Wednesday, May 27, 2026

A Ghost comes to Bombay after Three Centuries

Note - This is available in the archives of Asiatic Society.

The Bombay Chronicle

BOMBAY: OCTOBER 26, 1941


A GHOST COMES TO TOWN

Antonio De Mello De Castro Revisits Bombay After Three Centuries!

By G. N. ACHARYA

Straight out of the pages of history he walked up to me.



Bridging the gulf of three centuries, the great Viceroy of King John IV of Portugal, who, in the face of the definite treaty between his king and his royal son-in-law, the British king, Charles II, had quibbled and hoaxed the British and postponed the cession of Bombay for nearly two and a half years, came and stood near me with imploring looks. The statesman who had so clearly foreseen that "India will be lost the same day on which the English nation is settled in Bombay" now stood before me with an humble request, writ large in his gleaming eyes.

"Do you know me?" he asked.

"I know you, Antonio de Mello de Castro", I said. "I have heard much of you."

"And do you know Bombay very well."

"I do."

"Please, will you take me round Bombay, and show it to me," he implored.

Then And Now

"Are you mad, De Castro" said I, "show you the whole of Bombay; it is impossible. Do you think that Bombay is still a series of swamps and mud flats, with paddy fields and palm groves and a few villages and fishermen's settlements dotting its coast, as it was in your days. No, no. It is a great city now. From Mahim where in your days may still have lain the ruins of Mahikavati, the ancient town built by the Rastrakuta king Bhimadeva, right away and inclusive of the two southern islets which in your day were peopled by deep sea-fishers; from the western promontory of the wooded hill of Malabar where stood the cleft rock known to the pilgrims of your days as 'Srigundi', to the flourishing docks in the East whose foundations were laid in later years by Lowji Nassarwanji Wadia, there stands now a solid phalanx of no less than 65,000 buildings. In the place of the bare 10,000 people who were spread over the seven villages and a few smaller settlements of your day, there now live in this city as many as a million and a half human souls."

"I know," interrupted De Castro. "I have heard that through a series of geographical, political and social transformations, the poor island which I knew has grown up to be a splendid and populous city. That is why I want to see it, the whole of it. Not only do I want to see this city from outside, but I want to go into the homes and hearths of its denizens and watch their lives, their sorrows and sufferings, their pain and travail, their pleasures and joys, their hopes and aspirations; I want to see them in the exultation of their desires fulfilled, their tasks achieved, I want to see them in their despair and despondency of frustrated wishes. I want to watch them at labour, I want to watch them in the monotony of their leisure and employment, I want to see the whole of the human drama, which every day is enacted in the thousands of homes and other resorts of the people of this city."

Rock of Regeneration

It was a tall order. But there was no resisting De Castro. Somehow I was carried away by his request and agreed to survey the city as a whole.

And so, in order first to give him a bird's eye-view of the whole city, I took him up the Malabar Hill. Going along the well kept roads, lined by the houses of the leisured rich, De Castro told me how the whole area was in his day a thickly wooded hill. As late as 1842 there were but four bungalows on Malabar Hill. But near the southern tip of the hill, about the place where now stands the Government House, were the ruins of the temple of Walkeswaram or the Sand God which had been put up by the Silahara Kings of Chaul between the eighth and twelfth century A.D. The present temple of Walkeshwar was yet to be built by Rama Kamati early in the 18th century. To this temple and to the cleft rock, known as 'Srigundi' or the rock of regeneration, a long line of pilgrims wended its way up the hill along a narrow flight of steps whose memory is retained to us in the Siri (Sidi or steps) Road. It was reputed that even the great Shivaji who was a contemporary of De Castro, had come secretly and crawled through the rock-cleft, as it was considered to be very meritorious to do so.

And may be in the near future, the jungle path up the hill, once trod by devoted pilgrims' feet, will be spanned by a rattling, electric trolley-bus.

From the commanding position of the Malabar Hill, we looked down on the endless forest of buildings, packed close to each other and spreading far and away to the harbour and northward in a bend beyond our view. There stretched at our feet the heart of stirring and living commerce, the noise and bustle of a city in which beat the quick pulse of gain, and watching it we exchanged notes on what it was on that first day of February in 1665, when the British took possession of it and what it had grown up to be.

"Giri-Gaum"

The most important point of the island, then, De Castro told me, was a pretty, well-seated, but ill-fortified house, situated behind the present site of the Town Hall. About the house was a delicate garden, supposed to be the pleasantest in the land. To the south-west of this house and garden, was a certain area of open ground, and somewhere about the present site of the Elphinstone High School was a Franciscan Church. From here right away up to the foot of the Malabar Hill and the limits of the modern section of Mahalaxmi, was an almost unbroken line of cocoanut plantations, interspersed with paddy fields. Scattered among the palms were small villages, composed for the most part of rude, palm-roofed huts. Here and there might be seen a few better class dwellings, tiled and glazed with oyster cells, the property of the white men, across the sea, the Portuguese, who had acquired ownership of these lands.

