Issued by India

Issued on Dec 24, 1961

Issued for : The Indian Post & Telegraph department join in paying tribute to this great son of India by issuing a special postage stamp.

Type : Stamp, Postal Used

Colour : Blue Grey

Denomination : 15 nP.

Size : 3.34 x 2.88 cms.

Perforation : 13½ x 14

Water mark : All over multiple, “Lion Capital of Asoka“

Number printed : 2.5 million

Set : 42 stamps per issue sheet

Printing Process : Photogravure

Printed at : India Security Press

Name : Madan Mohan Malaviya

Born on Dec 25, 1861 at Allahabad, Uttar Pradesh, India

Died on Nov 12, 1946 at Varanasi, Uttar Pradesh, India

About : 

• “A giant among men, one of those who laid the foundation of modern Indian nationalism and, year by year, built up brick by brick and stone by stone, the noble edifice of Indian freedom.“ In these words, Shri Jawaharlal Nehru, former Prime Minister of India, summed up the feelings of the nation at the death of Pandit Madan Mohan Malviya in 1946.
  
• Scholar, educationist, man of action, a leader of the national liberation movement, Madan Mohan Malviya rose to prominence in the countries life at an early age. Born at Allahabad, on December 25^th 1861, Madan Mohan was the son of Pandit Brij Nath, a highly respected scholar of Sanskrit of his time. Madan Mohan was first educated traditionally at two Sanskrit Pathshalas and later sent to an English school. Even during his college days, as a student of the Muir central college, Allahabad, he took keen interest in public activities. Religion and education were, however, of special interest and he dedicated himself to these till the end of his life. After graduation in 1884, Pandit Madan Mohan joined Govt. high school at Allahabad as an assistant master. Being in government service did not prevent him from participating in political movements and he soon joined the fold of the Indian National Congress. His very first appearance on the Congress platform at its Calcutta session created a lasting impression and gave him a place in the political life of the country. By his earnest and untiring work, Pandit Malviya rapidly gained ascendancy in the Congress organisation. He was one of the very few individuals who were honoured by the Congress by being elected as its president three times, the first at the Lahore session (1909), the second time at Delhi (1918) and the third at the Calcutta (1933). He could not, however, preside over the 1933 sessions as the meeting was banned and he was arrested even before he reached Calcutta.
  
• While being a man of action, Pandit Malviya, placed the greatest reliance on the spread of learning and scholarship. His most ambitious projects and one whose realisation was described by Mahatma Gandhi as his chief contribution was the founding of the Banaras Hindu University. Following the Jallianwala Bagh episode, the government appointed the Hunter Committee to enquire into the Punjab disorders and followed it up with the indemnity bill. The nations protest against this found its voice in the speech of Pandit Madan Mohan in the legislative council of which he was a member. He was later elected President of the Jallianwala Bagh Memorial Committee. Pandit Madan Mohan Malviya accompanied Mahatma Gandhi to the Second Round Table Conference in 1933. He also played an important part in the removal of untouchability and in giving direction to the Harijan movement. The Harijan Sevak Sangh was founded at a meeting in 1933 at which Pandit Malviya presided. He was a member of the Indian Legislative Council from 1902 to 1912 and from 1924 to 1930. Although the Banaras Hindu University towers above many of his other contributions in the educational field, he also founded Allahabad Literary Institute. It was one his settled convictions that without an abiding religious faith man cannot succeed. This led him to found the Sanatan Dharm Mahasabha at Allahabad in January 1906, and the Allahabad Hindu Samaj. A devout Hindu himself, he wanted to see the same religious devotion in every Hindu of India. But his religious activities were by no means sectarian. As he stated in his presidential address at the Allahabad Congress, “I am a Hindu by faith and I mean no disrespect to any other religion when I say that I will not change my faith for all the possessions of this world or of any other. But I shall be a false Hindu and I shall deserve less to be called a Brahmin, if I desired that Hindu‘s, or Brahmins could have any unfair advantage as such over Muslims, Christians or any other community in India“.
  
• Pandit Malviya will also be remembered for his contribution to the field of journalism. He started his journalistic career as the Editor of the Hindustan in 1887. Two years later, he joined the “Indian Union“ as Editor in which capacity, he continued till its incorporation with the Advocate of Lucknow. He then started his own Hindi weekly Abhyudaya and laboured hard to make it an informative and instructive journal. Keenly feeling the need for an English daily to voice the opinion and to ventilate the grievances of people, he founded the Leader of Allahabad. The noble work of this great patriot was acknowledged by Mahatma Gandhi on behalf of the nation in following words : “Great as are Malviyaji‘s services to the country, I have no doubt that the Hindu University constitutes his greatest service and achievement, and he has worn himself out for the work that is dear to him as life itself…. Everyone knows that there is no greater beggar than Malviyaji on the face of the earth. He has never begged for himself by the grace of God he was never been in want, but he became a voluntary beggar for causes he has made his own, and God has always filled his bowl in an overflowing measure“.
  
