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SAFAR / 6 SAFAR / 7 Dear Traveller, Every journey begins with a story some- times written on maps, sometimes etched in memory, and often discovered in the quiet corners of the world where few have wandered. This edition of SAFAR is dedicated to those hidden paths and timeless places that remind us why we travel not just to see, but to feel. From the ancient temples that hum with forgotten chants, to the coastal trails where the sea writes poetry in waves, we invite you to step beyond the familiar. Inside, you’ll find stories crafted with care, images that breathe, and voices of fellow travelers who remind us that the world is as endless as our curiosity. Whether you are flipping these pages from your couch, a bustling café, or a mountain train, may these stories spark your next adventure. Because travel isn’t about ticking box- es, it’s about finding yourself in places that don’t ask for your name, only your wonder. Happy journeys, NAIR LA Editor-in-Chief EDITORIAL CONTENTS 01 EDITORIAL The Editor-in-Chief 06 05 India Wears its Heart on Sleeves Punjab 56 Himachal Pradesh 57 Gujarat 58 Maharashtra 59 West bengal 62 Assam 63 Kerala 64 Tamil Nadu 65 02 WHISPERS IN STONE Shekhawati Havelis 08 Laxmi Vilas Palace 10 Modhera Sun Temple 12 Adalaj ni Vav 16 Jama Masjid 18 Kailasa Temple, Ellora 20 Palazzo Contarini del Bovolo 22 Temple of Debod 24 Aït Benhaddou 28 Library of Celsus 30 06 Timeless Treasures: Sadeli Craft 68 Sanjhi Crafts 69 Shola Pith Craft 70 Toda Embroidery 71 Longpi Pottery 72 Wrought Iron Craft 73 Shona Stone Sculpture 76 Scagliola 77 Lacquerware 78 Croatian Lacemaking 79 Pasto Varnish 80 Wayang Kulit Puppetry 81 04 Where Time Stands Still Kuldhara Village 44 Derinkuyu Underground City 45 Nan Madol 46 Chand Baori- Abhaneri 47 Tikal 48 Hampi 49 Takeda Castle 50 Alberobello 52 Leptis Magna 53 03 The Culinary Cartographer Hidden Plates A 32 Food Traveller: Rocky & Mayur 34 Hidden Plates B 38 Food Traveller: Anthony Bourdain 40 07 Exploring Shiva’s Divine Light Somnath Jyotirlinga 84 Mallikarjuna Jyotirlinga 85 Mahakaleshwar Jyotirlinga 86 Omkareshwar Jyotirlinga 87 Baidyanath Jyotirlinga 88 Bhimashankar Jyotirlinga 89 Kedarnath Jyotirlinga 90 Rameshwar Jyotirlinga 91 Grishneshwar Jyotirlinga 92 Kashi Vishwanath Jyotirlinga 93 Trimbakeshwar Jyotirlinga 94 Nageshwar Jyotirlinga 95

SAFAR / 8 SAFAR / 9 Tucked away in the semi-arid lands of northern Rajasthan lies Shekhawati, a region often dubbed as the “open-air art gallery of India.” Known for its stunning painted havelis—tra- ditional mansions—the Shek- hawati region (including towns like Mandawa, Nawalgarh, Fate- hpur, and Jhunjhunu) is a living canvas of frescoes, stories, and forgotten grandeur.Built mainly between the 18th and early 20th centuries, these havelis were the homes of wealthy Marwari mer- chants who migrated for trade but left behind a legacy etched on walls and ceilings. Their exte- riors and interiors are adorned with vibrant frescoes—depicting mythology, royal processions, British influence, trains, clocks, and even aeroplanes—blending Indian tradition with colonial modernity in a unique visual narrative. Architecturally, these havelis reflect Rajput, Mughal, and co- lonial styles, often with intricate wooden carvings, jharokhas (bal- conies), courtyards, and mirror work. Despite their fading paint and dusty corners, they exude a poetic charm that attracts artists, historians, and offbeat travelers. Today, many of these havelis are in various states of decay, but some have been restored as heritage hotels or museums, pre- serving the forgotten elegance of a once-thriving trade era. A walk through Shekhawati feels like stepping into a forgotten chapter of Rajasthan’s history—where art, architecture, and commerce met on the walls of desert man- sions. Shekhawati Havelis: Rajasthan’s Open-Air Art Gallery Some havelis have frescoes showing steam engines and aeroplanes long before locals had seen them in real life. “ Tucked away in the semi-arid lands of northern Rajasthan lies Shekhawati, a region often dubbed as the “open-air art gallery of India.” Known for its stunning painted havelis—tra- ditional mansions—the Shek- hawati region (including towns like Mandawa, Nawalgarh, Fatehpur, and Jhunjhunu) is a living canvas of frescoes, stories, and forgotten gran- deur.Built mainly between the 18th and early 20th centuries, these havelis were the homes of wealthy Marwari merchants who migrated for trade but left behind a legacy etched on walls and ceilings. Their exteri- ors and interiors are adorned with vibrant frescoes—depict- ing mythology, royal proces- sions, British influence, trains, clocks, and even aeroplanes— blending Indian tradition with colonial modernity in a unique visual narrative.Architectural- ly, these havelis reflect Rajput, Mughal, and colonial styles, often with intricate wooden carvings, jharokhas (balco- nies), courtyards, and mirror work. Despite their fading paint and dusty corners, they exude a poetic charm that attracts artists, historians, and offbeat travelers.

