the post when I click a few more pictures.

Meanwhile do take time out and visit these exquisite yet unknown remnants of our cultural and architectural heritage.

Delhi Monuments – Ambling through Green Park – Barakhamba And Biran Ka Gumbad


During the fifteenth century Delhi had such a large number of tombs and other monuments that it became difficult to keep up with them . The area around Hauz Khas, Green Park and its surrounding localities are dotted with such beautiful but forgotten buildings. Only a handful have found a place in the tourist map rest are just scattered around inconsequential and insignificant to the history and to city folks who pass by them without even giving a glance. Though in recent years ASI has given many of them a facelift but still they don’t attract the attention they should. Heritage  for us has become a liability rather than a matter of pride. Thankfully these particular set of  structures are at least free of encroachment and it better condition many of their counterparts.

Barahkhamba 

Close to the two picturesque gumtis stands a massive yet magnificent Barah Khamba or twelve pillared domed structure though, unlike the three other structures in the city with the same name, this one doesn’t seem to have the twelve pillars or columns. The name is misleading but it is clearly a Lodi period tomb with all the characteristics of that architectural style. Like most of the tombs around it nothing much is known about who is buried here or who commissioned or built it.

The structure stands in the middle of a small well maintained garden patch with two minor yet interesting structures near it. The impressive domed square building is supported by pillars of different girth and the corner ones seem like solid buttressed walls though from inside one can count the twelve columns with walled spaces between a few. The building had cenotaph inside which has long since fallen to the ravages of time but there are still numerous graves in the compound shaded with heavy tree branches. All four sides of the building have three arched entrances. These arched entrances are embedded in a wider arched depression giving the structure a massive look. Set on a mound the structure stands on a 2 feet six inches plinth with a hemispherical dome on top. One can imagine the barren walls of its interior with engravings of some other embellishments.

Two very interesting structures stand close to the structure – a single worn out bastion which seems as if it may have been part of some other structure but looks totally out of place now and a square structure with an alcove / niche that may have been used to light an earthen lamp as the stories say but I feel it may have probably held a horizontal beam or something. Perhaps there were one each at all the four corners. We will never know the mysteries these orphaned structures hold. There is a dried up well too in the compound.

Overall the place carries an aura of mystery and desolation. Not many people spot it in one glace through the thick trees and high walls and grills and those who do somehow prefer the serene and lush green patches of the other smaller structures opposite the road. I didn’t see any caretaker or guard but a roadside vendor said he is usually around somewhere but doesn’t know anything about the building and in any case not many are curious to know what lies beneath in the graves. One day everything will turn into a ruin. Even these big sprawling houses will crumble perhaps even before the ancient structures he said and glanced around the changing landscape of the city with sad eyes.  I bought a dona of chaat from him and walked away reflecting on his wise words.

Biran Ka Gumbad 

Right opposite the main Green Park market is another nondescript tomb that hardly anyone visits. Earlier there was a small entrance from the Agrasen Park but now one has to go to the narrow lane to access the monument. Sandwiched between a row of houses and a park it is totally disconnected from public view and easy to miss. The patch of greenery that surrounds it is smaller than previous ones I visited. Perhaps the reason to have a separate entrance was to stop encroachment and that seems to have worked.

As one ambles around these lanes of old kharera village one can see why Delhi became a necropolis in times of Sayyids and Lodis. The number of nondescript tombs and graves is ridiculously high. Some of these are octagonal or square and others like a pavilion or chattri.

Biran ka Gumbad means ‘Brother’s Dome’, perhaps an indication towards the nearby Dadi -Poti tombs but all these names are locally given. No authentic historical documentation is there about the identity of these various tombs. They all remain uninscribed and unclaimed. The rubble built design is similar to Dadi ka Gumbad except for the absence of arched openings flanking the and the archways embedded in the sides and the mihrab.