To the south of the house, already mentioned, was the parish of Polo (the present Apollo Bunder) which contained a few huts and looked across an arm of the sea to the island of Colaba. To the north was a congeries of rude dwellings and a 'Mandovim' (a corruption of Mandvi) or Custom House. The modern Mandvi which to-day echoes the rumble of the bullock-carts and the shrill creaking of lorries, was lost in the voice of the waves which claimed the neighbourhood as the ocean's portion. Across a creek which separated it from the island of Bombay was the hill of Dongri and next to it the great fishing village of Mazagaon or Mazgaon. There was here a manor house and a Franciscan Church and a fairly prosperous township of Bhandaris and Kolis.

Still farther north was the village of Parel with yet another Franciscan Church. This Church was later converted to the use of the British Governors and still later came to be used as a plague hospital. Due west of Parel was the island of Vadali or Worli containing a small fort and hut settlement of the fisher folk. And farthest of all was Mahim where the Church of St. Michael, the first church to be built by the Portuguese, was the centre of Christian life.

But in three centuries the whole scene has been changed beyond recognition. "Let us go down and see things more closely" said De Castro. "Take me first to where the mountain village of Giri-Gaum stood."

Girgaum to-day is neither a mountain nor a village and the scenes and sounds of Girgaum made De Castro sick and dizzy. The 'hoot hoot' of the fast moving automobiles startled him; the rattle of trams and the roar of the trains distressed him. He was positively afraid of the huge double decker buses of which the B.E.S.T. is so proud. Those red-breasted monsters, hurtling along the highways, like temple cars in flight, struck terror into him.

(The article is incomplete. I had kept it for the notes on Walkeshwar and Shrigundi)

Monday, May 25, 2026

Walkeshwar | The Miracle of 'Shrigundi' (Rebirth)

Near the Walkeshwar temple, Brahmins established a unique ritual for atonement (Prayashchit). This practice was well-known by the end of the previous century. Instead of the various difficult penances—like sacrifices, chanting, or charity—prescribed by ancient sages like Manu or Yajnavalkya, the Goan Brahmins who reached North Konkan devised a clever and simpler method to burn away sins and achieve a 'rebirth'.

This method involved a large hollowed-out rock with a narrow opening. A person would enter through the top and squeeze out through the bottom hole, symbolizing a new birth from the womb. Around 1757, the traveler Grose noted that Hindus went through this to be purified of sins, though he remarked that the hole seemed too narrow for a person of average size. However, many large-bodied people successfully passed through it. This rock gained great fame in nearby villages.

  • Kanhoji Angre reportedly passed through this hole once at night.

  • Edward Moor (1810) wrote that many pilgrims used it for rebirth.

  • Raghoba Peshwa stayed at Walkeshwar for some time and frequently passed through this rock.

  • It is even said Shivaji Maharaj passed through it.

This rock is called Shrigundi or Sirgundi. This is a Konkani word, and its original form is likely 'Shrigundo'.

Note - There is a temple dedicated to Shri Gundi Devi, restored in 2015 by the Governor.

Ruins of Temple in Shri Gundi Temple (courtesy: theworldofshan insta)

Ruins of Temple in Shri Gundi Temple (courtesy: theworldofshan insta)

Ruins of Temple in Shri Gundi Temple (courtesy: theworldofshan insta)

Seems the ruins are worshipped as Shri Gundi Devi

PS. A video where a similar re-birth is shown performed by the Tribal community, signifying return to their original religion.



Thursday, May 21, 2026

The Nighaṇṭu (Glossary of Aromatics) | Brihat Samhita

The text opens with a short Nighaṇṭu (glossary/lexicon) section compiled by the commentator or author to identify the botanical and aromatic ingredients before detailing the specific formulations.

Part 1: The Nighaṇṭu (Glossary of Aromatics)

Verse 1

अथार्त्र व्यवहारार्थं निघण्टुरभिलिख्यते । कस्तूरी मदनी नाभिर्मदो दर्पो मृगोद्भवा ॥ 

athārtra vyavahārārthaṃ nighaṇṭurabhilikhyate | kastūrī madanī nābharmado darpo mṛgodbhavā ||

Translation: For practical use in this context, a glossary (nighaṇṭu) is being written down here. Kastūrī (Musk) is also called madanī, nābhi, mada, darpa, and mṛgodbhavā.

Verse 2

मृगदर्पो मृगमदो गन्धचेत्येकवाचकाः । स्फटिकेन्दुतुषाराख्यं कर्पूरं घनसारकम् ॥ 

mṛgadarpo mṛgamado gandhacetyekavācakāḥ | sphaṭikendutuṣārākhyaṃ karpūraṃ ghanasārakam ||

Translation: Mṛgadarpa, mṛgamada, and gandha are also synonyms for musk. Karpūra (Camphor) is known by terms signifying crystal (sphaṭika), moon (indu), and frost (tuṣāra), as well as ghanasāra.