• On December 25, 1961, the nation observed the centenary of birth of this great patriot.

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Issued by India

Issued on Dec 14, 1961

Type : Stamps, Postal Used

Colour : Multi colour

Denomination : 15 & 90 nP

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Issued by India

Issued on Nov 21, 1961

Issued for : The Posts and Telegraphs Department is glad to join in commemorating an event that focuses attention on a vital aspect of India‘s development.

Design : The 15 nP stamp which the Department will issue on November 21, 1961, depicts a forest scene with the Himalayas in the background.

Designed by : Staff Artists of the Indian Security Press

Type : Stamp, Postal Used

Colour : Frame – Dark Brown, Inset – Olive Green

Denomination : 15 nP.

Size : 3.91 x 2.90 cms.

Perforation : 13

Watermark : All over multiple “Lion Capital of Asoka“

No. of stamps printed : 2.5 million

Set : 35 stamps per issue sheet

Printing Process : Photogravure

Printed at : India Security Press, Nasik Road

About : 

• The centenary of scientific forestry in India is being celebrated on November 21, 1961. Steps had no doubt been taken even in the forties and fifties of the 19^th Century in some provinces to take action towards a scientific forest policy, but it was only in the seventh decade of that Century that forest policy, legislation, demarcation and conservancy made big strides. That is why the first year of that decade (1861) has been chosen as the starting point of scientific forestry in India.
• The growing economy of India and the requirements of fast developing wood-based industries today highlight as never before the need for further growth and development of scientific forestry in the country.

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Issued by India

Issued on Nov 14, 1961

Issued for : The Indian Posts & Telegraph Department is commemorating the inauguration of the fare by the issue of a special postage stamp.

Design : The stamp shows the design of the proposed tower gate of the fare and the cogwheel symbolising industry and its progress.

Type : Stamp, Postal Used

Colour : Dark Blue and Carmine

Denomination : 15 nP.

Size : 4.06 x 2.41 cms.

Perforation : 14½ x 14

Watermark : All over multiple “Lion Capital of Asoka“

Number printed : 5 million

Set : 45 stamps per issue sheet

Printing Process : Photogravure

Printed at : India Security Printing Press, Nasik Road

About : 

• The Industries Fair, 1961, was held in the first year of the third five-year plan for national development. The fare, which had been organised by the Federation of Indian Chambers of Commerce & Industry (FICCI), gave a panorama of the progress of Indian industry in its march towards a self-sustaining and self-generating economy under the first two Five Year Plans. Industrial production in the country had nearly doubled during these two plans and foundations had been laid for a more rapid rate of development in that plan. The fair, which was opened on November 14, 1961, was held at the Mathura Road exhibition Grounds, which have already witnessed a number of national & international exhibitions, Industrial as well as Agricultural. Besides the various sectors of Indian Industry, a number of foreign countries are participating. These include almost all the industrially advanced countries as also some of the developing nations. The fair gave an opportunity to manufacturers and businessmen for a closer contact on a national and international plane.

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Issued by India

Issued on Nov 14, 1961

Issued for : The Indian Posts and Telegraphs Department is once again glad to join in these celebrations which have such a laudable objective.

Design : This special stamp, which is being issued on November 14, 1961, seeks to bring out this theme. It shows a boy working at a lathe in an institution in Bombay. Such vocational training for children is intended to help them to became worthy citizens of the country.

Type : Stamp, Postal Used

Colour : Dark Brown

Denomination : 15 nP.

Size : 3.34 x 2.88 cms.

Perforation : 13½ x 14

Watermark : All over multiple “Lion Capital of Asoka“

Number printed : 2.5 million

Set : 42 stamps per issue sheet

Printing Process : Photogravure

Printed at : India Security Printing Press, Nasik Road

About : 

• The Indian Posts and Telegraphs Department has been issuing special postage stamps on Children’s Day on November 14 every year since 1957.
• Children’s Day is celebrated throughout the country with great enthusiasm and has helped to focus attention on the problems of child welfare which is given an important place in the country’s plans for economic and social development.
• The postage stamps issued on these annual occasions bring out the theme of each year’s celebrations, which is announced by the Indian Council of Child Welfare.
• The theme of this year’s celebrations, as intimated by the international union of child welfare, Geneva is : “Social services for children, especially adequate protective work, safeguard the community from delinquency and maladjustment“.