It is a massive 13 meters x 13 meters structure built in typical Lodi style. As you climb the seven steps your thoughts wander to the seven ancient cities of Delhi and their remnants scattered all around the present metropolis. The Afghans ruled over Delhi from 1451 to 1526 as Lodhi Dynasty. 500 plus years of ancient footprints and these tombs, a testimonial to that time. 

 

Inside the high ceiling single chamber there is a ruined remains of a cenotaph.  At one time perhaps it had beautiful incised and plastered medallions and remnants of painted decorations but most is lost now. The exterior is decorated with arched niches arranged in a row giving it an impression of double storeyed building.

There is a remaining strip of ornamentation here and there along the exterior walls.

In the compound there is a dried up well which is about 10-15 feet deep.

There is nothing spectacular about the structure and yet it draws your attention to come and explore, perhaps run your fingers along the stones and feel the heartbeats of a million stories. Gaze at it for sometime and you automatically feel drawn to it.

Most of the time the place is deserted. The caretaker said not many people visit it and those who do hardly stop for more than ten minutes. At night the tomb is lit up like all the others in the vicinity but I doubt if anyone gives it even a glance.

It is sad and I am reminded of these lines by William Henry Davis,

” What is this life if, full of care,
We have no time to stand and stare.”

 

Do go visit these forgotten relics of the time by. I have covered most of the monuments in this area. Today there is another adventure awaiting.

Stay tuned for it to reveal itself.

Delhi Monuments – Ambling through Green Park – Choti Gumti And Sakri Gumti


The area around old kharera village (now Hauz Khas) is dotted with many big and small monuments. Camouflaged by large trees and posh houses these structures stand as a silent testimonial to time gone by. Usually set in a small garden plot they offer a place to to the locals to step out of their hurried routines and pause a little.

It is interesting that during the 14th-15th century reign of Sayyid and Lodi’s the city construction was limited to tombs and mosques. They lacked resources and Sikander Lodi shifted his capital to Agra thus further restricting the building of new structures in Delhi. So, the construction of grand forts, palaces, cities that the early Sultanate rulers did practically came to a halt during early-14th to mid-17th centuries except a few exceptions and there. Interestingly the Sayyid, Lodhi and Mughal rulers and nobles chose Delhi as a resting place for their loved ones so slowly in that period Delhi turned into a sort of necropolis.

It is strange that most of these mosques and tombs, except a few large ones, remain unsung even after their recent beautification. The illumination of these structures by ASI hasn’t helped much in promotion as people barely pause to look at them.

Apart from the tombs and mosques there are a few other small structures like Sakri Gumti that could have been part of a larger complex of buildings or perhaps a gateway albeit a strange one.

I explored the cluster of Lodi era structures – Choti Gumti (Small Domed Building), Sakri Gumti (Narrow Domed Building), Barakhamba (Twelve-pillared Building) and Biran ka Gumbad during my wanderings around the Hauz Khas / Green Park area, part of the city of Siri, the third capital of Delhi Sultanate.

All these structures lie in close proximity of each other and to the Hauz Khas group of monuments. The two Gumtis are separated from each other by a road that ambles into the posh Hauz Khas Enclave, Green Park and leads to HKV.

Choti Gumti 

This petite Lodi period (AD 1451-1526) structure stands gracefully in a small garden patch.  The cubical little mausoleum is perfectly proportioned and has small decorative alcoves.  It measures 15 square inches and is built with rubble masonry and then plastered like all the other structures of this period. There are numerous pointed arches of the embossed rectangular facades on all the sides.  A semicircular dome crowned with a blooming lotus finial adorns the structure.

The kanguras (battlement-like ornamentation) and the hints of tiny minarets emerging from the corners of the octagonal drum (base) of the dome make it a pretty little building.