Verse 3

काश्मीरं घूसृणं रक्तसंज्ञकं कुङ्कुमं विदुः । वानराख्यं चलाख्यं च तैलं सिंहं तुरुष्ककम् ॥ 

kāśmīraṃ ghūsṛṇaṃ raktasaṃjñakaṃ kuṅkumaṃ viduḥ | vānarākhyaṃ calākhyaṃ ca tailaṃ siṃhaṃ turuṣkakam ||

Translation: Kuṅkuma (Saffron) is known as kāśmīra, ghūsṛṇa, and by names meaning red (raktasaṃjñaka). Turuṣkaka (Liquid Storax/Olibanum) is designated by terms meaning monkey (vānara), moving (cala), oil (taila), and lion (siṃha).

Verse 4

कालीयं जोङ्गकं लोहं खलः कार्पासिकोऽगुरुः । हिमं शीताख्यमाहेयं मलयाख्यं च चन्दनम् ॥ 

kālīyaṃ joṅgakaṃ lohaṃ khalaḥ kārpāsiko'guruḥ | himaṃ śītākhyamāheyaṃ malayākhyaṃ ca candanam ||

Translation: Aguru (Agarwood/Aloeswood) is called kālīya, joṅgaka, loha, khala, and kārpāsika. Candana (Sandalwood) is called hima, names meaning cold (śītākhya), āheya, and names associated with Malaya (malayākhya).

Verse 5

सूक्ष्मैला बहुलाख्या च चन्द्रैला द्राविडी त्रुटिः । श्रीपुष्पं देवपुष्पं च लघुपुष्पं लवङ्गकम् ॥ 

sūkṣmailā bahulākhyā ca candrailā drāviḍī truṭiḥ | śrīpuṣpaṃ devapuṣpaṃ ca laghupuṣpaṃ lavaṅgakam ||

Translation: Sūkṣmailā (Small Cardamom) is called bahulā, candrailā, drāviḍī, and truṭi. Lavaṅga (Clove) is termed śrīpuṣpa, devapuṣpa, and laghupuṣpa.

Verse 6

कोलं कोलककक्कोले फलं जातीफलं विदुः । उष्णं कटुफलं जातिं मालतीं जातिपत्रिकाम् ॥ 

kolaṃ kolakakakkole phalaṃ jātīphalaṃ viduḥ | uṣṇaṃ kaṭuphalaṃ jātiṃ mālatīṃ jātipatrikām ||

Translation: The fruit known as Jātīphala (Nutmeg) is called kola, kolaka, and kakkola. Jātipatrikā (Mace) is known as uṣṇa, kaṭuphala, jāti, and mālatī.

Verse 7

फलं पत्रं तमालं च गन्धपत्रं च नेत्रकम् । भृङ्गाख्यं नेत्रराजं च वराङ्गं त्वक् तनुत्वचम् ॥ 

phalaṃ patraṃ tamālaṃ ca gandhapatraṃ ca netrakam | bhṛṅgākhyaṃ netrarājaṃ ca varāṅgaṃ tvak tanutvacam ||

Translation: Tamāla (Cinnamon leaf/Malabathrum) is known by terms like phala, patra, gandhapatra, and netraka. Tvak (Cinnamon bark) is called bhṛṅgākhya, netrarāja, varāṅga, and tanutvac.

Verse 8

गणकाख्यं काञ्चनाख्यं केसरं नागकेसरम् । रसं गन्धरसं पिण्डरसं बोलं चलं विदुः ॥ 

gaṇakākhyaṃ kāñcanākhyaṃ kesaraṃ nāgakesaram | rasaṃ gandharasaṃ piṇḍarasaṃ bolaṃ calaṃ viduḥ ||

Translation: Nāgakesara (Mesua ferrea) is known by terms containing gaṇaka, kāñcana, and kesara. Bola (Myrrh) is known as rasa, gandharasa, piṇḍarasa, and cala.

Verse 9

पूतिकोशो विडालाख्यश्रे लिस्टज्जातकाभिधः । लता लतानाभि नाम्नी रेणुः कुन्ती हरेणुका ॥ 

pūtikośo viḍālākhyaśre listajjātakābhidhaḥ | latā latānābhi nāmnī reṇuḥ kuntī hareṇukā ||

Translation: Pūtikośa (Civet / Musk-cat gland extract) is known by terms related to a cat (viḍālākhya). Hareṇukā (a medicinal seed) is known as latā, latānābhi, reṇu, and kuntī.

Verse 10

मेघाख्यं मुस्तमिच्छन्ति वक्राख्यं तगरं नतम् । करजाख्यं नखं शङ्खं तथा नखपदं स्मृतम् ॥ 

meghākhyaṃ mustamicchanti vakrākhyaṃ tagaraṃ natam | karajākhyaṃ nakhaṃ śaṅkhaṃ tathā nakhapadaṃ smṛtam ||

Translation: Musta (Nut grass) is denoted by words meaning cloud (meghākhya). Tagara (Valerian) is known as vakrākhya and nata. Nakha (an aromatic operculum shell) is remembered as karajākhya, śaṅkha, and nakhapada.