SAFAR / 10 SAFAR / 11 Located in Vadodara (Baroda), Gujarat, the Laxmi Vilas Palace is one of India’s grandest royal residences and an outstand- ing example of Indo-Saracenic architecture. Built in 1890 by Maharaja Sayajirao Gaekwad III, this sprawling palace is said to be four times the size of Buckingham Palace, making it one of the largest private residences in the world. The palace combines ele- ments of Hindu, Gothic, and Mughal styles, adorned with intricate carvings, Venetian mosaic floors, stained-glass windows, and fine chande- liers. Its Darbar Hall, with a mosaic-floored gallery and grand stained-glass arches, was once used for royal gath- erings and continues to awe visitors with its sheer opulence. Spread across 500 acres, the estate also houses the Ma- haraja Fateh Singh Museum, which showcases European paintings, royal portraits, and a collection of sculptures. The grounds include a golf course and beautifully landscaped gardens, reflecting the luxuri- ous lifestyle of the Gaekwads. Even today, the royal family of Baroda resides here, and parts of the palace remain open to visitors—offering a rare glimpse into the splendor of princely India. Located in Vadodara (Baroda), Gujarat, the Laxmi Vilas Palace is one of India’s grandest royal residences and an outstand- ing example of Indo-Saracenic architecture. Largest Private Residence – It’s still considered the largest private dwelling ever built, with interiors styled like a European palace, yet rooted in Indian traditions. “ Laxmi Vilas Palace: Gujarat’s Crown Jewel Built in 1890 by Maharaja Sayajirao Gaekwad III, this sprawling palace is said to be four times the size of Bucking- ham Palace, making it one of the largest private residences in the world. The palace combines ele- ments of Hindu, Gothic, and Mughal styles, adorned with intricate carvings, Venetian mosaic floors, stained-glass windows, and fine chande- liers. Its Darbar Hall, with a mosaic-floored gallery and grand stained-glass arches, was once used for royal gath- erings and continues to awe visitors with its sheer opulence. Spread across 500 acres, the estate also houses the Maharaja Fateh Singh Museum, which show- cases European paintings, roy- al portraits, and a collection of sculptures. The grounds include a golf course and beautifully landscaped gar- dens, reflecting the luxurious lifestyle of the Gaekwads. Even today, the royal family of Baroda resides here, and parts of the palace remain open to visitors—offering a rare glimpse into the splendor of princely India.

SAFAR / 12 SAFAR / 13 Modhera Sun Temple: Gujarat’s Timeless Ode to the Sun Located in the quiet village of Modhera in Gujarat’s Mehsa- na district, the Modhera Sun Temple stands as a breath- taking tribute to Surya, the Hindu Sun God. Built in the 11th century by King Bhima I of the Solanki dynasty, this architectural marvel predates even the famous Konark Sun Temple and reflects a deep reverence for solar energy and celestial harmony. The temple is perfectly aligned so that during the equinox, the first rays of the sun illumi- nate the inner sanctum (Gar- bhagriha), where the idol of Surya once stood. Though the idol no longer remains, the temple’s aura and symbolism endure. The complex is divided into three parts: Surya Kund – A magnificent stepped tank used for ritual bathing, surrounded by minia- ture shrines. Sabha Mandap – The pillared hall used for religious gather- ings and dances, featuring 52 intricately carved pillars sym- bolizing the weeks of the year. Guda Mandap – The sanctum sanctorum, beautifully sculpt- ed with scenes from Ramaya- na, Mahabharata, and every- day life. The temple is perfectly aligned so that during the equinox, the first rays of the sun illumi- nate the inner sanctum (Gar- bhagriha), where the idol of Surya once stood. The Surya Kund (stepwell) has more than hundred small shrines around its steps. “ The temple is a masterpiece of Maru-Gurjara architec- ture, known for its ornate carvings, lotus motifs, and geometric precision. Unlike most temples, no worship is held here today—it stands as a protected monument under the Archaeological Survey of India, drawing history lovers, photographers, and heritage travelers. Every January, the Modhera Dance Festival brings the temple back to life, as classical dancers perform against the glowing backdrop of this solar sanctuary—bridging past and present in a celebration of art, sun, and spirit. The temple is a masterpiece of Maru-Gurjara architec- ture, known for its ornate carvings, lotus motifs, and geometric precision. Unlike most temples, no worship is held here today—it stands as a protected monument under the Archaeological Survey of India, drawing history lovers, photographers, and heritage travelers.

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SAFAR / 16 SAFAR / 17 Adalaj ni Vav: The Timeless Stepwell of Gujarat Nestled in the village of Adalaj, just outside Ahmedabad, Ada- laj ni Vav is one of Gujarat’s most stunning and historically rich stepwells. Built in 1499 by Queen Rudabai, wife of a Vaghela chieftain, this five-sto- ry architectural marvel served not just as a water source, but also as a place of rest, reflec- tion, and refuge for weary travelers and pilgrims. The stepwell is a brilliant example of Indo-Islamic archi- tecture, where Hindu crafts- manship fuses seamlessly with Islamic floral and geometric patterns. The octagonal struc- ture is intricately carved with mythological scenes, flowers, birds, dancers, and Islamic motifs, creating a cool, medita- tive space that remains sev- eral degrees cooler than the outside temperature even in peak summer. What makes Adalaj ni Vav truly special is the story behind its construction. After the king was killed in battle, the con- quering Muslim ruler agreed to complete the stepwell on the condition that Queen Rud- abai marry him. She agreed— but once the well was com- pleted, she chose to end her life by jumping into it, turning the structure into a symbol of grief, strength, and legacy. Today, Adalaj ni Vav is not just a historical monument, but a living piece of Gujarat’s cultur- al heritage—drawing tourists, history buffs, and photogra- phers with its haunting beauty and layered past. A visit here is not just about architecture, but about standing at the crossroads of history, art, and silent sacrifice. The stepwell served as both a water reservoir and a community gathering place. “ Nestled in the village of Adalaj, just outside Ahmedabad, Ada- laj ni Vav is one of Gujarat’s most stunning and historically rich stepwells. Built in 1499 by Queen Rudabai, wife of a Vaghela chieftain, this five-sto- ry architectural marvel served not just as a water source, but also as a place of rest, reflec- tion, and refuge for weary travelers and pilgrims. The stepwell is a brilliant example of Indo-Islamic archi- tecture, where Hindu crafts- manship fuses seamlessly with Islamic floral and geo- metric patterns. The octagonal structure is intricately carved with mythological scenes, flowers, birds, dancers, and Islamic motifs, creating a cool, meditative space that remains several degrees cooler than the outside temperature even in peak summer. What makes Adalaj ni Vav truly special is the story be- hind its construction. turning the structure into a symbol of grief, strength, and legacy.