The Choti Gumti is a tomb and a single grave of an unknown person lies in its forgotten dark interiors that are closed to the public eyes. There is a narrow entrance with steps leading to the upper level where one can go around the dome and get a bird’s eye view of the area but that too was inaccessible. I came to know that there is a painted medallion on the ceiling. I will try and get access in a few days. 🙂

I sat to rest on an empty bench watching the men enjoying their siesta and soaking the early winter sun. A group of young girls chatted animatedly as the walked around inspecting the structure. The pigeons sat on the dome obliviously to life around them.  A young lad served tea to two workers eating their lunch on the grassy patch. I had to cover a few more places and the sight of food was making me hungry so I decided to leave. The barricaded garden has a shop on a far side corner and a makeshift entrance made for the convenience of the shopkeeper I guess. I took that exit and crossed the road to Sakri Gumti and Barah Khamba opposite its gate.

Sakri Gumti  

Set in the center of a small well maintained barricaded garden stands a mysterious narrow structure built of rubble masonry. Sakri Gumti is another lesser known Lodi era monument.

As there is no grave inside we know it is not a tomb. In fact there are entrance arches on all its four faces making it look more like a gateway but a gateway to what we don’t know. Also, there is a half broken rubble wall running along its eastern side, originally it would have perhaps blocked one of its entrances but as I looked closely there seemed one side of a smaller arch entrance in that too right in front of the entrance of the main structure. The wall is broken from that point. One can see a small window too.  Who built the wall and why we do not know. The ornamented arches and windows on the exterior wall give it a semblance of two-storyed building.  The short dome rests on a relatively high drum. A row of kanguras similar to ones around the roof’s vertical expanse surround the dome. I didn’t step inside but will go another time and update on how it looks. On the exterior wall there are some roughly carved patterns embossed here and there.  Otherwise there is no other ornamentation.

Even though the structure is very intriguing not many people visit it. I just saw one gentleman lunching quietly on a nearby bench under a tree shade. There was no guard or caretaker in sight.

These little gems are an integral part of the urban layout of Delhi. They stand there tenaciously holding on to life as the city around them evolves at maddening speed.

Stop by sometime to pause and reflect on this heritage of Delhi that mostly doesn’t get its due.

 

  

Delhi Monuments – Ambling Through Hauz Khas – Darwesh Shah Mosque


At the outskirts of the ancient city of Siri stands a lesser known Lodi era wall mosque dedicated to Darwesh Shah whose identity is unknown. As we know, Darwesh Shah is a honorific, not a name. The DDA park in which the mosque is located is technically in Gautam Nagar next to Gulmohar Park but I am including it in my Hauz Khas trail. The Muhammadi Wali Masjid, the mosque of Darwesh Shah, the Nili Masjid, and the Idgah, all located in close proximity to each other, testify to the fact that the vicinity of Siri was an important location for religious and other significant structures.

The Lodi dynasty contributed immensely to the architectural heritage of the city. They were the last rulers of the Delhi Sultanate. A large number of tombs, mosques, gardens were commissioned during there reign and are splendid examples of late Sultanate architecture. Most of the structures that find mention in Delhi’s built heritage are in Lodhi Garden, the rest are scattered across the city and mostly remain unknown and unsung.

We have no information a  to who built this particular mosque but the legends has it that six centuries ago, the Sufi saint once asked a group of six boys if they would buy the kingdom of Delhi for 2,000 tankas (currency used in the 12th century by Turkish Sultans). One of the boys, Bahlol Lodhi, agreed and was blessed by the Holy man. His friends mocked him for being “a fool” but Bahlol said it was not the case, that if the saint’s words were true, he would gain a kingdom, and if they weren’t, he did the right thing by giving the saint what he desired.

We can see how true his words were as Bahlol Lodi  became the founder of the dynasty that bore his name and ruled over Delhi Sultanate for 75 years from 1451 to 1526.

On his death in 1489 A.D., he had expanded the Sultanate to nearly twice of what it was in the beginning of his reign. However, there is no authentication of this story about the interaction between Bahlol and Darwesh Shah. It is believed that perhaps Bahlol commissioned this mosque to honor Darwesh Shah but there is no documentation of that. 

