Issued by India

Issued on Feb 20, 2024

Issued for : When the country is entering into the Amrit Kaal, honouring the life and work of our legendary poets like Bhima Bhoi and Gangadhar Meher is an inspiration to youngsters and motivates them to take pride in our rich cultural heritage.

Department of Posts is delighted to issue a miniature sheet on legendary poets of Odisha and salute the life and work of Bhima Bhoi and Gangadhar Meher.

Credits :
Stamp/FDC/Brochure/Cancellation Cachet : Shri Brahm Prakash

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 1000 Paise

Souvenir Sheet Price : 2000 Paise

Souvenir Sheets Printed : 1.11 Lakh

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

Name : Gangadhara Meher

Born on 9 Aug 1862 at Barpali, Bargarh, Odisha, India

Died on 4 Apr 1924

About : 

• The culture of Odisha is characterized by its rich heritage of classical arts, temple architecture, traditional music and devotion. Its tapestry of history is woven by a number of unsung cultural heroes resulting in diverse and vibrant artistic tradition.
• Gangadhar Meher was born on 9^th August, 1862 on Sravana Purnima at Barapalli, of present-day Bargarh District of Odisha. He was born in a weaver family and educated upto 5^th class. His father Chaitanya Meher was working as a village Vaidya (Ayurvedic doctor) besides his family profession of weaving. At the age of 10, he got married to Shanta Devi.
• In spite of his little education, he had read a good number of books like Raguvamsham in Sanskrit, Tulasi Ramayana in Awadhi, etc. and mastered them. He was also able to read Bengali magazines and newspapers. Due to the pecuniary condition of his family, Gangadhar Meher used to go to school in the morning and helped his father in weaving in the afternoon. His clear and beautiful handwriting also garnered attention from many people willing to get their writings transcribed by him.
• The then Zamindar of Barapalli offered him the post of an Amin (Patwari). Coming to learn of amicable behaviour and good virtues of Gangadhar, the Zamindar promoted him to the post of a Moharir. He continued to serve in the said post and was transferred to Sambalpur, Bijepur and Padampur and at last he was transferred to his native place Barapalli on a salary of Rs. 30/- per month.
• Gangadhar started composing poems from a very tender age. His first writings follow the style and technique of the ancient Odia writers. His first poetic work was ‘Rasa Ratnakara’. Then, being persuaded by some friends he changed his ways and wrote poems in the modern Odia style. The works produced by Gangadhar Meher are marked by vivid imagination, in beauty and clarity of language, in the novelty of style, in point of forceful character painting and in the lively description of nature from different perspective. His writings remain as some of the greatest creations in the Odia literature.
• The popularity of his literary creations is due to his narration of the beauty of the nature. He was also the messenger of Upendra Bhanja’s style and ideals. Just like Kabi Samrat Upendra Bhanja, his poems are replete with high ornamental words, unique composition style, using in befitting cases, similes, metaphors and appropriate words. His poems are sonorous in the rhythm of words and languages.
• His poetic creations include Pranaya Ballari, Kichaka Badh, Indumati, Utkal Laxmi, Ayodhya Drusya, Kabita Kallola, Arghya Thali, Ahalya Staba, Mahima, Bharati Bhabana, Kumara Janmotsav, Bhakti Upahar, Padmini, Kabita Mala and Krushaka Sangita. His Prose creations include Atma Jeevani, Shri Nruparaj Singh, Purana Kabi Fakir Mohan, Swargiya Kashinath Panda, Ehaki Pruthibira Sabda, Sikshit, Ashikshit & Sikshyabhimanini.
• The great poet of Odia literature Gangadhar Meher breathed his last on 4^th April, 1924.
• Text : Based on Information received from the proponent.

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Issued by India

Issued on Feb 20, 2024

Issued for : When the country is entering into the Amrit Kaal, honouring the life and work of our legendary poets like Bhima Bhoi and Gangadhar Meher is an inspiration to youngsters and motivates them to take pride in our rich cultural heritage.

Department of Posts is delighted to issue a miniature sheet on legendary poets of Odisha and salute the life and work of Bhima Bhoi and Gangadhar Meher.

Credits :
Stamp/FDC/Brochure/Cancellation Cachet : Shri Brahm Prakash

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 1000 Paise

Souvenir Sheet Price : 2000 Paise

Souvenir Sheets Printed : 1.11 Lakh

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

Name : Bhima Bhoi

Born on 1850 at Sambalpur, Odisha, India

Died on 1895 at Subarnapur, Odisha, India

About : 