SAFAR / 18 SAFAR / 19 Jama Masjid: A Hidden Gem of Indo-Islamic Architecture Standing tall in the heart of Old Delhi, the Jama Masjid is one of the largest and most magnificent mosques in India. Commissioned by the Mughal emperor Shah Jah- an—the same ruler who built the Taj Mahal—it was com- pleted in 1656 CE after six years of labor by more than 5,000 artisans. Built from red sandstone and white marble, the mosque’s grandeur lies in its vast courtyard, capable of accommodating over 25,000 worshippers at once. Three majestic gates, four towers, and two soaring 40-me- ter-high minarets define its striking architecture, while the prayer hall’s intricate calligraphy and arches re- flect the Mughal mastery of design. The mosque also preserves priceless relics, including an ancient Qur’an written on deer skin and a hair of Prophet Muhammad, mak- ing it not only a place of worship but also a site of spiritual significance. Today, Jama Masjid remains a vibrant hub of faith, his- tory, and culture—its steps bustling with devotees, visi- tors, and food vendors who bring the charm of Old Delhi alive. For travelers, it offers not just a glimpse into Mu- ghal architectural brilliance but also an unforgettable experience of Delhi’s living heritage. The mosque houses a collection of rare relics, including a hair of Prophet Muhammad. “ Standing tall in the heart of Old Delhi, the Jama Masjid is one of the largest and most magnificent mosques in India. Commissioned by the Mughal emperor Shah Jahan—the same ruler who built the Taj Mahal—it was completed in 1656 CE after six years of labor by more than 5,000 artisans. Built from red sandstone and white marble, the mosque’s grandeur lies in its vast court- yard, capable of accommo- dating over 25,000 worship- pers at once. Three majestic gates, four towers, and two soaring 40-meter-high min- arets define its striking ar- chitecture, while the prayer hall’s intricate calligraphy and arches reflect the Mughal mastery of design. The mosque also preserves priceless relics, including an ancient Qur’an written on deer skin and a hair of Proph- et Muhammad, making it not only a place of worship but also a site of spiritual signifi- cance. Today, Jama Masjid remains a vibrant hub of faith, history, and culture—its steps bus- tling with devotees, visitors, and food vendors who bring the charm of Old Delhi alive. For travelers, it offers not just a glimpse into Mughal archi- tectural brilliance but also an unforget- table experience of Delhi’s living heritage.

SAFAR / 20 SAFAR / 21 Kailasa Temple, Ellora: India’s Rock-Cut Wonder Carved from a single massive rock cliff in Maharashtra’s Ellora Caves, the Kailasa Temple (Cave 16) is one of the greatest feats of ancient Indi- an architecture. Dedicated to Lord Shiva, this 8th-century marvel was commissioned by Rashtrakuta king Krishna I around 756–773 CE, and it continues to astonish histori- ans, architects, and travelers alike with its scale, symmetry, and skill. What makes Kailasa Temple extraordinary is that it was carved top-down—from the roof of the rock to the base— rather than built from the ground up. It is believed that over 200,000 tons of rock were excavated using only hammers and chisels over decades. The temple resembles Mount Kailash, the mythical abode of Lord Shiva, and includes: A towering Shikhara (spire) over the main shrine A massive Nandi Mandapa (pavilion for Shiva’s bull) Elaborate pillared halls, sculpted elephants, and life- sized deities Panels depicting scenes from Ramayana and Mahabharata The Kailasa Temple is not just an architectural marvel, but a symbol of devotion and de- termination—a temple that was created not just to wor- ship, but to awe. Even today, it stands as the crown jewel of the 34 rock-cut caves of Ellora, a UNESCO World Heri- tage Site. It is the largest monolithic rock-cut temple in the world. “ Carved from a single massive rock cliff in Maharashtra’s Ellora Caves, the Kailasa Temple (Cave 16) is one of the greatest feats of ancient Indi- an architecture. Dedicated to Lord Shiva, this 8th-century marvel was commissioned by Rashtrakuta king Krishna I around 756–773 CE, and it continues to astonish histori- ans, architects, and travelers alike with its scale, symmetry, and skill. The Kailasa Temple is not just an architectural marvel, but a symbol of devotion and de- termination—a temple that was created not just to wor- ship, but to awe. Visiting Kailasa Temple feels like entering a mythical world carved out of stone—a time- less fusion of art, faith, and ingenuity