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Issued by Pakistan

Issued on Nov 4, 1961

Design : The Co-operative Day Commemoratives show a bouquet of ten roses as their motif. This is to represent the basic principle of the Co-operative Movement that at least ten persons must get together to form a co-operative society. The illustration also emphasizes mutuality of efforts and identity of individuals and gives practical demonstration of the fact that ‘united effort’ brings forth the best results. The motto of the Co-operatives EACH FOR ALL AND ALL FOR EACH is also shown therein.

Designed by : These Commemoratives have been designed by a private artist under the guidance of the Director General, Pakistan Posts and Telegraphs.

Type : Stamps, Postal Used

Denomination : 13 & 90 Paisa

Colour :
13-Paisa : Green (Main) and Common–red (Vignette)
90-Paisa : Blue (Main) and Common–red (Vignette)

Size of Stamps : 33.9 mms x 28.6 mms.

Size of Print : 31.4 mms x 25.8 mms.

Perforation : 13 x 13(c)

Quantity printed :
13-Paisa : 8,00,000
90-Paisa : 5,00,000

Number of stamps in each sheet : 80 (Eighty)

Process of Printing : Two–colour recess

Printers : Pakistan Security Printing Corporation Ltd., Karachi

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Issued by Romania

Issued on Oct 30, 1961

Issued for : The Gold Medals won by Romania in 1956, 1960 Olympics

Picture : Gold Medals : 10 b – Boxing, 35 b – Pistol shooting, Melbourne, 40 b – Sharpshooting, Rome, 55 b – Wrestling, 1.35 l – Woman’s high jump & 1.75 l – Three medals for canoeing.

Colour : Medals in Ocher. 10 b – Prussian Green, 35 b – Brown 40 b – Plum, 55 b – Orange Red, 1.35 l – Deep Ultra and 1.75 l – Deep Carmine Rose.

Type : Stamps, Postal Used

Watermark : No

Denomination : 10, 35, 40 & 55 Bani and 1.35 & 1.75 Lei

Size : 10 b, 35 b, 40 b, 55 b & 1.35  l : (33 x 33 mm) and 1.75 Lei : (46 x 32 mm)

Perforation : 14 x 14½

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Issued by Romania

Issued on Oct 25, 1961

Issued for : Protraits of Some of the Great Personalities of the World

Picture : 10 b – Heraclitus, 20 b – Francis Bacon, 40 b – Rabindranath Tagore, 55 b – Domingo F. Sarmiento, 1.35 l – Heinrich von Kleist and 1.75 l – Mikhail V. Lomonosov.

Colour : 10 b – Maroon, 20 b – Brown, 40 b – Prussian Green, 55 b – Cerise, 1.35 l – Bright Blue and 1.75 l – Purple.

Type : Stamps, Postal Used

Watermark : Yes [RPR Multiple in Endless Rows]

Denomination : 10, 20, 40 & 55 Bani and 1.35 & 1.75 Lei

Printing Process : Photographed

Perforation : 13½ x 13

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Issued by Bulgaria

Issued on Oct 10, 1961

Picture : Different Fairy Tales :- 2 s – The Golden Girl, 8 s – The Living Water, 12 s – The Golden Apple, 16 s – Krali–Marko, Hero, 45 s – Samovila–Vila, Witch & 80 s – Tom Thumb.

Colour : 2 s – Blue, Black & Orange, 8 s – Rose Lilac, Black & Gray, 12 s – Blue Green, Black & Pink, 16 s – Red, Black, Blue & Gray, 45 s – Olive Green, Black & Pink and 80 f – Ocher, Black & Dark Carmine.

Type : Stamps, Postal Used

Watermark : No

Denomination : 2, 8, 12, 16, 45 & 80 Stotinki

Perforation : 11

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Issued by India

Issued on Sep 1, 1961

Designed by : Staff Artists of the India Security Press

Type : Stamp, Postal Used

Colour : Raw Sienna

Denomination : 15 nP.

Size : 3.91 x 2.9 cms.

Perforation : 13

Watermark : All over multiple “Lion Capital of Asoka“

No. of stamps printed :2.5 million

Set : 35 stamps per issue sheet

Printing Process : Photogravure

Printed at : India Security Press, Nasik Rd.