• The culture of Odisha is characterized by its rich heritage of classical arts, temple architecture, traditional music and devotion. Its tapestry of history is woven by a number of unsung cultural heroes resulting in diverse and vibrant artistic tradition.
• Santha Kabi Bhima Bhoi is a unique genius and spiritual poet born in the 19^th Century (1850). The legend about him is so complex and mysterious that it is still not possible to say anything about him with certainty. As a result, the poet’s date of birth, date of death, birth place, field of worship and life – everything is shrouded in mystery.
• Bhima Bhoi was employed as a cowherd in the house of Chaitanya Pradhan of Kakanpada. One day, while herding the cows, he fell into an abandoned well near Kandhara village. He refused to take help of anybody other than the one who had thrown him into the well. Eventually, Mahima Gosain appeared at the site and served a condition that he would pick him up if he agreed to propagate his thoughts. He also blessed him with the power to write poetry.
• Bhima Bhoi was a great tribal saint poet, philosopher, social reformer and a revolutionary par excellence, the founder of modern cult named Satya Mahima Dharma. Towards the end of 19^th century, Saint Bhima Bhoi saved the downtrodden people from accepting Christianity. He gave a new dimension to the Hindu religion by creating the Satya Mahima Cult with substantive principles of Sanatan Dharma. It was based on the principles of non-attachment and renunciation. Under his able leadership, the cult spread like wildfire in the whole of Odisha and nearby states like Madhya Pradesh, West Bengal, Andhra Pradesh, Bihar and other parts of India.
• He is a literary genius who has to his credit thousands of verses both in Odia (Kosali) and Bengali. Some of those are published in book form and some are still unpublished. His important works include Brahma Nirupana Gita, Stuti Chintamani, Astaka Bihari Gita, Chautisa Madhu Chakra and Bhajanamala. “Granthavali” published in his name, which is rated as a marvellous work of literary excellence of international repute.
• His famous verse “Praninka arata, dukha apramita dekhu dekhu keba sahu, mo jibana pachhe narke padithau, jagata udhhara heu” has found a place on the walls of the United Nations and the Indian Parliament.
• Bhima Bhoi and Maa Annapurna are worshipped by their devotees as God and Goddess whose Paduka Temple is enshrined in the premises of Khaliapali Samadhi Pitha. He was a young yogi and his yoga was effective par excellence. Bhima Bhoi breathed his last in Khaliapali on Shiva Chaturdasi in 1895, where his Samadhi temple is located.
• Text : Based on Information received from the proponent.

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Issued by India

Issued on Jul 30, 2019

Issued for : Department of Posts is pleased to release a set of two Commemorative Postage Stamps and a Miniature Sheet to commemorate the bilateral relations between India and Republic of Korea.

Credits :
Stamps/Miniature Sheet/FDC/Brochure : Shri Sankha Samanta
Cancellation Cachet : Smt. Alka Sharma

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 2500, 500 Paise

Stamps Printed : 500000 each

Miniature Sheets Printed : 1.10 lakh

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• Bilateral consular relations between India and Republic of Korea (RoK) were established in 1962. In 1973, relations were upgraded to Ambassador-level (also with Pyongyang). Consistent Indian support for peaceful reunification of the two Koreas has been well received in this country.
• However, historical and cultural contacts between the two peoples date back to ancient times. According to “Samguk Yusa” or “The Heritage History of the Three Kingdoms” written in the 13^th century, a Princess from Ayodhya (Suriratna) came to Korea, married King Kim–Suro, and became Queen Hur Hwang-ok in the year 48 AD. Queen Heo, then 16 years old, sailed across the ocean under the orders of the king of the “Ayuta” kingdom on a vessel that carried the Pasa Stone Pagoda, which was said to have calmed the high seas. She thus became the first woman to ever immigrate to Korea. After the royal wedding, the queen bore her king 10 sons and two daughters. Of the 10 sons, two took their mother’s surname and became the progenitors of the Gimhae Heo clan. The Pasa Stone Pagoda that the queen brought to Korea was kept at Hogyesa Temple until the late Joseon Dynasty, at which time it was moved to the Tomb of Queen Heo. The pagoda currently sits inside a dedicated pavilion at the tomb and is preserved in excellent condition. Korean Buddhist Monk Hyecho (혜초, 704-787 CE) or Hong Jiao visited India from 723 to 729 AD. His travelogue “Pilgrimage to the five kingdoms of India” gives a vivid account of Indian culture, politics & society, including food habits, languages and climate.
• The rationale for a close relationship between India and RoK has been reinforced in modern times by political and economic imperatives. The experience of colonial rule and the anti-colonial movements in both countries revived interest in each other. Nobel Laureate Rabindranath Tagore composed a short but evocative poem – ‘Lamp of the East’ – in 1929 about Korea’s glorious past and its promising bright future. He wrote: “In the golden age of Asia Korea was one of its lamp bearers, And that lamp is waiting to be lit once again For the illumination of the East.”
• India played an important and positive role in Korean affairs after Korea’s independence in 1945. Mr K P S Menon of India was the Chairman of the 9-member UN Commission set up in 1947 to hold elections in Korea. The successful general elections held for the first time in the South in 1948, led to the establishment of the Republic of Korea on 15 August 1948.
• In recent years, India – Republic of Korea (RoK) relations have made great strides and have become truly multidimensional, spurred by a significant convergence of interests, mutual goodwill and high level exchanges. In 2015, the relationship between both the countries were upgraded to “Special Strategic Partnership”. The areas of cooperation between the two countries span areas as diverse as Trade, Commerce, Defence, Science & Technology, Culture, People-to-People exchanges etc.
• The relationship witnessed new momentum following the inauguration of President Moon Jae-in’s administration in May 2017. In the last one year, both countries had three VVIP visits. President Moon Jae-in and First Lady Kim Jung-sook visited India in 2018. Prime Minister Narendra Modi visited ROK in February 2019. The two countries are exploring areas of further collaboration under the synergistic frameworks of ROK’s ‘New Southern Policy’ and India’s Act East Policy.
• Text : Based on the information received from Ministry of External Affairs, Government of India.