SAFAR / 22 SAFAR / 23 Palazzo Contarini del Bovolo: Venice’s Spiral Treasure Tucked away in a quiet corner near Campo Manin in Venice, Italy, the Palazzo Contarini del Bovolo is a hidden architec- tural gem best known for its elegant and whimsical spiral staircase, the Scala Contarini del Bovolo. Built in the late 15th century for the noble Contarini fam- ily, the palace blends Re- naissance, Gothic, and Vene- tian-Byzantine architectural elements. The name “Bovolo”, meaning snail in Venetian dialect, refers to the spiral (helical) shape of the stunning external stair- case that winds gracefully up the facade in a series of arches and columns. This cylindrical tower not only gave the palace its name but also offers a panoramic view of Venice from the top—an unexpected reward for those who discover it off the usual tourist trail. Though relatively modest compared to Venice’s grand palazzi, Palazzo Contarini del Bovolo charms visitors with its fairytale-like elegance, making it a favorite for pho- tographers, history lovers, and curious travelers. Restored and open to the public, this “snail-shell” stair- case stands as a poetic sym- bol of Venetian ingenuity and charm, proving that even in a city of masterpieces, beauty sometimes hides in the most unexpected corners. It was once part of the residence of the Contarini family, a powerful Venetian clan. “ Tucked away in a quiet corner near Campo Manin in Venice, Italy, the Palazzo Contarini del Bovolo is a hidden ar- chitectural gem best known for its elegant and whimsical spiral staircase, the Scala Contarini del Bovolo. Built in the late 15th century for the noble Contarini family, the palace blends Renaissance, Gothic, and Venetian-Byzan- tine architectural elements. The name “Bovolo”, mean- ing snail in Venetian dialect, refers to the spiral (helical) shape of the stunning ex- ternal staircase that winds gracefully up the facade in a series of arches and col- umns. This cylindrical tower not only gave the palace its name but also offers a panoram- ic view of Venice from the top—an unexpected reward for those who discover it off the usual tourist trail. Restored and open to the public, this “snail-shell” stair- case stands as a poetic sym- bol of Venetian ingenuity and charm, proving that even in a city of masterpieces, beauty sometimes hides in the most unexpected corners.

SAFAR / 24 SAFAR / 25 Temple of Debod: An Ancient Egyptian Gift in the Heart of Madrid In the middle of Madrid, far from the deserts of Egypt, stands an unexpected treasure: the Temple of Debod. This ancient Egyptian temple, over 2,200 years old, was orig- inally built in southern Egypt, near Aswan, and was dedicated to the gods Amun and Isis. In 1960, when the construction of the Aswan High Dam threat- ened to submerge many an- cient sites, UNESCO launched an international campaign to save them. As a gesture of gratitude for Spain’s help in relocating the Abu Simbel tem- ples, Egypt gifted the Temple of Debod to Spain in 1968. Carefully dismantled, trans- ported, and rebuilt stone by stone, the temple now stands in Parque del Oeste, near the Royal Palace of Madrid. Surrounded by reflecting pools and offering sweeping views of the city, it creates a surreal fu- sion of ancient Egyptian history and Spanish urban life. Visitors can explore the tem- ple’s inner chambers, view ancient hieroglyphs, and learn about its original purpose through small exhibits inside. At sunset, the temple is partic- ularly magical—its silhouette mirrored in the water, glowing golden under the Spanish sky. The Temple of Debod is not only a rare piece of Egyptian architecture outside Egypt, but also a peaceful, reflective spot that connects two ancient cultures across continents and time. It was once part of the residence of the Contarini family, a powerful Venetian clan. “ PIn the middle of Madrid, far from the deserts of Egypt, stands an unexpected treasure: the Temple of Debod. This ancient Egyptian temple, over 2,200 years old, was originally built in southern Egypt, near Aswan, and was dedicated to the gods Amun and Isis. In 1960, when the construction of the Aswan High Dam threatened to submerge many ancient sites, UN- ESCO launched an international campaign to save them. As a gesture of gratitude for Spain’s help in relocating the Abu Simbel temples, Egypt gifted the Temple of Debod to Spain in 1968. Carefully dismantled, transported, and rebuilt stone by stone, the temple now stands in Parque del Oeste, near the Royal Palace of Madrid. Surrounded by reflecting pools and offering sweeping views of the city, it creates a surreal fusion of an- cient Egyptian history and Spanish urban life. Surrounded by reflecting pools and offering sweeping views of the city, it creates a surreal fusion of ancient Egyptian history and Spanish urban life. Visitors can explore the temple’s inner chambers, view ancient hieroglyphs, and learn about its original purpose through small exhibits inside. At sunset, the temple is particularly magical—its silhouette mirrored in the water, glowing golden under the Spanish sky.

