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India Today
5 days ago
- Politics
- India Today
Locating Haldighati - Between myth and reality
"And how can man die betterThan facing fearful odds,For the ashes of his fathers, And the temples of his Gods."--Thomas Babington MacaulayOn June 18, 1576, a narrow mountain pass in the Aravalli Range became the stage for one of medieval India's most storied battles. The Battle of Haldighati, fought between Maharana Pratap of Mewar and the Mughal forces led by Man Singh of Amber, has since passed into legend. The very soil of Haldighati – turmeric-yellow by nature – ran red by the battle's end, forming Rakt Talai, the "Lake of Blood." For centuries, tales of this clash have been told and retold, often blurring the lines between history and myth. Yet, beyond the glow of legend lies a reality just as backgroundBy the latter half of the 16th century, the Mughal Empire under Akbar had established its dominion over much of northern India. The successful siege of the fort of Chittorgarh (1568) followed by the Naguar Durbar in 1570 led to most of the Rajputana acceding to Mughal success of the swift Mughal campaign in Gujarat opened the great trade route from the north to the ports of Khambhat, Bharuch and Surat. The route, however, had parts of Mewar that necessitated either the full conquest of Mewar or the acceptance of Mughal suzerainty by Maharana Pratap Singh of Mewar.A large part of India underwent Mughal conquest in a short period, yet Mewar remained a blip on the map, independent and unrelenting. Akbar had seen the bravery of the Mewar forces during the long siege of Chittorgarh and was mindful of the cost that military conflict entailed. This made him prefer diplomacy. A series of missions followed, beginning with Jalal Khan Korchi to Prince Man Singh I of Amber, followed by his uncle Raja Bhagwant Das and Jagannath Kachhwaha. None of these could convince Pratap to accept Mughal suzerainty. Akbar, determined to secure the region (and with it, vital routes to Gujarat), eventually resolved to subdue Mewar by force. The stage was thus set for on both sidesadvertisementAfter seeking the blessings of the Khwaja at Ajmer, Akbar entrusted the task of subjugating Maharana Pratap to his ablest general, Man Singh of Amber, whom he fondly addressed as Farjand (son). The emperor presented Prince Man with a robe, a decked horse and gifts matching the Mughal army started from Ajmer with 3,000 strong cavalry, 2,000 infantry, elephants and some light artillery. The prolonged halt at Mandalgarh waiting for the Mewar forces to attack the plains led to the addition of another 2,000 men. The Bhils (the original inhabitants of the land) with their elaborate knowledge of forests and mountains, kept on giving regular updates on the movement of the imperial army to generals of repute and nobles assembled at Loseeng to decide on the future course of action. A 3,000-strong force was assembled comprising old nobles, young soldiers and Bhils. While the youth wanted to go on the offensive, the experienced generals suggested waiting in the mountains to attack from a position of strength. A consensus was reached with Maharana agreeing to go for the offensive but not too deep in the plains, which kept open the possibility of retreat in case of an adverse battle led to the Haldighati pass near Khamnor being an ideal choice to meet the invading army. The place Haldighati (Turmeric Valley) is called so due to the ocherous tint the soil has. It used to be a narrow defile with vertical rocks on both sides, making it difficult to cross by large contingents Battle of HaldighatiA night before the battle, the two armies were separated by about six miles and the river Banas. The Mughal contingent moved with Man Singh in the centre and left and right wings moving south of the main route and parallel to the river Banas respectively, with reserves under Mihtar Khan waiting at the river hours into the daybreak, waiting for the opportune moment, Maharana Pratap advanced from behind the pass and divided his men into two divisions. One attacked the vanguard under Asaf Khan and the other, commanded by Pratap, attacked the result of this was absolute mayhem described poetically by Mughal chronicler Badayuni. The intrepid charge by Pratap led to the vanguard and centre running for cover over miles. The chase of the running ranks brought the battle from the narrow pass to the plains at Rakt arrival of reserves under Mihtar Khan with the announcement that the emperor himself had joined the ranks helped reign in the running Mughal troops and bring order to the ranks. The