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Issued by India

Issued on Mar 9, 2019

Issued for : Department of Posts is pleased to issue a Commemorative Postage Stamp on Kubernath Ray.

Credits :
Stamp/First Day Cover/Brochure/Cancellation Cachet : Smt. Alka Sharma

Type : Stamp, Mint Condition

Colour : Multi Colour

Denomination : 500 Paise

Stamps Printed : 3.0 lakh

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

Name : Kuber Nath Ray

Born on Mar 26, 1933 at Matsa village, Dildarnagar Kamsar, Ghazipur, Uttar Pradesh, British India

Died on Jun 5, 1996 at —

About : 

• An eminent scholar of Hindi and English and a great thinker, Shri Kubarnath Ray particularly distinguished himself in the field of writing essay in Hindi. He was born on 26^th March 1933 in village Matsa of Zamania Tehsil in Ghazipur, Uttar Pradesh. He was the son of Smt. Lakshmi Devi and Shri Baikuntha Rai. His mother would say that children in general are born with their fists closed while her son was born with folded hands as if in prayer. He completed his primary, middle and high school education at Ghazipur. He did his Intermediate from Queen’s College, Varanasi and Graduation from Banaras Hindu University with English, Philosophy and Mathematics as his subjects. He went on to do his post-graduation from Kolkata University in English Literature.
• Kubernath Ray’s creative writing primarily deals with general public life in Aryan and non-Aryan India, Gandhian philosophy, stories of Lord Rama and modern contemporary thinking. Personal essays are a fundamental feature of his writing. All the modes of literary writing such as poetry, story, novel, play, etc. may be discovered in his writings. About his literary compositions, he used to say that they were an expression of his inner voice and promptings which were not forced or laboured. He would say that English was the language for his earning needs, Hindi was his natural language for prayer and devotion.
• He served as a Lecturer and Head of English Department in Nalbari College, Nalbari & Guwahati University, Assam from 1959-1986. Later, he was the Principal of Swami Sahajanand P.G. College, Ghazipur (UP) during 1986-1995 from where he retired on 30^th June 1995.
• Some of his works are Priya Nilkanthi (published in 1969), Ras Aakhetak (1971), Gandhmaadan (1972), Nishad Bansuri (1973), Vishad Yoga (1974), Pam Mukut (1978), Mahakavi ki Tarjani (1979), Patr: Maniputul Ke Naam (1980), Man Pawan ki Nauka (1982), Kirat Nadi Me Chandramadhu (1979), Drishti Abhisar (1985), Treta ke Brihatsam (1986), Kaamdhenu (1990), Maraal (1993), Uttarkuru (1993), Cinmaya Bharata (1996), Kanthamani (Kavita) (1998), Vani ka Sheersagar (1998), Andhakar me Agnishikna (2008), Ramayana Mahatirtham (2008), Agam Ki Nav (2013), Kuber Nath Ray Ki Drishti Me Swami Sahajanand (2014) were works published after his death. Twenty research scholars have been awarded Ph.D. for their works on his books.
• Kubernath Ray is known to have avoided stage garlanding, public meetings and specifically public speaking. He used to say that it affected his creative writing. Several words like Nishad, Kirat and some words taken from languages spoken in Southern States of India have been amalgamated by him into Sanskrit and Hindi vocabulary and these are found in his compositions as well.
• Reacting to some criticism for use of difficult words in his writings, Ray responded by saying that every creative writer is a teacher, his duty is to enlarge the reader’s range of knowledge. He believed that a true and keen reader would try to find out the meaning of unfamiliar words. Through his knowledge of English language, Ray became acquainted with the literature of several languages of the world. In addition to Hindi, which was his mother tongue, he knew Urdu, Arabic and Persian. He has a good command of Bengali language and was familiar with Greek and Roman languages and their literature also. He was well versed in Sanskrit, which is considered to be the mother of all Indian languages. He died on 5^th June 1996.
• Text : Based on information received from the proponent.

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Issued by India

Issued on Jan 25, 2018

Issued for : Department of Posts is pleased to issue a set of 11 Commemorative Postage Stamps on ASEAN-INDIA COMMEMORATIVE SUMMIT 2018 on the occasion of 25^th anniversary of ASEAN-India Dialogue Partnership.

Credits :
Stamps/Miniature Sheet/Sheetlets/First Day Cover/Brochure : Shri Sankha Samantha
Cancellation Cachet : Smt. Alka Sharma

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 500 Paise (11)