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SAFAR / 28 SAFAR / 29 Aït Benhaddou: Morocco’s Timeless Desert Citadel Rising from the ochre sands along the former caravan route between the Sahara and Marrakech, Aït Benhaddou is one of Mo- rocco’s most iconic ksars—a fortified village made of mudbrick (pisé) that looks as if it were sculpted by the desert itself. Located in the foothills of the High Atlas Mountains, this UNESCO World Heritage Site is a stunning example of traditional southern Moroccan architecture. Aït Benhaddou has stood for centuries, once serving as an important stop for traders carrying salt, gold, and spices across North Africa. The ksar is a maze of narrow alleys, earthen houses, watchtow- ers, and a granary at the top, all built using age-old Berber techniques. Despite its age, many of its structures remain intact, while a few families still live within its walls today. The dramatic beauty of Aït Benhaddou has also made it a favorite filming location for Hollywood. It has featured in classics like Gladiator, Game of Thrones, The Mummy, and Lawrence of Arabia—its crum- bling towers and sunbaked ram- parts offering a picture-perfect backdrop. Visiting Aït Benhaddou feels like walking into a living paint- ing—a place where time slows, history breathes, and architec- ture melts into the landscape. Whether you’re a history lover, a film buff, or a curious travel- er, this desert fortress offers a truly unforgettable glimpse into Morocco’s storied past. Many famous films, including Gladiator and Game of Thrones, were shot here. “ Rising from the ochre sands along the former caravan route between the Sahara and Marrakech, Aït Ben- haddou is one of Morocco’s most iconic ksars—a fortified village made of mudbrick (pisé) that looks as if it were sculpted by the desert itself. Located in the foothills of the High Atlas Mountains, this UNESCO World Heritage Site is a stunning example of traditional southern Moroc- can architecture. Aït Benhad- dou has stood for centuries, once serving as an important stop for traders carrying salt, gold, and spices across North Africa. The ksar is a maze of narrow alleys, earthen hous- es, watchtowers, and a gra- nary at the top, all built using age-old Berber techniques. Despite its age, many of its structures remain intact, while a few families still live within its walls today. Visiting Aït Benhaddou feels like walking into a living painting—a place where time slows, history breathes, and architecture melts into the landscape.

SAFAR / 30 SAFAR / 31 Library of Celsus: Ephesus’ Eternal Symbol of Knowledge Standing tall amid the ruins of Ephesus in modern-day Tur- key, the Library of Celsus is one of the most remarkable mon- uments of the ancient Roman world. Built in 117 CE, it was commis- sioned by Gaius Julius Aquila to honor his father, Tiberius Julius Celsus Polemaeanus, a Roman senator and governor of Asia. More than just a library, it was also a mausoleum, with Celsus buried in a crypt beneath the structure—a rare honor, as Ro- man custom typically forbade burials within city limits. The library once housed over 12,000 scrolls, making it one of the largest libraries of the ancient world, rivaling those in Alexandria and Pergamum. The facade is its most striking feature—ornately carved, with two tiers of columns, statues in niches, and a clever architectural illusion that makes the structure appear grander than it is. Statues representing Wisdom, Virtue, Knowledge, and In- telligence (Sophia, Arete, En- noia, and Episteme) adorn the façade, symbolizing the values the library embodied. Visiting the Library of Celsus today is like walking through a forgotten chapter of histo- ry—where columns whisper stories of scholars, scrolls, and ancient wisdom under the Ana- tolian sun. The façade is famous for its illusion of grandeur, with columns arranged to make it appear taller. “ Standing tall amid the ruins of Ephesus in modern-day Turkey, the Library of Celsus is one of the most remark- able monuments of the ancient Roman world. Built in 117 CE, it was commissioned by Gaius Julius Aquila to hon- or his father, Tiberius Julius Celsus Polemaeanus, a Ro- man senator and governor of Asia. More than just a library, it was also a mausoleum, with Celsus buried in a crypt beneath the structure—a rare honor, as Roman cus- tom typically forbade burials within city limits. The library once housed over 12,000 scrolls, making it one of the largest libraries of the ancient world, rivaling those in Alexandria and Pergamum. The facade is its most strik- ing feature—ornately carved, with two tiers of columns, statues in niches, and a clev- er architectural illusion that makes the structure appear grander than it is. Statues representing Wis- dom, Virtue, Knowledge, and Intelligence (Sophia, Arete, Ennoia, and Episteme) adorn the façade, symbolizing the values the library embodied.

SAFAR / 33 Hidden Plates A: Authentic Flavors Beyond the Tourist Trail Kuremal Mohan Lal Kulfi, Delhi In the lanes of Chawri Bazaar, this century-old shop is famed for its stuffed fruit kulfis, where seasonal fruits like mango or orange are filled with creamy frozen kulfi. Blue Lassi Shop, Varanasi Near Manikarnika Ghat, this tiny shop stirs up over 80 flavors of lassi, served in earthen cups and topped with fruit and nuts. Mylai Karpagambal Mess, Chennai A no-frills eatery in Mylapore, this mess has served crispy dosas, tamarind rice, and frothy filter coffee since 1953. Shree Thaker Bhojanalay, Mumbai Tucked into a quiet lane, this eatery serves one of Mumbai’s most authentic Gujarati thalis, complete with farsan, dal, rotis, and sweets. SAFAR / 32

SAFAR / 35 THE ROAD KINGSRocky & Mayur: India’s Ultimate Highway Food Heroes• Democratized Food Travel: Shifted focus from fine din- ing to accessible, everyday eateries, inspiring millions to explore local flavors. • Cultural Connectors: Used food as a bridge to tell the stories of ordinary people, their traditions, and regional identities across India. THE HIGHWAY ON MY PLATE LEGACY For over a decade, Rocky Singh and Mayur Sharma – affectionately known simply as Rocky & Mayur – took Indian television by storm with their groundbreaking show, High- way On My Plate. Eschewing fancy restaurants and culinary critics, these two larger-than- life personalities embarked on a gastronomic pilgrimage across India’s vast and varied landscape. Their mission? To unearth the authentic, often overlooked, culinary treasures found in dhabas, roadside eateries, small town cafes, and bustling local markets. They weren’t just food critics; they were passionate storytell- ers, cultural ambassadors, and genuine enthusiasts whose infectious camaraderie made every meal an adventure. What set Rocky & Mayur apart was their raw, unfiltered ap- proach. There were no scripts, no pretense, just two friends with an insatiable appetite for good food and even better stories. They plunged headfirst into every culinary experience, from the spiciest curries in the South to the rich butter chicken of Punjab, the fresh seafood of the coasts, and the unique flavors of the North- east. They didn’t just review food; they engaged with the cooks, the owners, and the patrons, bringing to life the history, traditions, and passion behind every dish. Their genuine curiosity and re- spectful interaction fostered a deeper appreciation for India’s diverse food heritage, proving that the most profound cultur- al insights often begin with a shared meal on the side of a highway.” For over a decade, Rocky Singh and Mayur Sharma – affection- ately known simply as Rocky & Mayur – took Indian television by storm with their ground- breaking show, Highway On My Plate. SAFAR / 34