counter-offensive with the strength of the Mughal contingent to fight in the plains led to a series of setbacks for the Mewar side with the gallant sacrifices of Raja Ramshah of Gwalior, his sons and several others. Amid the frenzy, Pratap sighted Man Singh atop his war a moment that would become legendary, Pratap and Chetak surged forward, plunging straight toward the howdah of the Mughal commander. Chetak reared and leapt, propelling Pratap within spear's reach of Man Singh. The thrust missed its mark – the Mughal general ducked, and Pratap's lance struck the mahout instead. In retaliation, Man Singh's elephant brought its tusk sword down, slashing into Chetak's flank. The legs of Chetak were injured and Pratap was encircled by enemy troops on all no victory in sight for both sides, a stalemate ensued. Pratap was goaded by old nobles to leave the battlefield for a protracted struggle, with Jhala Man taking away the crimson insignia to cover the retreat. The steed Chetak died a few miles away after bringing his master to safety. The battle sapped the Mughal contingent of any motivation to chase the retreating army. General Man Singh instead consolidated defences and in the days ahead, moved cautiously to Gogunda, waiting for and legacyHaldighati was a brief battle – a mere four hours of ferocious combat – but its impact resounded through the annals of Mewar. The battle did bring temporary territorial changes with the Mughal occupation of Gogunda and Udaipur, but it broke the myth of Mughal invincibility. Kesri Singh of Moondiyar writes that no doubt the field remains with Man, but for the emperor's army, no victory was ever more like defeat; for Mewar, no retreat was more glorious. The days ahead brought misery for Man Singh and the men. A harsh summer with no food to eat due to the scorched earth policy and looting of caravans by Bhils and Rajput soldiers led to a cautious retreat by Mughal writes that no one on the route believed the Mughal victory and all were convinced of the heroics of Pratap and his men. The emperor, unhappy with the outcome, ordered the dyodhi bandh of both Man Singh and Asaf Khan and himself marched to capture Maharana Pratap. Several missions followed but Pratap neither surrendered nor lost hope. The battle elevated the status of Pratap as the champion of freedom. A lot of like-minded rulers joined the coalition of Maharana Pratap and a long struggle followed. Beginning with the Battle of Dewair in one quick campaign, Pratap captured the entire lost territory except for two forts of Chittorgarh and the people of Rajasthan, Haldighati was not merely a battle of one afternoon, but a symbol: a testament to the idea that honour and homeland were worth the ultimate was the beginning of a long struggle and became a symbol of local resistance against imperial dominance, with Colonel Tod giving an apt epithet to Haldighati as the "Thermopylae of Mewar". And thus, the story of Haldighati lives on in both myth and myths – grand and poetic – speak to the emotional truth that Maharana Pratap's struggle has come to symbolise: courage against the odds, patriotism, and honour. The reality, meticulously pieced together by historians, reveals a nuanced and human tale of strategy, sacrifice, and resilience. Between the two, lies the true legacy of Haldighati, a legacy that continues to captivate the imagination while reminding us that history's real stories are every bit as profound as the legends they inspire. In remembering Haldighati, we locate not only a ravine in the Aravallis, but the very souls of people who choose freedom over surrender, time and time again.(Lalit Narayan Singh Sandu is an IAS officer of the Gujarat cadre and a PhD scholar in Gandhian economic thought)(Views expressed in this opinion piece are those of the author)
Indian Express
02-06-2025
- Politics
- Indian Express
Celebrating Rani Ahilyabai Holkar gives us an opportunity to reclaim our history
The Indian Subcontinent has always been a land of flourishing science, arts, and culture. The foreign rule, however, reshaped our politics, epistemology and narratives. It colonised us to such an extent that we started undermining our own cultural traditions. This uncritical engagement with colonisers' knowledge system produced a sense of inferiority. Anything Indic was considered less significant. Against this backdrop, it is essential to critically look at our colonial past to restore the ancient civilisational wisdom and decolonise our consciousness. The British depicted our past as savage and uncivilised. Often, they questioned the status of women in our society without knowing our civilisational