Questions

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It is a labour of love and the result of painstaking research. Chikankari - A Lucknawi Tradition by Paola Manfredi, an Italian, is a book that shows her close and long association with the craft. Lucknow’s chikankari is known across the world yet very little research or documentation has been done. Articles or features have appeared off and on but this book is amongst the first of its kind, which aims to document the vast treasure called Chikan. What makes the book extremely interesting is that unlike other books that tend to rely on second hand material, with exhaustive references and quotes, Paola Manfredi has filled her tome with passionate grass-roots level research. The narrative more in the nature of a personal journey, with all the quirks and street-smart practicality, makes the book refreshing. As Paola says in the book, it is not a scholarly or academic research but more of a documentation of the world of chikankari.

Paola questions the use of chikan as a word for embroidery, highlighting that it has a broader connotation encompassing haute couture, the fine art of making a garment, embroidering it and finishing it with finesse. She is no stranger to chikankari having worked with SEWA and several craftsmen. Her love for white on white embroidery also found a calling in chikan. Paola came to India to work in textile exports and as she says, “If you like textiles ... India is a heaven, an inexhaustible treasure trove.”

What makes the book, ‘Chikankari - A Lucknawi Tradition’ interesting?

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The instructor's rules were simple. Breathe through your mouth, not your nose; else the mask will fog up. Easier said than done; I got it wrong many a time. But once you fought habit and got the hang of it, the panoramic underwater world revealed itself to you with high-definition clarity.

Led by him, I slowly peered through the mask into what till then was crystal-clear water, shimmering in the sunlight. I saw pebbles, sand and my fluid shadow. I was in Nemo's universe. Sea cucumbers, sea anemone, clown fish, star fish, sea horses, parrot fish, butterfly fish and a bevy of colourful salt water fish swam past. A shoal of canary-yellow fish did a merry dance and another with vibrant blue fish followed it. They were oblivious to the snorkelers who struggled to take in the sight of a world so beautiful, so colourful, and resist opening their mouth wide in amazement; the tube would fall off!

The writer saw all of the following except:

In the 'Index of Eight core Industries'

which one of the following is given the highest weight?

At which particular place on earth are days and nights of equal length always?

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Doing an internship at the University of Lille in France, I almost always found myself stuck whenever I had to speak to non-Indians about India or on anything 'Indian'. This was more because of the subtle differences in the way the French understood India in comparison to what I thought was 'Indian'. For instance, when I, or any Indian for that matter, say 'Hindi' is an Indian language, what it means is that it is one of the languages widely spoken in India. This need not be similar to the understanding that the French would have when they hear of 'Hindi' as an Indian language. Because for them Hindi then becomes the only language spoken in India. This is a natural inference that the French, Germans, Italians and many other European nationals would tend to make, because that is generally how it is in their own respective countries. The risk of such inappropriate generalisations made about 'Indian' is not restricted to language alone but also for India's landscape, cuisine, movies, music, climate, economic development and even political ideologies. The magnitude of diversity of one European country can be easily compared to that of one of the Indian State, isn't it? Can they imagine that India is one country whose diversity can be equated to that of the entire European continent? The onus is upon us to go ahead and clarify the nuances in 'Indianness' while we converse. But why should one do so? How does it even matter to clarify?

What wrong with respect to India are the Europeans responsible for?

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I don’t know whether the Madras Photographic Society has anything to do with the recently-publicised Chennai Photo Biennales, the first last year and the next scheduled for 2018, but participant or not, it certainly deserves a bow for being the country’s first photographic society. Its founder was an Army doctor, Alexander Hunter. The Society was founded in 1857, shortly after Lord Canning arrived as Governor-General. Canning and Lady Canning, both photography enthusiasts, were responsible for creating the famed Government series, The People of India. Hunter had still earlier, in 1850, privately started the Madras School of Arts. The School, taken over by Government in 1852, moved from Popham’s Broadway to Poonamallee High Road. There, he and an eight-member committee revised the syllabus, offering two streams, Industrial and Artistic. Hunter was put in charge of the institution, renamed the Government School of Industrial Arts, in 1855. It was the first formal school of Art in the country. In it, Hunter introduced Photography.

Hunter retired in 1868, to be succeeded by Robert Chisholm. No mean photographer, Hunter encouraged the School, it is now the Government College of Arts and Crafts to build up a photographic collection. Unfortunately, little is left of his work, especially the monuments of South India captured by Government photographer Linnaeus Tripe and his assistant C Iyahsawmi. Hunter himself did a series of pictures of the ‘Seven Pagodas’ (Mahabalipuram) and worked with his wards on photographs of the five hill tribes of the Nilgiris. It was at a prize-giving of the School that Hunter urged the Governor to provide it more suitable premises. They came up on the PH Road site in Chisholm’s time and to his design — and remain there.

Who was in charge of the Government School of Industrial Arts before Chisholm?

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The flora and fauna of Cubbon Park captures our attention more than anything else. But when you take time to look closely at the statue, you will marvel at its sheer grandeur. Sculpted by Sir Thomas Brock, the 11 feet high marble statue is larger than life. It brings out the personality of Queen Victoria, who had been the Monarch of Great Britain from 1837 till 1901, depicting a rather proud, stern person with pronounced features.

In 1906, the statue was unveiled in the city by George Frederick Ernest Albert, Prince of Wales and Duke of Cornwall and York, making it stand in all its glory in its 111th year. Even though there is a wealth of history to the statue, and it was made to appear imposing, the busy Bengalureans would probably refer to it as just another landmark. As the workers are busy in discussion on the instructions given to them, life continues as usual in the Park.

Queen Victoria had all of the following traits, except ______________.

January 1 is observed as