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SAFAR / 38 SAFAR / 39 Hidden Plates B: Authentic Flavors Beyond the Tourist Trail Hawker Chan, Singapore What began as a humble hawker stall serving soya sauce chicken rice earned the title of the world’s first Michelin-starred street food. Trattoria da Enzo al, Rome, Italy In Trastevere’s cobbled alleys, this rustic trattoria plates up Rome’s classics—carbonara, amatriciana, and cacio e pepe. El Huequito, Mexico City, Mexico A tiny taquería tucked into a busy street, it’s famous for its juicy tacos al pastor, carved straight from the spit. Open since 1959, it remains a local legend for quick, flavorful bites. Pojangmacha Stalls, Seoul, South Korea Bright orange tent stalls line Seoul’s streets, serving spicy tteokbokki, skewers, and soju late into the night. These humble kiosks capture the soul of Kore- an street food and nightlife in its purest form.

SAFAR / 41 THE UNFILTERED PALATE Anthony Bourdain and the Art of Eating the World Anthony Michael Bourdain (1956- 2018) was not a travel guide; he was a cultural anthropologist with a spork. The former bad-boy chef who famously bared the brutal realities of the kitch- en in his memoir Kitchen Confidential, Bourdain pivoted from fine dining to the world’s street corners and back alleys, where he discovered the true heart of every place he visited. His groundbreaking television shows, No Reservations and Parts Unknown, ripped up the rulebook on food and travel television. He didn’t just show us what to eat; he showed us why it mat- tered. Bourdain’s philosophy was simple yet profound: food is a passport to under- standing humanity. He believed that the most important meal was not served on a white tablecloth but shared with a lo- cal, often in a cramped, humble setting. He wasn’t a tourist seeking a perfect meal; he was a storyteller seeking a raw, unfiltered connection. He showed us that a bowl of steaming pho in Hanoi, a slow-roasted pig in Sardinia, or a simple ceviche in Lima was more than just sustenance. It was a reflection of history, a celebration of community, and a window into the soul of a culture.” • Raw Cultural Storytelling: He embraced messy, authen- tic experiences over sanitized tourist traps, focusing on the people and their stories be- hind the food. • Breaking Down Barriers: By sharing meals with everyone from presidents to street ven- dors, he used food to break down cultural and political barriers • The Unfiltered Journey: He inspired travelers to seek out discomfort and adventure, en- couraging a legacy of curiosity and human connection. BOURDAIN’S LEGACY SAFAR / 40

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SAFAR / 44 SAFAR / 45 Just 18 km from Jaisalmer, in the heart of the Thar Desert, lies the mysterious and abandoned village of Kuldhara—a place frozen in time, shroud- ed in legends and silence. Once a thriving settlement of Paliwal Brahmins in the 13th century, Kuldhara was suddenly deserted overnight in the early 1800s, leav- ing behind crumbling sandstone homes, empty streets, and an enduring mystery. According to local lore, the powerful and cor- rupt Diwan of Jaisalm- er, Salim Singh, fell in love with the village chief’s daughter and threatened to seize her by force. Rather than submit to his demands, the entire population of Kuldhara and 83 nearby villages vanished overnight, leaving no trace. It’s believed they placed a curse on the village, ensuring that no one could ever settle there again. Archaeologists suggest other reasons too—like water scarcity or eco- nomic decline—but the ghostly legends con- tinue to attract curious travelers and paranor- mal enthusiasts. Today, Kuldhara is maintained as a heritage site by the Rajasthan government. Visitors can walk through the aban- doned ruins, explore temple remains, and feel the eerie calm of a village that once thrived with life and now echoes only with the wind. Whether you believe the curse or not, Kuld- hara offers a haunt- ingly beautiful glimpse into Rajasthan’s rich folklore, history, and desert heritage—mak- ing it a must-visit for the offbeat explorer. Kuldhara Village: Rajasthan’s Abandoned Ghost Town Deep beneath the surreal landscapes of Cappadocia, Turkey, lies one of the world’s most astonishing ancient marvels — the Derinkuyu Under- ground City. Carved out of soft volcanic rock, this multi-level city plunges over 60 meters deep and once housed up to 20,000 people, complete with stables, kitchens, schools, churches, storage rooms, wells, and even ventilation shafts. Believed to have been started by the Phry- gians in the 8th–7th centuries BCE and expanded by early Christians, Derinkuyu served as a refuge during invasions, reli- gious persecution, and wars. The city is cleverly de- signed — with narrow corridors to slow down invaders, heavy stone doors to seal passages, and a complex venti- lation system that still works today. One of its most fas- cinating features is a long tunnel connecting it to another under- ground city, Kaymakli, about 9 kilometers away — showcasing the strategic genius of its builders. Deep beneath the surreal landscapes of Cappadocia, Turkey, lies one of the world’s most astonishing ancient marvels — the Derinkuyu Under- ground City. Carved out of soft volcanic rock, this multi-level city plunges over 60 meters deep and once housed up to 20,000 people, complete with stables, kitchens, schools, churches, storage rooms, wells, and even ventilation shafts. Derinkuyu Underground City: A Hidden World Beneath Cappadocia