legacy of having women across spheres — goddesses, philosophers, rulers and extraordinary women leaders. Celebrating these women's courage, valour, and ethical wisdom is one of the ways to reclaim Indic epistemology — a step towards achieving Viksit Bharat. If women figures like Maitreyi and Lopamudra marked our history in the Vedic age, in medieval India, there were devotees like Mirabai, and in the British period, there were revolutionaries like Jhalkaribai, Uda Devi, and Rani Abbakka Chowta. Devi Ahilyabai Holkar was also one such icon. Her political consciousness, spiritual nationalism, sense of duty, service, and wisdom made her an icon. Born on May 31, 1725, in Chondi village of Maharashtra, Rani Holkar ruled Malwa territory (a major part of which is now in Madhya Pradesh) from 1767 to 1795. The Holkar dynasty under the Maratha Empire achieved its peak during her tenure. Rooted in the civilisational ethos of samajik samrasta — a philosophical vision that aims to foster an equitable and dignified society — her policies addressed disadvantaged groups, specifically the Bhils, Gonds, and Dalits. Her efforts to bring the marginalised to the mainstream were evident in the implementation of Bhilwadi taxes that brought Bhil and Gond tribes into the administrative fold. Holkar's unequivocal defence of rights of widows over their deceased husbands' properties was way ahead of its time. The transport routes in Malwa, along with various social and public infrastructure, like temples, dharamshalas, water tanks, bathing ghats and comparable facilities within the region and at distant sacred sites — including Varanasi, Dwarka and Rameshwaram — still testify to her excellence. These infrastructural developments helped bridge the distance between different territories and their people. Her leadership established Maheshwar as a prominent textile production hub, giving rise to the Maheshwari handloom industry. Her administration supported artisans with resources and training to improve their skills. She also implemented balanced trade practices, developed markets, and established quality standards. Nari shakti is one of the key concepts in Bharatiya darshan shastra (Indian philosophy). Rani Holkar showed how women could be both compassionate, nurturing, and, at the same time, strong and decisive. The strand of modern feminism that speaks of embracing femininity instead of conceiving masculine traits to be superior was a defining feature of her leadership. She was a feminist much before feminism was conceptualised in the West. Her spiritual nationalism was manifested in the reconsecration of several religious structures allegedly desecrated by foreign invaders. The works of social reformers Aurobindo Ghosh and Deendayal Upadhayay on spiritual nationalism and antyodaya (marginalised) echo the foundational ethos and culture of Bharat that Rani Holkar upheld throughout her life. The post-colonial idea of secularism represents the Western understanding. However, the separation of church and state — it mostly defines Western secularism — is an alien concept for our ancient civilisation. In India, the concept of religion has been so fluid that to confine it within a proto-theistical paradigm of the West would be anachronistic. For us, 'dharma' goes much beyond religion and manifests itself in duties, responsibilities and conduct. It is a concept that transcends the monotheistic limits of understanding. Our basic philosophical concept is not right-based; rather, it is duty-based. For Holkar, dharma was an important element to bring everyone together. Her notions of sewa, nyaya and dharma are also evident in the work of PM Narendra Modi, who upholds an inclusive cultural narrative: Sabka saath sabka vikas. Holkar's life, contribution, and philosophy need more engagement from our scholars, activists and common people. Only the knowledge of the past can help us understand the present and reclaim history. The writer is assistant professor of Sociology, Lakshmibai College, Delhi University
NDTV
29-05-2025
- Politics
- NDTV
Why A 16th-Century King's Statue Has Sparked A Row In Rajasthan