Verse 11

ज्वरक्षयोत्पलाख्यं च वाप्यं कुष्ठं गदोऽथ रुक् । मांसीं केशीं पिशाचीं च नलदं कमलं जटाम् ॥ 

jvarakṣayotpala\k_hyaṃ ca vāpyaṃ kuṣṭhaṃ gado'tha ruk | māṃsīṃ keśīं piśācīṃ ca naladaṃ kamalaṃ jaṭām ||

Translation: Kuṣṭha (Saussurea costus) is termed jvarakṣaya, utpalākhya, vāpya, gada, and ruk. Māṃsī (Spikenard) is known as keśī, piśācī, nalada, kamala, and jaṭā.

Verse 12

श्यामा प्रियाख्या श्रीसंज्ञा प्रियङ्गुः फलिनी स्मृता । ग्रन्थिपर्णी ग्रन्थिपर्णं शुकं स्थौणेयकं विदुः ॥ 

śyāmā priyākhyā śrīsaṃjñā priyaṅguḥ phalinī smṛtā | granthiparṇī granthiparṇaṃ śukaṃ sthauṇeyakaṃ viduḥ ||

Translation: Priyaṅgu (Aglaia elaeagnoidea) is remembered as śyāmā, priyā, śrīsaṃjñā, and phalinī. Sthauṇeyaka (a resinous/aromatic plant substance) is known as granthiparṇī, granthiparṇa, and śuka.

Verse 13

ह्रीबेरं वारिसंज्ञं च हीबारं बालकं स्मृतम् । रणं सेव्यं मृणालाख्यमुशीरमिह कथ्यते ॥ 

hrīberaṃ vārisaṃjñaṃ ca hībāraṃ bālakaṃ smṛtam | raṇaṃ sevyaṃ mṛṇālākhyamuśīramiha kathyate ||

Translation: Hrībera (Pavonia odorata) is remembered as vārisaṃjña (water-named), hībāra, and bālaka. Uśīra (Vetiver) is stated here as raṇa, sevya, and mṛṇālākhya.

Verse 14

रोमो मृणालो रामज्झो व्यामकं दवदग्धकम् । प्रवालं विद्रुमाख्यं च वल्ली स्यान्नलिका नली ॥ 

romo mṛṇālo rāmajjho vyāmakaṃ davadagdhakam | pravālaṃ vidrumākhyaṃ ca vallī syānnalikā nalī ||

Translation: Vyāmaka (an aromatic grass) is called roma, mṛṇāla, rāmajjha, and davadagdhaka. Nalikā (a stalk-like perfume substance) is called pravāla, vidrumākhya, vallī, and nalī.

Verse 15

स्पृक्काऽसृग्ब्राह्मणी माला देवी च परिभाष्यते । चक्राङ्गी कटुकी गन्धा जटिलाोग्रा जया वचा ॥ 

spṛkkā'sṛgbrāhmaṇī mālā devī ca paribhāṣyate | cakrāṅgī kaṭukī gandhā jaṭilāogrā jayā vacā ||

Translation: Spṛkkā (Anisomeles malabarica/Trigonella corniculata) is defined as asṛgbrāhmaṇī, mālā, and devī. Vacā (Sweet flag) is called cakrāṅgī, kaṭukī, gandhā, jaṭilā, ugrā, and jayā.

Verse 16

कर्चुं कर्चूरमुग्रं च गन्धमूलं च कीर्त्यते । पुष्पा समन्तपुष्पा च शतपुष्पा शता मसिः ॥ 

karcuṃ karcūramugraṃ ca gandhamūlaṃ ca kīrtyate | puṣpā samantapuष्pā ca śatapuṣpā śatā masiḥ ||

Translation: Karcūra (Zedoary/White turmeric) is celebrated as karcu, ugra, and gandhamūla. Śatapuṣpā (Dill) is called puṣpā, samantapuṣpā, śatā, and masiḥ.

Verse 17

कुसुमालो भवेच्छण्डः स्तेनश्चौरोऽथ तस्करः । आकृष्टं केशपलितं जरा स्थविरसंज्ञितम् ॥ 

kusumālo bhavecchaṇḍaḥ stenaścauro'tha taskaraḥ | ākṛṣṭaṃ keśapalitaṃ jarā sthavirasaṃjñitam ||

Translation: Kusumāla is called chaṇḍa, stena, caura, and taskara (synonyms for a specific plant or aromatics associated with thieves/stealing names, like Coraka). Jarā (old age/graying) is designated as ākṛṣṭa, keśapalita, and sthavira.