One can imagine the pastoral setting of the mosque as one stands there watching the play of shadows and light in the the current green expanse around it. The spread out canopies of old Keekar trees, the grassy patches, the walking paths, the gazebo and the quiet nestled in the stone walls of this ancient mosque.

For a long time this unimposing mosque lay in shambles since 1920, overgrown with bushes, shrubs and hidden by huge leafy trees. Neglect had resulted in the collapse of one portion of the mosque but INTACH gave it a commendable face lift in 2009 before the Commonwealth Games making it more accessible to public and restoring the remaining parts. The mosque got saved or else it would have got completely destroyed. The limestone plaster developed a patina over the period of time and now most of the mosque has got back its antiquarian look.

Though the entry to the upper platform is closed to public but one can walk around the structure to access its beauty. In a way it is good as it protects the remaining building and prevents encroachment and offering of prayers thus leading to further damage.

Made with rubble masonry this is a wall mosque, with a rectangular enclosure for graves that stands on a high platform.There are eleven of them but no one knows who is buried in these graves. There is a doorway and stairs at the north-east corner that lead to this raised platform. The prayer wall on the west and east side has a set of seven recessed mihrab arches of which the central one is emphasized with raised battlements. The North and South sides have five arches. The center of the west side wall that contains the mihrab is slightly projected from outside and is flanked by two tall minarets till the parapet level. The description is based on Maulvi Zafar Hasan’s observation.

One can observe different facets of this mosque as the shadows play on its walls or take a stroll in the park taking in the sights and sounds.

Sometimes a peacock will surprise you or you may spot some interesting bird keeping an eye on the joggers, workout enthusiasts sweating it out or the folks lazing around on the grassy patches or the benches.

I spotted an Oriental Magpie Robin perched near the mosque and a few other birds watching the sun go down. Phone photos don’t do justice to birds so I usually refrain from clicking. Some things need to be enjoyed with the naked eyes too.

I sat beneath the shade of a tree thinking about and the Darwesh, the reign of the Lodis, the unique stories of the bygone era that fill the city I love and the rapidly emerging patterns of the urban expanse choking the remaining few breaths of the ancient built heritage of Delhi. As I see the apathy of the other forgotten and endangered big and small monuments I feel glad to see this one at least breathing easy.

As the autumnal sun reached its peak I bid adieu to the Darwesh and made my way to some of the other tombs in the near vicinity. I will be covering a whole bunch of these ancient structures dotting this area.

Art, Flowers And Conversations


It’s been an year since Duets got published. I am working on the Hindi poetry book but there are some other priorities that have kept me busy. The search for home continues as I map the autumnal landscape of my city. finding solace under the vibrant Silk Floss trees in bloom or overriding the noxious Delhi air with the heady fragrance of Saptaparni in bloom.

Delhi landscape never ceases to surprise you with its abundant beauty despite of everything that’s wrong with the city.

Apart from the glorious blooms the recent illumination of the ancient monuments of Delhi by ASI is breathtaking. I especially love the magnificent Safdarjung Tomb but the Qutub Complex looks stunning too. Will do another post on this initiative later but sharing a few pictures.

Meanwhile as I do my art and take in the beauty of the city I love some of my work got published and  new much awaited review of Wayfaring came in.

Rhiti Chatterjee Bose, an excellent artist/writer and an old friend of mine interviewed me sometime back about my art journey.
Today it got published in Prākṛti, the page for visual arts on the website Samskriya which has different branches for social work, languages, Indian history. Feeling deeply humbled by this gesture. I owe it to all the artists I’m learning from including my son Aditya.
Here is something about who we are and our initiative, your support means a lot to us. Please share our page and help us bring various art forms and artists to the forefront. Do read the full interview on the website.