Jaipur: Mewar's Rajput ruler, Maharana Pratap, took on the Mughals in the Battle of Haldighati in 1576. Among the smaller rulers who fought by his side was Rana Poonja, the ruler of Bhomat, a hilly and forested area in modern-day Rajasthan. Nearly 450 years after that epic battle, two communities are fighting over the clothes -- and legacy -- of Rana Poonja. History, caste, politics and appropriation tactics criss-cross in this face-off, blurring the lines between the real and the myth. While Rajputs, including the erstwhile royal family of Panarwa, claim that Rana Poonja was a Kshatriya from the Solanki clan, local tribals say he was from the Bhil community. Both sides claim historical evidence is in their favour. What has brought this never-ending debate to the spotlight now is a statue unveiled by Rajasthan Chief Minister Bhajanlal Sharma in Chittorgarh today. A Statue Flashpoint The Chief Minister today unveiled five statues -- Maharana Pratap riding into battle, Rana Poonja and Panna Dhai, the nursemaid to Mewar ruler Udai Singh II and a local icon. The spotlight is on Rana Poonja's statue. The statue shows the warrior king dressed in a dhoti and armed with a bow and arrow. Rajputs have objected to this sartorial choice. They claim Rana Poonja was a Kshatriya and is not "dressed appropriately" in the statue. The Bhils insist that Rana Poonja is a tribal leader and allege attempts to distort history. Claims and Counterclaims Bhil Sena, an outfit representing the tribal community, has submitted a memorandum to the local authorities and alleged that attempts are being made to distort their glorious history. "Some people are tinkering with history for their selfish interests. Rana Poonja is a Bhil warrior. In 1576, at the Battle of Haldighati, who was the warrior in dhoti and armed with bow and arrow? This is our question," said Gopal Lal Bhil, district president of Bhil Sena. Local Rajput leaders disagree. Tej Pal Singh, a functionary of Jauhar Smriti Sansthan, said, "The attire on the statue is wrong. It should be in Kshatriya attire, with 'Rana Poonja Solanki' written on it." Tribal Valour In Battle Of Haldighati The Battle of Haldighati was a valiant display of Maharana Pratap's guerrilla tactics and multiple tribes, including Bhils, are said to have fought alongside the Rajput ruler. While the Bhils use this fact to stress that Rana Poonja was one of them, the Rajputs disagree. A 'Coat Of Arms' Debate The 'Coat of Arms' of the erstwhile Mewar kingdom has also been dragged into this Rajput vs Bhil debate. The Coat of Arms shows two individuals -- one dressed as a tribal, the other as a Rajput. Tribals claim the two figures are Maharana Pratap and Rana Poonja. The Rajputs argue the Coat of Arms is just a symbol to show Rajput-tribal unity. "Maharana Pratap's army had people from 36 communities, many tribals fought alongside him. This image is a symbol of social harmony under Maharana Pratap and not an actual representation of Rana Poonja," said Tej Pal Singh, adding that the Rajput community will distance itself from the idol unveiled today. A Letter To PM Modi The erstwhile royal family of Panarwa, which claims to have descended from Rana Poonja, wrote to Prime Minister Narendra Modi in 2022, alleging a distortion of their family's history. "We are proud of our connection and respectful terms with the brave Bhils, Garasiyas, etc. who've been our companions and with whom we have shared our brotherhood for about seven centuries, however we are Solanki Rajputs from Bhojawat subclan, that reside in Panarwa. This is how we have known ourselves through authentic genealogy as well as through other ancestral procured records. This equally applies to my ancestor, 'Rana Punja of Panarwa' who bravely fought in the Battle of Haldighati protecting the freedom of Mewar along with his fellow Bhil tribesmen and Rajput army getting himself labelled as 'Bhiloo Rana'," the letter by Krishna Solanki, a member of the Panarwa family, states. Another member of the family Rana Manohar Singh Solanki, repeated the claim in a newspaper ad, and said any person who "defames the prestige and honour of his family and heirs in the society by distorting the caste of his ancestor Rana Punja ji" will face action. The Political Backdrop Rajputs claim the alleged historical distortion is driven by vote bank politics in a region where tribal voters play a key role. Interestingly, decades ago, an earlier statue unveiling programme by then President KR Narayanan was cancelled following Rajputs' protests because the statue had Rana Poonja in tribal attire. The Panarwa royals' letter mentions in. "...Mahendra Singhji Mewar (then MP from Chittaurgarh and descendant of Maharana Pratap) wrote an open Letter to President KR Narayan and Manohar Singhji Solanki (The 16th Direct descendant of Rana Punja Solanki) an open Letter to Rajasthan Chief Minister, Mr. Bhairon Singh Ji Shekhwat, recalling how it would create rifts between rajputs of Bhomat and Bhils in future, who cohabitated for centuries and fought together through generations shoulder to shoulder...," it states, adding that the event was eventually cancelled.