Verse 18

गिर्याख्यं गिरिजाख्यं च शैलेयं समुदाहृतम् । दार्वी दारु निशाख्या च कालेयं पीतचन्दनम् ॥ 

giryākhyaṃ girijākhyaṃ ca śaileyaṃ samudāhṛtam | dārvī dāru niśākhyā ca kāleyaṃ pītacandanam ||

Translation: Śaileya (Stone-flower/Lichen) is properly declared by terms meaning mountain-born (giryākhya, girijākhya). Kāleya (Yellow sandalwood) is known as dārvī, dāru, niśākhya, and pītacandana.

Verse 19

पीता हरिद्रा नक्ताख्या दारु तद्देवदारु यत् । रक्ता समङ्गा मञ्जिष्ठा मधुकं मधूयष्टिका ॥ 

pītā haridrā naktākhyā dāru taddevadāru yat | raktā samaṅgā mañjiṣṭhā madhukaṃ madhūyaṣṭikā ||

Translation: Haridrā (Turmeric) is called pītā and naktākhyā. The wood called dāru refers to Devadāru (Deodar cedar). Mañjiṣṭhā (Madder) is called raktā and samaṅgā. Madhūyaṣṭikā (Licorice) is called madhuka.

Verse 20

धान्याकं धान्यकं धानीयकं कुस्तुम्बुरु स्मृतम् । मरुं मरुबकं मूर्वी फणिज्जं सानवं तथा ॥ 

dhānyākaṃ dhānyakaṃ dhānīyakaṃ kustumburu smṛtam | maruṃ marubakaṃ mūrvī phaṇijjaṃ sānavaṃ tathā ||

Translation: Kustumburu (Coriander) is remembered as dhānyāka, dhānyaka, and dhānīyaka. Phaṇijja (Marjoram/Wild basil) is called maru, marubaka, mūrvī, and sānava.

Verse 21

सर्जा सर्जरसासंज्ञा राला चेह निगद्यते । पुरं गुग्गुलु भद्रं च भद्राख्यं महिषाक्षकम् ॥ 

sarjā sarjarasāsaṃjñā rālā ceha nigadyate | puraṃ guggulu bhadraṃ ca bhadrākhyaṃ mahiṣākṣakam ||

Translation: Rālā (Resin of Shorea robusta) is spoken of here as sarjā and sarjarasā. Guggulu (Bdellum resin) is called pura, bhadra, bhadrākhya, and mahiṣākṣaka.

Verse 22

रोहिषं पेशलं प्राहुः पर्यासं च कुठेरकम् । क्षीरदध्याज्यसंज्ञश्च श्रीवासः श्रीश्च वासकः ॥ 

rohiṣaṃ peśalaṃ prāhuḥ paryāsaṃ ca kuṭherakam | kṣīradadhyājyasaṃjñaśca śrīvāsaḥ śrīśca vāsakaḥ ||

Translation: Kuṭheraka (a type of basil) is spoken of as rohiṣa, peśala, and paryāsa. Śrīvāsa (Pine resin/Turpentine) is called by names meaning milk, curd, or ghee (kṣīra-dadhi-ājya-saṃjña), as well as śrī and vāsaka.

Verse 23

जतु लाक्षा कृमिस्तज्जा धात्रीमामलकं विदुः । हरीतक्यभया पथ्या विजया प्राणदाऽपि च ॥ 

jatu lākṣā kṛmistajjā dhātrīmāmalakaṃ viduḥ | harītakyabhayā pathyā vijayā prāṇadā'pi ca ||

Translation: Lākṣā (Lac) is called jatu and kṛmistajjā (insect-born). Āmalaka (Indian gooseberry) is known as dhātrī. Harītaki (Chebulic myrobalan) is known as abhayā, pathyā, vijayā, and prāṇadā.

Verse 24

कलिविभीतकं चाक्षं त्रिफलं स्यादिदं त्रिकम् । शुण्ठीमरीचपिप्पल्यस्त्र्यूषणं सर्वसंयुता ॥ 

kalivibhītakaṃ cākṣaṃ triphalaṃ syādidaṃ trikam | śuṇṭhīmarīcapippalyastryūṣaṇaṃ sarvasaṃyutā ||

Translation: Vibhītaka (Belleric myrobalan) is called kali and akṣa. These three combined (āmalaka, harītaki, vibhītaka) form Triphalā. Śuṇṭhī (dry ginger), Marīca (black pepper), and Pippalī (long pepper) together form Tryūṣaṇa (the three pungents).

Verse 25

त्रिफला सत्रिजाता च त्रिवर्गं त्रितयं स्मृतम् । त्वक् पत्रैला त्रिजातं स्याच्चतुर्जातं सकेसरम् ॥ 

triphalā satrijātā ca trivargaṃ tritayaṃ smṛtam | tvak patrailā trijātaṃ syāccaturjātaṃ sakesaram ||

Translation: Triphalā along with Trijāta is remembered as the triad or Trivarga. Trijāta consists of tvak (cinnamon bark), patra (cinnamon leaf), and elā (cardamom). When kesara (nagakesara) is added to it, it becomes Caturjāta.