Stamps Printed : 0.5 million each in the form of sheetlets

Miniature Sheet Printed : 110000

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• The Association of South-East Asian Nations (ASEAN) comprises of Indonesia, Singapore, Philippines, Malaysia, Brunei Darussalam, Thailand, Cambodia, Lao PDR, Myanmar and Viet Nam. India’s focus on a strengthened and multi-faceted relationship with ASEAN is an outcome of the significant changes in the world’s political and economic scenario since the early 1990s. India’s search for economic space resulted in the ‘Look East Policy’. The Look East Policy has today matured into a dynamic and action oriented ‘Act East Policy’.
• India is hosting the ASEAN – India Commemorative Summit 2018 in New Delhi. The theme for the Commemorative Summit, ‘Shared Values, Common Destiny’, has been displayed in the series of the 11 stamps, which have been conceptualized to thread together our historical and civilizational links that date back to over two millennia. These shared linkages which find numerous examples in texts, folklore, festivals, architecture, literature, dance-forms, music, religion, culture, motifs, symbols and everyday life may seem as quotidian, they however, are subtle reminders of a deep and enduring bond build on trust, respect and tolerance for diversity. Among these linkages, is the Ramayana, the ancient Indian text, that has its representations and interpretations in variety of dance, ballet and theatre art forms across almost all ASEAN member states, binding and connecting our common heritage.
• Below is a brief description of the eleven individual stamps:
  • Brunei Darussalam: Menyembah, the Bruneian greeting usually offered to Royalty which is akin to the Indian Namaskar is depicted in the stamp. The mudras or hand gestures found in dance forms across Southeast Asia are a distinct and recognizable connect.
  • Cambodia: The scene portraying the attack of the monkey warriors on Ravana’s brother Kumbha karan, engraved on the walls of the Angkor Wat Temple complex, is depicted in the stamp.
  • Indonesia: The Indonesian version of the Ramayana was believed to be written during the Medang Kingdom (732-1006 AD) in Central Java. Also known as the Kakawin Ramayana, its depiction has been considered to be of great artistic expression and is very well known.
  • Lao PDR: Phralak Phralam, the title referring to the brothers Lord Rama and Lakshamana, is the national epic of Lao PDR, that also boasts of significant Buddhist influences. Notably popular in Phralak Phralam is the depiction of Hanumana, representative of strength, agility, devotion, and intelligence.
  • Malaysia: A key milestone that represents the Indian-Malaysian heritage connect is the Torana Gate, a gift from the Government of India to the Government of Malaysia in 2015. The Torana, an elaborate gateway, is usually depicted in Buddhist, Hindu and Jain worship places. The Gate, with both Hindu and Buddhist influences, depicts the Jatakas (stories of the previous birth) of Gautama Buddha.
  • Myanmar: Yama Zatdaw, an adaptation of the Ramayana, is prevalent in Myanmar. Yama translates as Lord Rama and Yamayana is the equivalent of the Ramayana, while Zatdaw refers to the play enactment or part of the jataka tales. The storyline under Yama Zatdaw is true to its core with added Myanmar traditions, cultures, costumes, and customs noticeably producing a beautiful rendition of the epic.
  • Philippines: The scene depicted is from the famous and graceful dance form, Singkil, that is derived from the Darangen, an adaptation of the Ramayana. The lead dancer, a lady in the role of Putri Gandingan, graciously steps in and out of closing bamboo poles arranged in either a parallel, rectangular, or criss-cross fashion while manipulating either apir (fans), mosala (scarves), or even just their bare hands. It is a popular dance performed during celebrations and other festive entertainment.
  • Singapore: The Sri Mariamman Temple is Singapore’s oldest Hindu temple founded in 1827. The temple is symbolic of India’s relation with Singapore that transcends beyond just economic relations. The other image is of a gold earring that was found in South India and is currently housed at the Indian Heritage Centre, Singapore. It bears a lion or “singha” motif, tying back to its origins in Singapore. The lion is an important symbol in the narrative of Indian interactions with Southeast Asia and the island of Singapore (previously known as Singapura) derives its name from the Indic word simha or singha.
  • Thailand: The stamp is a pictorial representation of Khon, a traditional dance-drama genre from Thailand that derives from the Ramakien, an adaptation of the Ramayana. The show features athletic dance moves, traditional singing, and all dancers in masks forcing them to elucidate purely through movement. The other image depicted is of the Thai Hanuman, the most popular and recognisable character in the country.
  • Viet Nam: The Kate Festival is the largest traditional festival of Viet Nam’s Cham Brahman people celebrated in Ninh Thuan province and recognized by Viet Nam as a National Intangible Cultural Heritage. It is celebrated for the Cham to express their gratitude to their ancestors. The Cham Temple tower, depicted in the background, is from the Champa civilization of central Viet Nam and part of the My Son temple sanctuary, dating back to 4^th century AD, dedicated to the worship of Lord Shiva. Government of India is helping restore portions of the My Son complex.
  • India: Scene of Rama – Sita Swayamvar is depicted in Pattam Katha, cloth-based scroll painting from Andhra Pradesh (Source – Indira Gandhi National Centre for the Arts).
• Text : Based on the information received from Ministry of External Affairs.

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Issued by India

Issued on Nov 27, 2017

Issued for : Department of Posts is pleased to issue a set of eighteen Commemorative Postage Stamps on Mahabharat.