SAFAR / 46 SAFAR / 47 Hidden off the east- ern shore of Pohnpei Island in Micronesia, Nan Madol is one of the world’s most fascinating and mys- terious archaeological sites. Often dubbed the “Atlantis of the Pacific”, Nan Madol is a mas- sive ancient city built entirely on a lagoon, consisting of nearly 100 man-made islets constructed from giant basalt stones and coral platforms, all intercon- nected by a network of canals. Dating back to as early as the 8th or 9th centu- ry, Nan Madol was the ceremonial and politi- cal seat of the powerful Saudeleur dynasty, which ruled Pohnpei until the 17th centu- ry. This was not just a royal capital—it was a sacred space believed to be home to priests, chiefs, and important rituals. The city includ- ed residences, tombs, temples, and admin- istrative buildings, all built with enormous stone slabs some weighing over 20 to 50 tons—stacked without mortar. The construction of Nan Madol remains an unsolved mystery. How did ancient islanders transport and position such massive stones without modern tools or technology? Local legends speak of magic and levitation, while researchers remain puzzled by the logisti- cal genius required to build such a complex over open water. Now largely aban- doned and reclaimed by nature, Nan Madol is a UNESCO World Heritage Site, yet remains largely un- touched by mass tour- ism. Quiet, eerie, and awe-inspiring, it stands as a haunting reminder of a lost civilization—a floating city built on ambition, belief, and stone, echoing with se- crets of the Pacific’s an- cient past. Nan Madol: The Mysterious Venice of the Pacific Located in the small village of Abhaneri near Jaipur, Chand Baori is one of the deepest and most visually stunning stepwells in the world. Built during the 8th–9th century by King Chanda of the Nikumbh dynasty, this stepwell was not only a vital source of wa- ter in the arid region but also a place of community, rest, and ritual. Chand Baori descends an astonishing 13 stories into the earth, with 3,500 perfectly symmetrical steps ar- ranged in a mesmeriz- ing geometric pattern. The well plunges over 100 feet deep, and the temperature at the bottom is significantly cooler than at the sur- face, offering natural relief from the scorch- ing desert heat. Adjacent to the step- well is the Harshat Mata Temple, dedi- cated to the goddess of joy and happiness, hinting that Chand Baori was part of a larger spiritual and social complex. The architectural preci- sion and ingenuity of Chand Baori reflect the engineering bril- liance of ancient India, where utility met art. Though leser-known compared to Rajasthan’s palaces and forts, Chand Baori has gained interna- tional attention and has even featured in films like The Dark Knight Rises and The Fall. Located in the small village of Abhaneri near Jaipur, Chand Baori is one of the deepest and most visually stunning stepwells in the world. Built during the 8th–9th century by King Chanda of the Nikumbh dynasty, this stepwell was not only a vital source of wa- ter in the arid region but also a place of community, rest, and ritual. Chand Baori – Abhaneri: Rajasthan’s Geometric Wonder

SAFAR / 48 Hidden deep within the rainforests of northern Guatemala, Tikal stands as one of the greatest cities of the ancient Maya civilization. Once a thriving political, spir- itual, and cultural center, Tikal flourished between 200 to 900 CE, with its peak popu- lation estimated at over 100,000 people. Today, Tikal is a UNESCO World Heritage Site, renowned for its towering pyramids, sprawling palaces, ceremonial plazas, and a vast network of causeways, all surround- ed by dense jungle teeming with howler monkeys, toucans, and vibrant flora. The most iconic structures include: Temple I (Temple of the Great Jaguar) – A 47-meter pyramid believed to be the tomb of King Jasaw Chan K’awiil, Temple II (Temple of the Masks) – Facing Temple I across the Great Plaza, Temple IV – The tallest pyr- amid in the Maya world, rising over 70 meters and offering a breathtaking view above the rainforest canopy, The Lost World Complex – A cere- monial center dating back to the Preclassic period Tikal was a powerhouse in Maya geopoli- tics, frequently at war with rival cities like Calakmul. Its decline, possibly due to over- population, resource depletion, and inter- nal strife, led to its abandonment by the 10th century. Visiting Tikal today is a pro- found experience—climbing ancient stone steps be- neath towering ceiba trees, hearing jungle sounds echo through once-grand temples, and standing where Maya astrono- mers, warriors, and kings once walked. It’s a place where nature and his- tory merge, revealing the deep wisdom and complexity of an ancient civilization that still captures the imagination. Tikal: The Majestic Maya Metropolis of Guatemala Spread across a surreal boulder-strewn landscape along the Tungabhadra River, Hampi in Karnataka is a hauntingly beau- tiful reminder of India’s rich and power- ful past. Once the capital of the mighty Vijayanagara Empire in the 14th to 16th centuries, Hampi was one of the wealthi- est and largest cities in the world during its peak, famed for its palaces, temples, mar- kets, and scholarly centers. Today, Hampi is a UNESCO World Heri- tage Site, known for its vast complex of temples, ruins, and monuments, many of which still reflect the intricate Dravidian architecture and a deep sense of spiritual and artistic grandeur. Some of Hampi’s most iconic highlights include: The Virupaksha Tem- ple, still active and dedicated to Lord Shiva, The Vijaya Vit- tala Temple, famous for its stone chariot and musical pillars, The Lotus Mahal and Queen’s Bath, blending Indo-Islamic archi- tecture, The majestic Elephant Stables, The Hampi Bazaar, once a thriving market of jewels, horses, and spices Surrounding the ruins are massive granite boulders, mystical hilltops, and ancient riv- er crossings that add to Hampi’s timeless charm. As the sun sets behind the rust-col- ored rocks, the entire landscape glows, bringing history to life in a way few places can. A visit to Hampi is not just a historical jour- ney—it’s a deeply atmospheric experience, where stone whispers tales of kings, battles, devotion, and lost glory under the open skies of Karnataka. Hampi: The Lost Empire of Karnataka SAFAR / 49