Verse 26

त्रिफला स्यातु कक्कोलकटुजातिफलैस्त्रिभिः । घृतेन्दुकुङ्कुमैः पञ्चसुगन्धिः कोलपुष्पवृत ॥ 

triphalā syātu kakkolakaṭujātipalaistribhiḥ | ghṛtendukuṅkumaiḥ pañcasugandhiḥ kolapuṣpavṛta ||

Translation: An alternative aromatic Triphalā is made of three items: kakkola, kaṭu (mace/black pepper), and jātīphala (nutmeg). These combined with ghṛta (ghee), indu (camphor), kuṅkuma (saffron), and kolapuṣpa (clove) form Pañcasugandhi (the five aromatics).

Verse 27

कोलोज्झितः सदर्पश्च देवराजः सदैव हि । कर्पूरं कुङ्कुमं दर्प त्रितयं स्यात् त्रिगन्धिकम् ॥ 

kolojjhitaḥ sadarpaśca devarājaḥ sadaiva hi | karpūraṃ kuṅkumaṃ darpa tritayaṃ syāt trigandhikam ||

Translation: The mixture omitting kola but containing darpa (musk) is called Devarāja. Karpūra (camphor), kuṅkuma (saffron), and darpa (musk)—this triad is called Trigandhika.

Verse 28

लवङ्गफलकक्कोलकटुकर्पूरकुङ्कुमैः ॥ त्वग्लताजातिचूतोत्थैः सदैः शसुगन्धिकः । 

lavaṅgaphalakakkolakaṭukarpūrakuṅkumaiḥ || tvaglatājāticūtotthaiḥ sadaiḥ śasugandhikaḥ |

Translation: A highly fragrant combination (Sugandhika) is prepared using lavaṅga (clove), phala (nutmeg), kakkola, kaṭu, karpūra (camphor), kuṅkuma (saffron), along with tvak (cinnamon bark), latā (musk-mallow/hareṇu), jāti (mace), and derivatives of cūta (mango shoots).

Verse 29

तीक्ष्णं मरीचमिच्छन्ति चित्रकं वह्निसंज्ञकम् । रोचना रुचिरा ज्ञेया शर्करा सिकता सिता ॥ 

tīkṣṇaṃ marīcapmicchanti citrakaṃ vahnisaṃjñakam | rocanā rucirā jñeyā śarkarā sikatā sitā ||

Translation: Marīca (black pepper) is called tīkṣṇa. Citraka (Leadwort) is designated by names meaning fire (vahnisaṃjñaka). Gorocanā (bezoar) should be known as rucirā. Śarkarā (sugar) is called sikatā and sitā.

Verse 30

पुष्पासवः पुप्परसः सारघं मधु माक्षिकम् । क्षौद्रं भ्रामरमित्याहुस्तन्मलं सिक्थकं विदुः ॥ 

puṣpāsavaḥ pupparasaḥ sāraghaṃ madhu mākṣikam | kṣaudraṃ bhrāmaramityāhustanmalaṃ sikthakaṃ viduḥ ||

Translation: Madhu (Honey) is called puṣpāsava, pupparasa, sāragha, mākṣika, kṣaudra, and bhrāmara. Its residue or byproduct (tanmala) is known as Sikthaka (Beeswax).

Verse 31

मदनं च मधूच्छिष्टं मधुसारं च पण्डिताः ॥ 

madanaṃ ca madhūcchiṣṭaṃ madhusāraṃ ca paṇḍitāḥ ||

Translation: The wise call it (beeswax) madana, madhūcchiṣṭa, and madhusāra.

Verse 32

द्राक्षा फलोत्तमा विल्वः श्रीफलः श्रीतरुस्तथा । लुङ्गं च मातुलुङ्गं च केशरी बीजपूरकम् ॥ 

drākṣā phalottamā vilvaḥ śrīphalaḥ śrītarustathā | luṅgaṃ ca mātuluṅgaṃ ca keśarī bījapūrakam ||

Translation: Drākṣā (Grapes) is called phalottamā. Bilva (Bael fruit) is called śrīphala and śrītaru. Bījapūraka (Citron) is called luṅga, mātuluṅga, and keśarī.

Verse 33

सौभाञ्जनं सुभाञ्जं च शिग्रुवत्पलपल्लवाः । अजो बस्तो जरश्छागो मूत्रं स्रावस्तदम्बु वा ॥ 

saubhāñjanaṃ subhāñjaṃ ca śigruvatpalapallavāḥ | ajo basto jaraścchāgo mūtraṃ srāvastadambu vā ||

Translation: Śigru (Drumstick/Moringa) is called saubhāñjana, subhāñja, and its leaves/sprouts are noted. Words like aja, basta, jara, and chāga denote a goat; its urine (mūtra) is called srāva or ambu.

Verse 34

त्वक्सहा सुरभिर्वज्री सुरभिश्च महातरुः । स्वर्णक्षीरी स्वर्णलता ज्योतिष्मत्यभिधीयते ॥ 

tvaksahā surabhirvajrī surabhiśca mahātaruḥ | svarṇakṣīrī svarṇalatā jyotiṣmatyaibhīdhīyate ||

Translation: Vajrī / Mahātaru (Euphorbia species) is called tvaksahā and surabhi. Jyotiṣmatī (Celastrus paniculatus) is called svarṇakṣīrī and svarṇalatā.