Credits :
Stamp/Miniature Sheet/Sheetlet/FDC/Brochure : Designed by Smt. Bharti Mirchandani based on inputs received from Sh. Lakshmikanta Dash (Department of Posts), Ms. Meena Mani, and Smt. Santok Ba.
Cancellation Cachet : Smt. Nenu Gupta

Type : Sheetlet, Mint Condition

Colour : Multi Colour

Denomination : 10000 Paise, 5000 Paise, 2500 Paise (4), 1500 Paise (12)

Miniature Sheet Printed : 5.0 lakh each

Sheetlets Printed : 5.0 lakh

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• The Mahabharat is a world of its own, vast, immortal, rich, deep, essential, thoughtful, philosophic, pure, intriguing, engaging and magnanimous. There isn’t any emotion that is left untouched or unspoken, as each character in this colourful yet tragic epic poem is a kind of its own. Each relationship is vividly expressed, yet exists on a complex note. JF Woods elucidates referring to Mahabharat, “what is not here, is nowhere else”.
• The greatest epic of India, Mahabharat, compiled by Vyasa between 300 BCE and 300 CE, is considered to be of the Puranic Period. The Bhagvad Gita is narrated during the Bhisma Parva, just before the epiphanic moment of beginning of the great war.
• If we look at the history of culmination of this sacred text, it is a conglomeration of ideas beginning from the earliest phase of Indian civilization. It includes the Vedic philosophy, the post Vedic, the Upanishadic thoughts, upto the Puranic narratives.
• All these developments formulating the essence of Indian philosophy constitute the Gita. It entails Lord Krishna’s revelation of his divine nature to Arjuna. As a result Arjuna is able to decide upon a course of action that was any way rendered inevitable by the complex sequence of events. Lord Krishna counsels Arjuna on the mandates of Dharma and the necessity of action, finally relieving him off his emotional dilemma.
• According to Nick Sutton in the essay, ‘What is Dharma? Ethical tensions within Mahabharat’, “the Mahabharat dramatises this tension between moral and ritual ethics and perhaps it is through the discourse of the Gita that the epic is able to explore further on these grounds.”
• This blend of Gita and Mahabharat is evocative of the interconnectedness within the universal cosmology, as both the divine and the human world tend to co-interact. Herein there is violence in both domains, emotional turbulence in the form of conspiracy of Duryodhana and Shakuni, deceit, hatred and victimization of the righteous Pandavas.
• The position of Draupadi within the epic is a complex one, on one hand, she suffered relentlessly, while on the other hand, she was a woman with a mind of her own, assertive and unflinching. Mahabharat operates on the concept of power, state and kingdomhood which is intricately tied to matters of inheritance and lineage. As the inevitability of fate determines events, in this duel between Karna and Arjuna, Ghatotkach falls prey to Karna’s attack from the infallible weapon blessed to him by Indra, thereby, sacrificing his life for Arjuna. Son of Bheema and Hidimbi, he was of a bold built, exemplifying a ghatam (a clay pot).
• The Lakshagriha episode is a result of Duryodhana’s wrath and hatred for the Pandavas. He conspires an evil trap in the form of House Of Lacquer to burn his enemies to death, but is himself befooled as Pandavas manage to escape through a secret tunnel, due to Vidura’s prior symbolic warning to Yudhishtira.
• Next if we explore the role of cosmology within Mahabharat, the best would be to refer to Bhisma and Shikhandi. Their encounter with each other in two different cycles of birth and rebirth is determined and based on the motif of revenge and fate. Having known that Bhisma’s ethical principles would prevent him from confronting a woman at the battlefield, Arjuna used Shikhandi as a shield to defeat the mighty Bhisma.
• Interestingly, Mahabharat apart from being a Mahakavya narrating the great war, it is also a bildungsroman which is a “narrative tracing the development of a protagonist’s character from childhood to maturity through varied experiences” as we see in the epic, the life and times of the Pandavas and Kauravas since their childhood to their growth as skillful warriors.
• War entails no peace, instead punctures a human being’s consciousness to the extent that its destruction of life and property haunts him throughout. The epic as it is marked by its multilayered characteristics unfolds its events within the paradigm of human fate and destiny, its magnanimity in the course of time has anchored it to eternity. As to this day we see adaptations of Mahabharat in different regional languages, it is interpreted and reinterpreted, not only in India but has bestowed its glory all over the world. The charm of this epic has cast its spell across time and space, as different part of the country adopted and adapted the narrative, wholly or focusing on parts, to suite their own cultural identities. Almost every State has some relics dedicated to an episode from the great epic. The spiritual vastness of this story, eventually is a reflection of spread of civilization and the related conflicts, manifest today in different architectural, sculptural, folk art and other forms of artistic expressions.
• Mahabharat is an epic that has permeated life and culture far beyond the Indian subcontinent. In India, facets of the epic appear in song, dance, film, literature, painting, sculpture, and everyday conversations. These stamps depict but a few strands of the art forms which continue to influence and mould life, learning, and politics. Department of Posts pays homage to this immense living tradition by offering a selection of works which depict the Mahabharat from different parts of India.
• The set of stamps being brought out by the Department of Posts is an attempt and portray this rich variety of expressions of different events and episodes of the story. Department of Posts issues one sheetlet with 18 stamps and two miniature sheets which are described in forthcoming paragraphs.
• As we count the stamps as they are arranged in the sheetlet and proceed from top to bottom, counting from left to right in each row, the cosmic form of the creator in traditional Rajasthani pichwai style is depicted in the large top stamp #1 in sheetlet. Raja Ravi Verma brought his distinct style to the royal depiction of the five Pandav brothers with Draupadi in stamp #4. Draupadi appears as a leather shadow puppet from Andhra–Karnataka region which is depicted in stamp #5. Stamp #9 is an illustration of the Pandavas with Draupadi during their years in exile from patachitra folk scroll painting from Bihar–Bengal region. In stamp #10 and #13, Miniature paintings done in the Mughal style to illustrate their translations into Persian have been depicted. Stamp #10 is the illustration from Bhagvat Puranam, wherein Kauravas confer at Hastinapur as Bhishm, Dhritrashtra and Vidur try to avert the war. Stamp #13 is the illustration from Razmnama, depicting Bhishma on a bed of arrows, awaiting for auspicious time to leave his mortal coil. Hindu and Jain manuscripts were illustrated in watercolour styles of northern India in stamp #16 & #17. Stamp #16 is the illustration from 1540 Bhagvat Puranam manuscript, depicting a vital battle during the great war, when Karna used up his most powerful weapon to subjugate Ghatotkachh which is depicted in stamp #17.
• The sculptors chiseled stone at Halebidu, depicted in stamp #7 showing Arjun at the svayamvar; stamp #12, depicts the chakravyuha that killed Arjun’s son in the great battle; stamp #14 is the battle scene showing Arjun, the skilful archer and Arjun’s penance to earn divine weapons, from Mahaballipuram in stamp #8. Kalamkari artists of Andhra Pradesh use fabric to paint scenes from the epics which is depicted in stamp #18.
• Many of the pictures used in the stamps (stamps #2, #3, #6, #11, #15) and in the accompanying philatelic material including the background and borders for the sheet of 18 stamps, are adapted from the huge body of work done by an ‘illiterate’ folk artist from the heart of central India who dedicated her life to illustration this epic. Santok Ba painted a scroll of 1200 meters depicting episodes from just the adi parva part of the epic. This work has been preserved at the IGNCA, Delhi, and Department of Posts is grateful for the opportunity to present some of her work to the world. Santok Ba’s family supported and supplemented her efforts and they deserve credit too, as do all the unnamed anonymous traditional artists who have kept the stories alive.
• Text : Based on the material received from writer Ms. Anika Singh and available on internet.