The program Prākṛti is aimed at finding, documenting and promoting all such fine arts and artists who have been carrying a huge knowledge in their memory through generations, and also, presenting in a way which can be perceived properly in today’s global world while keeping its originality intact and making the young minds aware of their proud legacy. In addition to this, the program is also about exercising the fusion/adaptation/localization of other forms of all fine arts developed in the other regions of the world.

Here is the Link to my interview and an excerpt :

“What influence has art had in your life?

For a long time, I’ve been struggling with issues, mentally, physically and emotionally. Art keeps me sane in hard times and at others, it helps me channelize my energy both negative and positive. I’m not saying it has cured me of everything but it certainly has helped me in focusing on the right stuff. Sometimes one doesn’t wish to write. Words have their own burden but colours are fluid. It’s a different sort of high, calm and serene.”
Another art related article found home in a website that posts views about Mental Health, society and  culture. Here I write about how art is helping me to cope with various issues I face in my daily struggle to live.
Here is the link – How I Use Art To Stay Sane  
Excerpt :
“Painting by hand lets me express all my anger, pain and anxiety and not feel frowned upon. My everyday painting ritual has helped me focus and gather loose ends to some extent. I won’t say it is the mother of all cures but it certainly is a grounding process for me. Creativity does wonderful positive things to the mind, body, and soul if you let it.”
You can follow my Instagram Page for more work.
In the poetry world things are progressing at their own pace. I was delighted to find an excellent review  of my book Wayfaring   in Jaggery – A DesiLit Arts and Literature Journal. 
Shikhandin  is an exceptional poet fiction writer
Do get your copy if you haven’t read it. The book is available with all online book vendors worldwide
Here is the link to the review – Wayfaring By Tikuli  
And an Excerpt :
“The poet as a wanderer. This is what comes to mind when reading “Wayfaring” by Tikuli. Not as a wandering minstrel. Rather as one who collects snapshots of experiences and sketches of mental spaces, through seemingly aimless wanderings. Yet nowhere does Tikuli come across as footloose and fancy-free. Rather there is an oblique brooding quality to the poems.  The have history and landscapes running down their spines. And then there is protest, subtle, unobtrusive, but it is there. “
I will be continuing my series on Delhi Monuments now. Do look out for new posts.
Meanwhile, enjoy some fruits of love that my consistent effort brought. This is my first crop of bell peppers. Most are ready for harvesting. I am awaiting for other produce to show up.

Delhi Monuments – Ambling Through Hauz Khas – Firoz Shah Tughlaq Tomb Complex – 1


I am rather late in writing about this. Health and other anxiety related issues have kept me away from most work but today let me share the first part of the Hauz Khas monument complex. The next post will cover the Madarsa and some other aspects related to this marvelous site and surrounding areas.

Hauz Khas complex has been one of my favorite places to go to when in search of solitude irrespective of the fact that it is always crowded with couples and people looking for a place to rest/eat or just linger around. In a good move ASI has put an entry ticket since April and I see the effectiveness of it. So, a few days back I went to explore the ruins and sit under the grand old tamarind tree.

This post is just my personal account of what holds me captive and pulls me to this place and not really a historical or architectural commentary. The most interesting aspect of these ruins and the Hauz e alai near by is the influence of three great rulers who ruled over Delhi.  Allauddin Khilji’s construction of the second city of Delhi, the city of Siri (1296–1316} and Hauz e alai the grand reservoir that provided for the water requirements of the city. Once Khilji died and his empire faded away the reservoir got neglected and perished.

Then as a mark of respect another great ruler of Delhi Firoz/Firuz Shah Tughlaq restored and got the silted Hauz cleaned during his reign (1351–88). He also commissioned a magnificent double storied Madrasa-i-Feroz Shahi (seminary), a mosque, few pavilions, chatris overlooking the restored lake. It is among these he built his own humble tomb where the great Sultan rests now. 

Later in the year 1507-08 yet another great sultan of Delhi Sikander Lodhi added the striking embellishments inside the tomb.