Verse 35

सुवीरं काचिकं वीरं तालुमालं च तालुकम् । सौभाग्यं टङ्कणं टङ्कं बाकुची मालतीभवम् ॥ 

suvīraṃ kācikaṃ vīraṃ tālumālaṃ ca tālukam | saubhāgyaṃ ṭaṅkaṇaṃ ṭaṅkaṃ bākucī mālatībhavam ||

Translation: Kāñjika (Sour rice gruel/vinegar) is called suvīra, vīra, tālumāla, and tāluka. Ṭaṅkaṇa (Borax) is called saubhāgya and ṭaṅka. Bākucī (Psoralea corylifolia) is called mālatībhava.

Verse 36

निःसारं राक्षसं पद्मं कच्छं कतकजं फलम् । आम्रश्चूतश्च कामाङ्गः सहकारः स्मरप्रियः ॥ 

nihsāraṃ rākṣasaṃ padmaṃ kacchaṃ katakajaṃ phalam | āmraścūtaśca kāmāṅgaḥ sahakāraḥ smarapriyaḥ ||

Translation: The fruit of Kataka (Clearing nut tree) is called niḥsāra, rākṣasa, padma, and kaccha. Āmra (Mango) is designated as cūta, kāmāṅga, sahakāra, and smarapriya.

Verse 37

अक्षरं कोकिलाक्षश्च निघण्टुर्जैरुदाहृतः ॥ 

akṣaraṃ kokilākṣaśca nighaṇṭurjairudāhṛtaḥ ||

Translation: Kokilākṣa (Asteracantha longifolia) is also called akṣara. Thus ends the definitions declared by the compilers of the glossary (nighaṇṭu).

Ancient Incense Formulation - Kopacchada

( From Brihat Samhita, Chapter 77 - Gandhayukti)

भागैश्चतुर्भिः सितशैलमुस्ताः श्रीसर्जभागौ नखगुग्गुलू च ।

कर्पूरबोधो मधुपिण्डितोऽयं कोपच्छदो नाम नरेन्द्रधूपः ॥ १९१ ॥

Ingredient Proportions (Ratio):


  • Sita (Sugar/Rock candy):4 parts

  • Shaila (Shaileya / Stone Flower / Chhabila): 4 parts

  • Musta (Nut grass / Nagarmotha): 4 parts

  • Shri (Shrivasaka / Aromatic pine resin): 2 parts

  • Sarja (Sarja rasa / Sal tree resin): 2 parts

  • Nakha (Roasted and powdered onycha): 2 parts

  • Guggulu (Bdellium resin): 2 parts

Method and Nomenclature:


To this mixture, Karpura (Camphor powder) is added as a Bodha (aroma activator/top note), and Madhu (Honey) is used to bind it into a Pinda (paste/ball/stick). This royal incense formulation is named 'Kopachhada'.


"Take four parts each of Sugar, Shaileya (Stone Flower), and Motha; two parts each of Shrivas, Sarja, Nakha, and Guggulu—grind them all together and activate their aroma (Bodha) by blending in Camphor powder. Afterward, mix honey into it to form a solid mass or ball. This formulation is called Kopachhada, an incense fit for kings (Narendra-dhupa)."


  • सिता शर्करा। = Sita means Sharkara (refined sugar or candy crystals).

  • शैलेंयं शैलेयकम्। = Shaila refers to Shaileyakas (Chhabila / Stone Flower).

  • मुस्तः प्रसिद्धः। = Musta (Nagarmotha) is a well-known aromatic herb.

  • एते चतुर्भिर्भागैर्दातव्याः। = These three ingredients must be added in a quantity of four parts each.

  • श्रीः, श्रीवासकः। = Shri denotes Shrivasaka (a specific aromatic tree resin).

  • सर्जः सर्जरसः। = Sarja signifies Sarjarasa (Sal resin/Rala).

  • अनयोर्द्वौ भागौ देयौ। = These two must be administered in two parts each.

  • नखं प्रसिद्धम्। = Nakha (the aromatic operculum) is a widely known perfumery substance.

  • गुग्गुलुः प्रसिद्ध एव। = Guggulu is also a well-known incense resin.

  • नखगुग्गुलू भागद्वयेनैव दातव्यौ। = Nakha and Guggulu should also be added in two parts each.

  • कर्पूरिण चास्य बोधः कार्यः। = The Bodha (olfactory activation) of this compound should be executed using Camphor powder.

  • मधुपिण्डितो माक्षिकेण पिण्डीकृतः। = Madhupindito means binding the mixture together with the help of Makshika (honey) to shape it into a ball or incense stick.

  • अयं नरेन्द्रधूपो राजधूपः। = This is Narendra-dhupa, meaning a superior incense designated for royal use.