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Issued by India

Issued on Nov 1, 2017

Issued for : Department of Posts is pleased to issue three Commemorative Postage Stamps on Kavi Muddana, Adikavi Nannaya & Draksharamam Bhimeswara Temple.

Credits :
Stamp/FDC/Brochure : Sh. Kamleshwar Singh
Cancellation Cachet : Smt. Nenu Gupta

Type : Stamp, Mint Condition

Colour : Multi Colour

Denomination : 500 Paise

Stamps Printed : 500000

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

Name : Nannaya Bhattaraka

About : 

• Vaalmiki is the first poet and his great epic the Ramayana is the first epic in Sanskrit. In Telugu the first poet is Nannaya and the first epic poem is the Mahabharatam in Telugu transcreation. Andhras most affectionately and reverently call Nannaya “Nannaya Bhattaraka”.
• Nannaya was the court poet of Raja Narendra (1019-1061 AD) who ruled Vengi kingdom in Andhra Desa prosperously from his capital city Rajamahendravaram (modern Rajamundry) in East Godavari district besides – Nannaya was his family priest too. He was the first among the ten court dignitaries. Further it says that ‘Purodhasa’ is well-versed in Mantra Sastra (Mystical incantations). He is Jitendriya (who conquers his senses), Krodha, Lobha varjia (rancourless and self-less) Neeti-vida (moralist), Sastrastra Chana (adept in martial arts), Vyuhabhyasakusala (master of war-science), Sapanugraha Samartha (competent to bless and curse) and so on. He is mightily enough to make the King even afraid of his wrath and competent to replace the king if he goes amoral and undemocratic by another from the King’s family. We need know that he is like Vasishta to Dasaratha in the Ramayana. He was personification of all righteous effulgence and repertory of all good and noble qualities. In the exordium of the Telugu Mahabharata we find many personal qualities of Nannaya but not even a fragment of information about his ancestry. But historians could some how excavate some details. Nannaya was the son of Bheemana Bhatta and Bheemana Bhatta was the family priest of Vimaladitya. Raja Raja succeeded Vimaladitya to the throne, and Nannaya succeeded to the priesthood. Nannaya was an unrivalled scholar in Vedas and Vedangas (prosody and grammar etc.). He was also a great scholar poet in eight languages. Nannaya made a deep study of inscriptional style of poetry and prose as well. With this rich background Nannaya with the help of Naryanabhatta pioneered his transcreation of the Mahabharata in Telugu. The great light that Nannaya lighted has been diffusing splendid brilliance in every house, nook and corner of Andhra Desa and it will continue to enlighten it for all time to come.
• Nannaya was a sage. He with his heart and soul wished all progress, awareness and enlightenment for his people. He was courageous and fully confident of his powers to bring the Mahabharata, known as the fifth Veda, into his people’s language without any reservations misconceptions and whims of any kind. His language is superbly, chaste and pleasant.
• Text : Based on the material received from proponent.
  

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Issued by India

Issued on Nov 1, 2017

Issued for : Department of Posts is pleased to issue three Commemorative Postage Stamps on Kavi Muddana, Adikavi Nannaya & Draksharamam Bhimeswara Temple.