News18
23-05-2025
- General
- News18
Who Was Ahilyabai Holkar, 'The Philosopher Queen' Of Malwa Who Ruled Indore For 30 Years
Last Updated: British historian John Keay referred to her as the "Philosopher Queen of Malwa," praising her for her political wisdom and ethical governance The central government on Thursday announced the release of a commemorative Rs 300 coin to mark the 300th birth anniversary of Maharani Ahilyabai Holkar. The announcement comes as part of a nationwide celebration honouring Holkar, with events being organised by the Centre, BJP, RSS, and various other institutions across the nation. Who was Ahilyabai Holkar? Ahilyabai Holkar, also known by the honourific 'Punyashlok', was born on 31 May 1725 in the village of Chaundi, located in present-day Ahilyanagar (formerly Ahmednagar), Maharashtra. Her father, Mankoji Sindhia, was a local chieftain who took the rare step of educating his daughter, teaching her to read and write at a time when girls were often denied such opportunities. Ahilyabai's life took a turn when Malhar Rao Holkar, a noble under the Maratha Empire, spotted her at a temple feeding the poor and was impressed by her character. He arranged her marriage to his son, Khanderao Holkar, in 1733. After her husband's death in battle in 1754, and later the death of her only son, Ahilyabai ascended the throne of Indore on 11 December 1767. She ruled for nearly 30 years, becoming one of the few women in Indian history to lead a kingdom with such success. She is remembered for her deep devotion to religion and public service. She restored 12 Jyotirlingas, including the Kashi Vishwanath Temple, and constructed numerous ghats and temples along India's rivers. British historian John Keay referred to her as the 'Philosopher Queen of Malwa," praising her for her political wisdom and ethical governance. Ahilyabai was also a courageous warrior, known to fight battles from the back of an elephant, and maintained strong relations with local tribal communities like the Bhils and Gonds, helping to ensure the stability of her kingdom. To commemorate her legacy, the Uttar Pradesh Government has announced several initiatives. On Thursday, Chief Minister Yogi Adityanath revealed that the medical college in Auraiya will now bear her name. He also criticised previous administrations for attempting to politicise her legacy. Calling her a symbol of women empowerment, Adityanath highlighted her historical role as a female leader running an effective and progressive administration long before the modern women's rights movement began. He also announced that seven working women's hostels in Uttar Pradesh will be named after her, as part of broader efforts under the 'Nari Vandana Act' to support and empower women. First Published:
Time of India
23-05-2025
- Entertainment
- Time of India
Kesari Veer Movie Review: Grand in scope, but struggles with storytelling
: Based on true events, the film tells the historical tale of Hamirji Gohil (Sooraj Pancholi), a warrior who valiantly stood against an army of the Tughlaq Empire to defend Saurashtra's Somnath Temple.: Director Prince Dhiman's historical drama is an addition to the slew of movies that bring to light the story of an unsung hero, capturing a lesser-known chapter of India's rich past. The first Jyotirling, Somnath, is believed to have been destroyed 17 times by various invaders and rulers. This film revisits one such episode, when the dreaded marauder of the Tughlaq Empire, Zafar Khan (Vivek Anand Oberoi), attacked the temple to plunder its gold. Hamirji Gohil, the prince of Arthila, vowed to protect the temple and fought the battle with unwavering courage.A parallel track follows the fierce Shiv-worshipping Bhil community, led by their king, Vegda (Suniel Shetty). Part of the narrative focuses on how Hamir mobilises his troops and the Bhils to confront the formidable enemy. While the battle to protect the temple remains central, Kanubhai Chauhan's story and Shitiz Srivastava's screenplay take several detours before reaching the climax. The romantic arc between Hamir and Rajal (Akanksha Sharma) plays out at random intervals, detracting from the movie's main narrative. Song and dance sequences further disrupt the flow. Hamir's interaction with the Bhil community—where he grows closer to Rajal and bonds with the villagers—also stretches the runtime and slows the film's film's treatment—with Vikas Joshi's cinematography and action choreography by Kevin Kumar and Anand Shetty—leans heavily into stylised realism, hyper-real action aesthetics, speed ramping, and other visual techniques typical of war and battle epics. While overdoing these elements, the film also features gimmicky animation and VFX, which become glaring in scenes like Rajal protecting a lioness from poachers, cannons obliterating a forest during the climactic war, and many the film states that certain elements have been dramatised, it often stretches believability too far, such as a beheaded Hamirji continuing to fight in an extended sequence or Vegda balancing a monumental Shiv Ling on two lances to prevent it from falling to the ground. There are several inconsistencies, like Hamir and Rajal's elaborate wedding sequence right before the battle, and Zafar's army inexplicably appearing in implausibly large numbers. While the climactic battle is visually appealing, its excessive length dilutes the overall Pancholi handles action sequences well in an otherwise passable performance. Suniel Shetty, as the Shiv-bhakt Bhil leader, delivers a grounded performance, though his look feels unconvincing. Debutant Akanksha Sharma looks ethereal on screen but remains visibly raw in her craft. Vivek Oberoi as the ruthless Zafar Khan often slips into a few flashes of visual appeal,falters due to inconsistencies, length, uneven storytelling, and overdramatisation. This lesser-known tale of an unsung hero had a promising premise, but the lack of narrative conviction prevents it from taking a flight.