So when I walk through the 13th century ruins the stones whisper stories of many eras of sultans and their immense love for art, architecture and intellect. Firoz Shah Tughlaq was the third ruler of Tughlaq dynasty that ruled over Delhi. A man with a mission he loved to build things be it fortresses, canals, schools, cities, mosques, hunting lodges, sarais (rest houses), hospitals etc. He also commissioned repairs of old buildings, mosques etc. including Qutub Minar to which he added two floors after it was damaged by an earthquake.

Coming back to the Hauz Khas Complex one enters through a modest stone gateway into a the landscape of ruins set in the midst of manicured grassy patches. It is a world very different from the so called urban village you leave behind on the other side. Immediately a calm descends on you as you glance around at the ancient structures, the domed tomb of Tughlaq soaring above the rest of the buildings, old wise trees with birds merrily chirping in their lush branches and a little further and beyond the lake with its deep green waters. These are the secret keepers and the story tellers of ancient Delhi. 

Each ruler from the Tughlaq dynasty added their own architectural creativity to whatever they build. In Firoz Shah’s time these architectural achievements reached their zenith. The new architectural trend is visible in all the buildings erected during his reign.

The 5-6 pavilions with domes in different shapes (hexagonal, rectangular, octagonal) and sizes are the first thing you notice on entering the complex. Some of these structures were tombs and one can see a few graves. The roof and domes of these simplistic tombs is decorated with kanguras. You can see the small chatri in the foreground.

The pavilions and the ruins of the court yard are conjectured to have been used as part of the madrasa in the past. On the inside all the pavilion domes have lost the ornamentation but one can still see the exquisite foliated motifs on the drums and the kalsa motifs on  top of the domes. Most of the structures are falling apart and the bands of calligraphy are discontinuous or fading. I notices a few pigeons nestled in the holes inside.

The cylindrical pavilions don’t have any graves and perhaps they were part of a bigger structure as one can see stone beams projecting from the base of their dome drums.

I moved on from there to the hundred year old Tamarind tree which I will cover in next post. Next to the tree are Three domed colonnaded pavilions and the Mosque.

These interlinked pavilions make a T shape and again have broken bands of calligraphy inside the dome. The building is made of hard quartzite which is tough to carve. One can still see finials, kanguras and calligraphy in incised plaster in the plastered tombs. The long colonnaded halls stretch from north to south.

There are also signs of ornamentation of some sort which has vanished now leaving just dark holes and broken patches. The whole structure stands on a solid stone platform. It is amazing how these strong square pillars have supported the structure for last almost 650 plus years. Yet one sees the cracks that have developed over the period of time. Some restoration was done by ASI in 2012 I think. These structures were perhaps used as seminar rooms for the students of the Madarsa.

One can also see a ruined remain of a staircase with large windows and perhaps one can descend to the lower floor of the madarsa from there but I did not disturb the couple sitting there and moved on to the Mosque.

The small Mosque with overhanging jharokhas stands under an ancient Tamarind tree at the northern end of the Madarsa. The quibla wall of the mosque projects towards the water reservoir. If you see it from the lake side you can clearly see the five mehrabs.

The central mehrab with a domed chatri and open sides is like a pavilion and projects towards the reservoir. I have heard that the qibla wall has rich ornamentation but I couldn’t see it. Perhaps next time. The mosque was closed for public entry although the door was open. There’s a crumbling staircase next to it which leads down but I left it for another day of exploration.

I headed to the Tomb of Firoz Shah but then I spotted the two buildings flanking the original entrance not in use opposite Firoz Shah’s Tomb. One is closed to public and the other is ASI’s local office.  One of them seemed to be a guard house but not sure of the purpose of other one. 

The sun was getting to me now so I sat on some ruined steps and watched the common myna quench her thirst from the water pipe in the garden. A young girl sat reading on yet another set of steps shaded by the laburnum.