Name : Vishnu Narayan Bhatkhande

Born on Aug 10, 1860 at Walkeshwar, South Mumbai, India

Died on Sep 19, 1936 at Bombay, India

About : 

• The great architect of the renaissance Hindustani music, Vishnu Narayan Bhatkhande (1860-1936) belongs to a period of Indian history which saw a new and great awakening in all spheres of life. It was a period that saw the end of mere imitation of the Western modes on the one hand and mere revivalism on the other – a period of re-affirmation of all that was best in the past of India and readjustment of the past to new realities.
• Bhatkhande was born on the day of the Janmashtami festival (August 10, 1860). His birth anniversary is traditionally celebrated on Janmashtami Day which, this year, falls on September 1. Hence the choice of this date for the issue of a special 15 nP. postage stamp by the Posts and Telegraphs Department to pay homage to a man who put modern Hindustani music on a new path of constructive development. The special stamp marks the 101^st anniversary of the birth of Bhatkhande.
• Educated at Elphinston College, Bombay, and Deccan College, Poona, Bhatkhande graduated in 1885 and joined the legal profession in 1887. After a spell of teaching at a high school, he practised law at the High Court where he earned a creditable name within a short time.
• His interest in music began during his college days when he started learning the sitar from Shri Vallabhdas. Within a few years he mastered the instrument sufficiently well. He joined the Gayan Uttejak Mandali, a well-known music circle in Bombay, and learnt vocal music under Raojibua, a Drupad singer. He also studied music with Mohd. Hussain Khan (younger brother of Inayat Hussain Khan) who was on the staff of the Mandali. His interest in music was not confined to learning the practice of it. He began to study the ancient texts such as “Bharat Natya Shashtra“, “Sangeet Ratnakar“, etc. Side by side, he took up the study of standard works on Western music.
• A fact which came to his notice was that music, as it was then practised, had very much changed, in its form, from what was described in the ancient texts. In fact he found that the definition of Shrutis and scales as given in ancient texts such as “Bharat Natya Shashtra“. “Sangeet Ratnakar” or “Parijat“ differed very much from the practice prevailing in the musical world of his time. He realised that there had been a great deal of transformation in the practical shape of music and a complete new systemisation and classification was necessary to put the existing musical system as prevalent in Hindustani music on a sound footing. The work was extremely difficult. There were hardly any musician left who had knowledge of theory or of ancient texts. Practicing musicians of those days were extremely reluctant even to demonstrate fully their own practical knowledge. They treated music rather as a “treasure”. With the rapidly disappearing patronage of the various princes, music had dwindled down to a few small centers and the number of authoritative and good musicians was sadly depleted. The task had also become more difficult on account of the conservatism of the musicians and their refusal to consider anything beyond their ken as something knowledgeable or according to the Shashtras.
• After the death of his wife and his daughter, Bhatkhande practically abandoned his legal practice and devoted the rest of his life to the aim of systemising the prevailing forms of Hindustani music and building on their basis a systematic and coordinated theory and practice of music. His main aim was to formulate a set of rules that would make knowledge of music accessible to all its lovers. He organised many music conferences, in order to bring about an agreement regarding the prevailing standards and forms of music. For gaining a thorough knowledge of musical lore, he toured throughout India, visiting well-known libraries and private collections. He acquired from them ancient texts in Sanskrit, Hindi, Telugu, Tamil and other languages. He himself edited and published the more important among them. At the same time, he visited every musicians of note in the Hindustani music world and tried to get from him knowledge of prevailing practices. He spent quite some time in Gwalior, Baroda and Rampur, he collected some very important Dhrupads of Tansen from the Late Vazir Khan and the Late prince Sadat Ali Khan. His profound knowledge of music and keen ear enabled him to record the large number of standard compositions he had collected in correct notation in Swara and Tala for the first time. This missionary work was accomplished in the phase of enormous difficulties. Skillful diplomacy on his part enabled him to get together this unique collection from professionals who were extremely reluctant to part with their “treasure”. Equipping himself thus with a thorough knowledge of the ancient Shashtras and the present practice and forms of Hindustani music, he took up the task of systemising the whole. In doing this, he tried to coordinate the existing practical forms and based them on a rational theory which had its root in the ancient texts, but which, at the same time, did not try to read a meaning into them which did not exist. He frankly acknowledged