  • कोपच्छदो नाम कोपच्छद इत्यस्य संज्ञा। = Kopachhada is the definitive classical title or nomenclature of this formulation.

  • आर्द्रं आर्द्रो यो दीयते स वेधः। = When a wet or liquid substance is introduced into another wet/liquid base, that technical blending process is termed Vedha.

  • चूर्णिते चूर्णो दीयते स बोधः। = When a fine powder is added to an already powdered base (like adding camphor here), it is termed Bodha.

(As stated by Ishvara—Lord Shiva—in His own text on aromatics and Tantra)

ओल्लंमि ओल्लओ जो दिज्जइ वेह इति सो भणिओ।

वोहो उण जो चुण्णो चुण्णविणि अच्छगन्धो सो ॥ इति ॥१९१॥

Translation:

  • First Line: "When a wet/moist ingredient (Olla) is blended into another wet substance, that process is declared as Vedha (Veha) in the science of perfumery."

  • Second Line: "Conversely, Bodha (Voho) is the technique where a powder (Chunno) is incorporated into a powdered base to awaken and unleash an excellent, clear fragrance."

Historical Context


This text provides a rare glimpse into the highly systematized world of Gandhashastra (Ancient Indian Perfumery). Two elements stand out:

  1. The Name 'Kopachhada': Literally translates to "that which covers or subdues anger (Kopa)." This specific blend was intentionally formulated for royal chambers to alleviate stress, soothe frayed nerves, and calm the ruler's mind.

  2. Advanced Olfactory Terminology: The clear distinction between Vedha (wet-blending/fixation) and Bodha (dry-blending/top-note activation) demonstrates that ancient Indian perfumers treated incense making not just as a ritual, but as a precise chemical and aromatic science. 

If you execute this recipe precisely following Shiva's rule of Vedha and Bodha, the sensory experience on charcoal is beautifully layered:

  1. The First Wave (The Bodha Effect): The moment the ball touches the hot charcoal, the camphor cracks and vaporizes instantly, filling the room with a sharp, cooling, purifying note, instantly clearing the sinus and altering the room's energy.

  2. The Heart (The Marine & Earthy Transit): Right behind the camphor comes the marine, animalic warmth of Nakha (onycha) paired with the mossy, forest-floor scent of Shaileya (Char chabila) and the spicy-woody depth of Musta. The Nakha, having been dry-blended, acts as a scent multiplier for the moss.

  3. The Base (The Vedha Longevity): Finally, as the powders ash over, the core of the ball—the caramelized honey combined with the deep, balsamic, slow-burning tears of Guggulu, Sal resin, and Shrivasaka—takes over. This emits a thick, rich, sweet, balsamic smoke that lingers in the drapes and wooden beams of a room for hours.

It becomes clear why this specific combination was named "Kopachhada" (The Subduer of Anger). The sharp camphor instantly breaks the train of negative thought, the earthy herbs ground the nervous system, and the heavy, sweet resins settle the mind into a state of deep, meditative calm.

Tuesday, May 19, 2026

My content presence on the web

 Documenting all the links to pages where i have been adding content over the years

Blogs

Active Blog - https://samuraishenoy.blogspot.com/

Poetry - https://samuraithepoet.wordpress.com/

Snippets from Mahabharata - https://snippetsfrommbh.blogspot.com/

Hinglish blog - https://hinglishvichaar.blogspot.com/

Songs i Love - https://melodiesloved.blogspot.com/


Audio - Soundcloud

Personal - https://soundcloud.com/shrinath

Tattva, our Infosys band - https://soundcloud.com/tattva-fusion

Aalaap, the music group of Infosys - https://soundcloud.com/aalaap-infosys-pune

Mehfil-e-unplugged, jamming event in Infosys Pune - https://soundcloud.com/mehfil-e-unplugged

My parents' songs - https://soundcloud.com/prabhakar-and-suman


Video - Youtube

Personal (old) - https://www.youtube.com/@samshen5

Personal - https://www.youtube.com/@shrinathshenoy2055

Devotional ones - https://www.youtube.com/@shrisangeeta5541

Grandma stories in Konkani - https://www.youtube.com/@AnammaliKaani

Aadyaa's kitchen - https://www.youtube.com/@aadyaaskitchen9189

Sunday, May 3, 2026

MangalacharaNa

All Saampradayika Hindus perform a MangalaacharaNa before starting any stotra pathana. The most standard Mangalaacharana, popular in Maharashtra, is  

 ॥ श्री गणेशाय नमः॥, ॥श्री सरस्वत्यै नमः ॥,॥श्री गुरुभ्यो नमः ॥ 

Do you know that we have a pictorial representation for this as shown below. You would have seen it a lot of times already:)



Vyasa Maharishi is the Guru, don't we celebrate Guru Pournima on his Janma Tithi?
Saraswati Mata is flowing in the form of a river in the backdrop.

Such an amazing way of embedding simple concepts in our minds isn't it? But not very apparent:)