Credits :
Stamp/FDC/Brochure : Sh. Kamleshwar Singh
Cancellation Cachet : Smt. Nenu Gupta

Type : Stamp, Mint Condition

Colour : Multi Colour

Denomination : 500 Paise

Stamps Printed : 550000

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

Name : Lakshmi Naaranappa

Born on 24 Jan, 1870 at Nandalike, Karkala taluk, Udupi district, Karnataka, India

Died on 15 Feb, 1901

About : 

• Kavi Muddana whose real name was Nandalike Lakshminarayaniah (1870-1901) is considered as the Harbinger of Renaissance in modern Kannada literature. He is called the Dawn Heralding Cock of Modern Kannada Literature by discerning critics. He heralded the new era of prose by claiming that poetic genre was dead and ‘prose was dear to human heart’ in his prose epic ‘Shree Ramashvamedham’.
• Muddana was born in Nandalike, a small historic village Karkalju in Udupi district in Karnataka on 24^th January, 1870. He passed away on 15^th February 1901. He was dejected, friendless, penny less and less known when he breathed his last in the small town of Udupi. He was suffering from tuberculosis which was a killing disease in those days. He was one of the best writers and scholars of his day; but unfortunately this was not acknowledged during his lifetime. To a great extent, he himself was responsible for this as he had submitted his great works for publication saying that he had found the manuscripts of works by a comparatively ancient poet called Muddana in the possession of some unknown people. Reason for this impersonation is believed to be his fear that the publishers might reject the manuscripts written by a ‘drill master’. However after his death, great tribute was paid by the Kannada literary world to this luckless master poet. After the death of Nandalike Lakshminarayaniah the admirers and the general public of the Udupi district gradually began to realise that Muddana was none other than Nandalike himself.
• Muddana has written three modern epics called ‘Shree Ramashvamedham’, ‘Adbhuta Ramayanam’ and ‘Shree Rama Pattabhishekam’. He was also a Yakshagana poet, i.e., one who composes plays in poetry for the typical theatre called Yakshagana of coastal Karnataka. His works ‘Rathnavathi Kalyana’ and ‘Kumara Vijaya’ are considered unparalleled Yakshagana poetic works. Apart from these works Muddana had edited and composed traditional songs to be sung on different occasions. He is said to have half finished a modern novel and was compiling an encyclopedia at the time of his death. His relatives who believed that his death was due to his excessive studies, angrily burnt all his unpublished manuscripts after his death. Nevertheless whatever remains today is enough to place Muddana as one of the all time greats of Kannada literature.
• Text : Based on the material received from proponent.
  

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Issued by India

Issued on Sep 22, 2017

Issued for : India Post is pleased to release a set of eleven stamps depicting significant instances from Ramayana.

Credits :
Stamp/Miniature Sheet/Sheetlet/FDC/Brochure : Sh. Sankha Samanta
Cancellation Cachet : Smt. Alka Sharma

Type : Miniature Sheet, Sheetlet, Mint Condition

Colour : Multi Colour

Denomination : 1500 Paise (1), 500 Paise (10)

Miniature sheets printed : 3.0 lakh

Sheetlets printed : 7.0 lakh

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

About : 