where present practice differed from ancient ideas. His first publication was a small booklet called “Swar Mallika“ containing set compositions, describing all the ragas generally prevalent. The first of the series came out in 1907. In 1909, he published the Sanskrit text “Shri Mallakshaya Sangeetam“. This contained model compositions composed by him and describing known ragas. He also published at about this time his first book on “Hindustani Sangeet Paddhati“ which was an authoritative and detailed commentary of the prevailing raga music. The four volumes of this work are still the only standard treaties on Hindustani music, detailing all the practical ragas and explaining the Shashtric background. Bhatkhande realised that in order to spread music it was essential to have proper music schools and colleges teaching music in a rational and correct way. He took up this task in his systematic and energetic manner. In 1916, the reorganisation of Baroda State music school was completed under his guidance. With the active support of the Maharaj of Gwalior, he helped in the establishment of the Madhav Music College at Gwalior. Later, in 1926, the Morris College of Music was established in Lucknow under his guidance with the help of U. P. Government. He prepared detailed study courses for these institutions. Realising the necessity of reliable textbooks for the guidance of teachers and students, he prepared a series of standard textbooks well known as “Hindustani Sangeet Karmik Pustak Mallika“. These textbooks contain practically all the important prevailing ragas, give their basic theory and illustrate them with standard traditional compositions in notations. They are still the only standard and authoritative textbooks of Hindustani music.
• Having devoted all his life to the cause of music, he passed away on September 19, 1936. He was able to accomplish in his life-time the Herculean task of discovering and collecting ancient texts, investigating thoroughly the prevailing forms and compositions and ultimately systemising the whole so that the future development of Hindustani music could take place in a coordinate and systematic way. The task required a combination of diverging qualities which is difficult to find united in one person. Single-handed, he achieved what many scholars and musicians would have been able to carry out with great difficulty. The re-establishment of the important lace of music in society and its cultural life was a task which he successfully initiated. His achievements in the field are epoch-making. He gave a cohesion and brought order out of chaos in the world of Hindustani music, gave it a direction and set a pattern. The renaissance of Hindustani music and its rapid growth during the last few decades is greatly due to his guidance and inspiration.
• Works published by Pandit Bhatkhande :
  • 1. Books written by him :
    • His important works are :
      • (i) “Shri Mal–Lakshya Sangeetam“ A treatise on the theory of Music in Sanskrit in slokas and describing the important ragas.
      • (ii) “Lakshan Geet Sangrah“ in three parts. Compositions descriptive of the Ragas, giving their characteristics in songs. This is a practical corollary to “Lakshya Sangeetam“. These have been specially composed by Pandit Bhatkhande.
      • (iii) “Hindustani Sangeet Paddhati“ in 4 parts. A commentary on the Lakshya Sangeetam in Marathi. It is a detailed study and discussion of the theory of music and explanation of 150 Ragas of Hindustani music. This important work has been translated into Hindi.
      • (iv) “Kramik Pustak Malika“ This important book was published in six parts. It is a detailed textbook of Hindustani music, describing all the important Ragas, their theory and illustrated with well-known compositions in notations. It contains about 1,200 such compositions.
    • Other books written by him are :
      • (i) “Swara Malika“ (in Gujarati characters), notation of Ragas in swara and Tala.
      • (ii) A comparative Study of the Music Systems of the 15^th, 16^th, 17^th and 18^th Centuries (in English).
      • (iii) Historical Survey of the Music of India.
      • (iv) “Geet Malika“ – which was originally published in 23 monthly issues, each containing 25 to 30 classical compositions of Hindustani Sangeet in notation.
      • (v) “Abhinav Raga Manjari“ (in Sanskrit), a treatise on the Ragas of Hindustani music, each being described briefly in one sloka.
      • (vi) “Abhinav Tala Manjari“, a textbook in Sanskrit on the Talas.
  • 2. Old manuscripts edited by him :
    • (i) “Swara Mela Kalanidhi” by Ramamatya
    • (ii) “Chaturdandi Prakashika“ by Venkatmakhi
    • (iii) “Raga Lakshanam“
    • (iv) “Raga Tarangini“ by Lochan
    • (v) “Raga Tatva Vibodh“ by Shriniwas
    • (vi) “Sadraga Chandrodaya“ by Pundarik Vithal
    • (vii) “Raga Manjari“ by Pundarik Vithal
    • (viii) “Raga Mala“ by Pundarik Vithal
    • (ix) “Nartan Niranaya“ by Kashinath Shashtri Appa Tulsi
    • (x) “Sangeet Sudhakar“ by Kashinath Shashtri Appa Tulsi
    • (xi) “Sangeet Kalp Drumankur“ by Kashinath Shashtri Appa Tulsi
    • (xii) “Raga Chandrika“ by Kashinath Shashtri Appa Tulsi
    • (xiii) “Raga Chandrika Sar“ (Hindi).

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