Firoz Shah’s Tomb looks very simple from outside. It is a square building with battered walls and an old surviving jali (stone lattice work) with calligraphic details and medallions above the entrance door that is set in a larger niche. During the reign of Firoz Shah the tombs were devoid of ornamentation and were very simple structures. Inexpensive material like rubble, lime and plaster were used for construction. Lack of skilled craftsmen and poor economic conditions were the prime reason for this. Constructed in 1388 AD Firoz Shah’s tomb is totally in line with the structures of Tughlaq era, made with quartzite rubble finished with plaster with slightly sloppy fortified walls and battlement ornamentation.

Situated at the pivot point of the two perpendicular wings of the madarsa it is the largest building now in the complex. It doesn’t have the defensive architecture pattern but has some simple ornamentation around the entrance. The walls are decorated with merlons on the two tiers. One above the cube and other above the octagonal square. The outer wall has a slight projection towards the center emphasizing the entrance door which depicts a blend of Indian and Islamic architecture.

The top of the tomb has a slightly pointed dome set on plastered squinches and corbelled beams making it an octagonal drum and then a sixteen sided drum before the actual dome.

There is a low platform in a courtyard on the southern side with horizontal and vertical stone railings and ledges similar to the ones found in Buddhist Viharas and stupas of that era. It is believed that that these were inspired from the Sanchi Stupa.

Somehow the tomb seems very impressive even in its plainness. Three steps lead inside to a beautiful interior with Firoz Shah’s grave in the center and the graves of his son and grandson to one side of it. The eight sided polygon roof is very different from the other Tughlaq era structures.

The squinch arches were a thing of past but are used in here. There is a band of calligraphy and a band of geometrical designs on which the dome rests. There are beautiful medallions of different shapes and sizes with Hadiths and Quranic inscriptions in narqsh characters. These medallions are arranged between two concentric stars and a large medallion in the center. It is believed that Sultan Sikander Lodhi who took up the repair work of many tombs commissioned these ornamentation during his reign (AD 1489-1517). They are typical of the architecture of his time. In Tughlaq’s buildings one doesn’t find such embellishments.

Next to the tomb there are two other domed entrances leading towards the madarsa. One was barred by iron door but  could see the steps leading down.

The structures are in dire need of restoration but I feel scared of the way current restorations are going on in Delhi. Ruins must look like ruins and all this whitewashing just spoils the original aura of the place. I sat on the stairs leading to nothingness and wondered how it must have looked when the place was in its prime glory.

The pillared halls, the crumbling walls, the musty dark corridors, the collapsed buildings, the  lake waters down below and the greenery around taking away all the worries and tiredness I felt. There is a certain energy that runs through the ruins stitching everything. Lean against a crumbling walls or just run your fingers gently over them and you’ll feel its presence.

The relationship of modern Delhi and its ancient architecture is complex and especially in this case you see how rapid unrestrained urbanization has marred the face of these ruins. The original spirit of Hauz Khas Village is long lost to the passages of time. As per my knowledge, Archaeological Survey of India (ASI) regulations prohibit construction of structures within 100 metres of protected monuments but here in the haphazardly expanding Hauz Khas ‘village’ no one seems to bother about any laws either MCD’s or the ASI’s. The sleepy green waters of the lake, the old wise trees and the ancient ruins watch the complete collapse of the cultural fabric as the metamorphosis continues to change the original landscape. The bubble is ready to explode any time soon. Meanwhile life continues to struggle to find breathing spaces between the ancient and the modern. In the end it is all about money and here there is no dearth of it.

We will cover the other areas of the complex in the next post. I am not keeping too well to explore right now but the truth is I am a nomad by and these ruins will pull me to their embrace sooner than I think. I am posting this with the current pictures I have but I will soon update with a few fresh ones. I realized that some photographs don’t do justice to the buildings or embellishments. I will upload rest of the photographs for this post on my Instagram account. Do visit.

Till then do go and enjoy the serenity that  surrounds this complex.