• “Ram”, a chant, a magic word, the divine personified, the omnipresent who is there in every grain of sand, a noble king, a gentle prince, the blue deity who roamed across the country carrying the people of different cultures along. Ramayana, the story of Ram composed first by Valmiki around 500 b.c., has possibly many retellings before that as well as afterwards. Such is the power and the appeal of this simple story, but a story of a hero who suffers many adversities in life, which remains, to this date, unsurpassed. The story is loved by the millions not only in India, but now, practically all across the globe. Early migrants to Surinam, Fiji, Guiana, Mauritius etc. carried the story in their hearts that sustained them away from their beloved motherland. Many Asian countries such as Burma, Indonesia, Cambodia, Laos, Philippines, Thailand, Malaysia and Vietnam have adopted and internalized the story giving them local flavours. Within the country also different cultural and ethnic groups have lovingly adopted this story, adapted to the local cultural frameworks, selectively highlighting certain events or characters in their narratives and thereby enriching the great Ramayana tradition. While Valmiki Ramayana is in Sanskrit and follows a simple narrative, there are other versions in different languages such as Aadhyatm Ramayana supposedly composed by Vyasa, Kamba Ramayana written by poet Kambar in 12^th century in Tamil, Krittivasi Ramayana written by Krittibas Ojha in Bengali etc. But the most overwhelming popular has been the Ramcharitmanas written by Tulsidas in 15^th Century in Awadhi. Tulsi Ramayana or Ramcharitmanas emphasizes the supreme human qualities, the power of devotion or bhakti and the importance of the popular social norms and proper conduct etc. The focus is more on how the righteous carries out his duties.
• The basic storyline, as narrated by Valmiki is the story of Ram, the prince of Ayodhya who practices the ideal code of conduct. The progressively nuanced story of Ramayana has many instances that reflect upon equanimity and mental equipoise depicting Ram as ‘Maryada Prushotam Ram’.
• Maharishi Vishwamitra takes Ram and Laxman as his disciples teaching them the intricacies of using various arms and weapons. One day they reach Mithila. The king, Janak, came to welcome them and he was spell-bound by the radiance of the two Ayodhya princes. They were shown the ‘Shiva-dhanush’ which was kept in an iron case. King Janak and his wife Sunaina had announced that they would marry their daughter Sita to anyone who could mount the arrow on the ‘Shiva-dhanush’. Ram did this effortlessly. King Janak’s happiness knew no bounds and he married his beautiful daughter, Sita to prince Ram.
• King Dashrath wished to declare Ram as the ‘Yuvraj’ or the ‘Crown prince’ of Ayodhya. But, Manthara, the maid of queen Kaekeyi, felt that king Dashrath had been partial in his decision and she poisoned the mind of her mistress. Kaikeyi came under her influence and demanded that, Bharat, her own son should be made the future king of Ayodhya. Her second wish was, the banishment of Ram from Ayodhya for fourteen years. King Dashrath was crest-fallen but, was unable to persuade Kaikeyi to change her mind. Ram was devoted to his father and left Ayodhya accompanied by his wife, Sita and his brother, Laxman.
• Ram, Sita and Laxman had found shelter in Chitrakut. Bharat soon reached Chitrakut and begged Ram to return to Ayodhya while also informing Ram about the sad demise of their father. Ram was firm on his decision not to return to Ayodhya before fourteen years. Bharat requested Ram to give his ‘wooden paduka’ which he would keep upon the throne for fourteen years.
• Kewat was the boat man who ferried people across the holy river Ganga. It was in his boat that Ram, Sita and Laxman crossed the river. Shabari was the disciple of sage Matang who lived near Pampa lake. She was old and sick and her only desire was to meet Ram before dying. She was overwhelmed to see Ram in her hut and out of sheer love, she fed him sweet berries after tasting them.
• Later, due to unfortunate turns of events, Sita was taken forcefully by Ravana, the king of Lanka. The valiant bird ‘Jatayu’ answered to her screams by attacking Ravana’s chariot but Ravana cut off his wings. Wounded, he fell to the ground and struggled to keep alive. He died after informing Ram about the catastrophe.
• Hanuman was sent to search for Sita in Lanka. He took a leap towards the sky and flew towards Lanka. He saw her in Ashok Vatika and appeared before her cautiously and carefully introducing himself. He showed a ring of Ram to gain her trust. Sita was overwhelmed and had tears of joys in her eyes.
• After conquering Lanka, Ram entered to Ayodhya and ruled over for a long time. During ‘Ram Rajya’, Ayodhya became very prosperous. There was no sorrow. People were healthy and happy. Ram was an able king who believed in justice and equality. In the “Uttar Kand” of Tulsidas’s Ramcharitmanas and in Bhasa’s Uttar Ramcharit the story further progresses depicting Sita’s life in the jungle in the ashram of the sage Valmiki.
• Ramayana is a story of Maryada Purushottam Ram, upholder of righteous values of Dharma. This is a story of an ideal king, a noble ruler, a protector of social values and above all of a brave and gentle person. The story has been told and retold in different times and different places. The inspiring, empowering and enchanting story will enthral millions for all times.
• Text : Based on the material available on internet.

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Issued by India

Issued on May 31, 2017

Issued for : To commemorate the spirit and role of Literature in the society, the Department of Posts is bringing out 5 stamps, and one Miniature Sheet on 5 authors.

Credits :
Stamps/Miniature Sheet/FDC/Brochure/Cancellation Cachet : Sh. Brahm Prakash

Type : Miniature Sheet, Mint Condition

Colour : Multi Colour

Denomination : 1000 Paise

Stamps Printed : 301590

Miniature Sheet Printed : 0.1 million

Printing Process : Wet Offset

Printer : Security Printing Press, Hyderabad

Name : Sri Lal Sukla

Born on 31 Dec, 1925 at Atrauli, Aligarh district, Uttar Pradesh, India

Died on 28 Oct, 2011 at Lucknow, Uttar Pradesh, India

About : 

• Literature is one of the major contributory factors in the nation building. It acts a cultural binding force and works as an evocative medium to boost up the moral of the people in the times of crises. Literature is the vehicle through which people’s culture is transmitted. Department of Posts is bringing stamps on five such authors who have contributed significantly in this arena.
  • The stamp is being brought out on Pandit Shrilal Shukla. Born on 31 December 1925 in Atrauli, Uttar Pradesh, Shrilal Shukla was a famous Hindi writer, notable for his satire. He has written over 25 books, including Raag Darbari, Makaan, Sooni Ghaati Ka Sooraj, Pehla Padaav and Bisrampur Ka Sant. He worked as a Provincial Civil Services (PCS) officer for the state government of Uttar Pradesh, later inducted into the IAS.
  • Shukla has highlighted the falling moral values in the Indian society in the post-independence era through his novels. His writings expose the negative aspects of life in rural and urban India in a satirical manner. His best known work Raag Darbari has been translated into English and 15 Indian languages. It is one of those books whose popularity and literary status continues to go up and up with the passage of time. A television serial based on this continued for several months on the national network in the 1980s. It is a little-known fact that he also wrote a detective novel entitled Aadmi Ka Zahar which was serialised in the weekly magazine ‘Hindustan’.
  • Shukla received the Jnanpith Award, the highest Indian literary award, in 2011. His first major award was the Sahitya Akademi Award for his novel Raag Darbari in 1969. He received the Vyas Samman award in 1999 for the novel Bisrampur Ka Sant. In 2008, he was awarded the Padma Bhushan for his contribution to Indian literature and culture. He passed away on 28 October 2011.
• Text : Based on the material available on internet.

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