Recipe – Apricot |Khubani ka Sharbat


Summers are the best time to have these excellent sherbets or sharbats made from fresh fruits. Some are chopped, pulped and boiled with sugar then strained while some others are raw. I prefer them uncooked but then do they become ras or juice rather than sharbats? Perhaps, they do. I will share both the methods here though I did not cook the apricots here. In case I was using the dried ones then soaking and cooking to make a concentrate would be a good idea.

These gorgeous sweet and juicy apricots or khubani came via Farmer Uncle straight from the Singha Farms (orchards) in Kothgarh, District Shimla, Himachal Pradesh, India. The fruit is chemical residue free and one can feel the difference in taste between these and the ones I buy from local markets in Delhi. There are some more apricot recipes that you can check HERE. and HERE .

I over indulged myself  and while I was licking off the dripping juices I got reminded of the old old days when I was young and partied hard whenever I could. It reminded me of Qamar al-deen, an apricot nectar beverage from Middle East made with a specific variety of apricots, orange blossoms, and sugar. Or, I think it was called lavāshak Qamaruddin made from apricot fruit leather. The beverage in itself was heavenly but the cocktails made from it with Vodka/Gin/White or Spiced rum were killer.

This recipe is simple and brings out the flavor of the fruit. You can also turn it into a slushy or a sorbet.

Ingredients :

Fresh Apricots / Khoobani – 8-10 medium size

Lemon Zest – 1/4 teaspoon

Fresh Lemon juice – 3 -4 tablespoons

Jaggery powder / Sugar – As per taste ( depends on the sweetness of the fruit)

Rock Salt – 1/4 tsp

Water – about 3 cups

Fresh mint leaves – 3-4 muddled

Method 1:

Wash and pat dry the apricots. Pull them in half and remove the stones.

Chop them roughly and put them in a blender jar and blend.

Once the mixture is smooth and nicely blended strain it through a sieve in a pitcher. Rub the pulp with back of a spoon so that all the pulp san the tough fibers goes through the sieve.

Add a cup or two of water to dilute the concentrate and add lemon juice, lemon zest, salt and jaggery powder or boora cheeni/ sugar.

Mix it well then pour some of the sharbat in an ice cube tray and freeze.

Add fresh muddled mint leaves to the remaining sharbat and chill it.

Once the cubes are frozen, add them to the chilled sharbat and serve.

 

Method 2 – Soak the dry seedless apricots overnight and pulse the swollen fruit in the blender with a little water, lemon juice and sugar the next day to make a paste.

Strain it into a pitcher, add water and mix well. Serve chilled.

If you are in a hurry then you can soak the apricot leather or dried apricots in hot water for  3-4 hours or just boil them a little to soften them with sugar and water over stove top ( like a compote) then cool to blend. Add more water to dilute as per your liking.

You may add a little orange blossom water to it before serving. You may also add Gin / Vodka / Spiced or White Rum to make a cocktail.

You can use tamarind paste instead of lemon to make Imli Khubani ka sharbat.

To make the tamarind Apricot Sharbat you need :

Ingredients:

Dried apricots –  250 gms (soaked overnight & deseeded)

Imli ka gooda (Tamarind pulp deseeded) – 250 gm

Boora cheeni – 250 gm or as per taste

Water – 1 litre

Rock Salt –  1 tsp –

Method :

In a blender add dried soaked apricots & tamarind pulp. Blend well then strain with a sieve. Set it aside. In a heavy bottom pan add sugar and water, mix well and cook until sugar is dissolved. Now add the apricot pulp and mix well. Cook on medium low flame for 5 minutes then turn off the stove. Let the mixture cool down.

Add required concentrate to a pitcher, add salt and crushed mint leaves, add more water if needed and adjust sweetness if required. Place it in the fridge to chill.

In a serving glass, pour the sharbat, ice cubes. Stir well and serve.

Always use fully ripe juicy apricots. Ripe apricots are soft to touch. They should be firm, and orange gold in color.