SAFAR / 50 SAFAR / 51 Hidden off the east- ern shore of Pohnpei Island in Micronesia, Nan Madol is one of the world’s most fasci- nating and mysterious archaeological sites. Often dubbed the “Atlantis of the Pacific”, Nan Madol is a mas- sive ancient city built entirely on a lagoon, consisting of nearly 100 man-made islets constructed from giant basalt stones and coral platforms, all intercon- nected by a network of canals. Dating back to as early as the 8th or 9th century, Nan Ma- dol was the ceremonial and political seat of the powerful Saudeleur dynasty, which ruled Pohnpei until the 17th century. This was not just a royal capital—it was a sacred space believed to be home to priests, chiefs, and important rituals. The city includ- ed residences, tombs, temples, and admin- istrative buildings, all built with enormous stone slabs some weighing over 20 to 50 tons—stacked withoutmortar. The construction of Nan Madol remains an unsolved mystery. How did ancient islanders transport and position such massive stones without modern tools or technology? Takeda Castle: The Mysterious Venice of the Pacific Hidden off the east- ern shore of Pohnpei Island in Micronesia, Nan Madol is one of the world’s most fasci- nating and mysterious archaeological sites. Often dubbed the “Atlantis of the Pacific”, Nan Madol is a mas- sive ancient city built entirely on a lagoon, consisting of nearly 100 man-made islets constructed from giant basalt stones and coral platforms, all intercon- nected by a network of canals. Dating back to as early as the 8th or 9th century, Nan Ma- dol was the ceremonial and political seat of the powerful Saudeleur dynasty, which ruled Pohnpei until the 17th century. This was not just a royal capital—it was a sacred space believed to be home to priests, chiefs, and important rituals. The city includ- ed residences, tombs, temples, and admin- istrative buildings, all built with enormous stone slabs some weighing over 20 to 50 tons—stacked withoutmortar. The construction of Nan Madol remains an unsolved mystery. How did ancient islanders transport and position such massive stones without modern tools or technology?

Nestled in the roll- ing countryside of Puglia in southern Italy, Alberobello is like stepping into a storybook. This UNESCO World Her- itage Site is famous for its enchanting trulli—whitewashed, dry-stone huts topped with conical stone roofs that look straight out of a fan- tasy film. The trulli of Alber- obello date back to the 14th century, built by peasants using limestone boulders from the region. Their unique design—constructed without mortar—was likely encouraged to evade property taxes imposed by the King- dom of Naples. If inspectors came, the structures could be quickly dismantled and rebuilt later. Many of these trul- li feature symbols painted in white on their domes, often with religious or astrological mean- ings. Their interiors, surprisingly cool in the summer and warm in winter, are compact but charm- ing, with some now transformed into boutique shops, cafes, and even cozy guesthouses. The two main districts, Rione Mon- ti and Aia Piccola, house over 1,500 trulli and offer nar- row, winding streets filled with local crafts and stunning photo spots. Despite growing tourism, Alberobello has preserved its authentic charm and continues to cele- brate its rural heri- tage and architectur- al uniqueness. Nestled in the roll- ing countryside of Puglia in southern Italy, Alberobello is like stepping into a storybook. Alberobello: The Fairytale Town of Trulli in Puglia, Italy On the Mediterranean coast of Libya, east of modern-day Tripoli, lies one of the best-preserved Roman cities in the world: Leptis Magna. Once a bustling center of trade, culture, and power, Leptis Magna was founded by the Phoenicians around 7th century BCE, but rose to prominence under Roman rule, especially during the reign of Emperor Septimius Severus, who was born there. At its peak in the 2nd and 3rd centuries CE, Leptis Magna rivaled the grandeur of cities like Carthage and Alexandria. The city boasted monumental architecture includ- ing: The stunning Severan Basilica. A vast amphitheater facing the sea, Elabo- rate public baths, A bustling forum, The grand Arch of Septimius Severus, marking the emperor’s contributions What makes Leptis Magna unique is how well-preserved its ruins are— carved columns, mosaics, statues, and entire streets remain intact, providing an unparalleled window into Ro- man urban planning and daily life. Despite its historical importance, Leptis Magna remains largely untouched by mass tourism, in part due to Libya’s recent polit- ical instability. Yet, for those who do reach it, walking through Leptis Magna is like stepping into a living Roman city, where time seems to have paused over two mil- lennia ago. A true treasure of North Africa, Leptis Magna stands as a powerful re- minder of Rome’s reach— and a hauntingly beautiful testament to civilization, de- cline, and rediscov- ery. Leptis Magna: Libya’s Forgotten Roman Jewel SAFAR / 53SAFAR / 52

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SAFAR / 56 SAFAR / 57 Punjab The attire of Punjab is a dazzling tapestry woven with history, artistry, and an irrepressible zest for life, perfectly embodying the state’s “Balle Balle” spirit. At the heart of this fashion is “Phulkari”, which literally means ‘flower work.’ This vibrant embroidery tech- nique, traditionally executed by women using silk floss thread (called ‘pat’) on hand-spun cotton cloth (khaddar), is an ancient craft handed down through generations. Phulkari features intricate geometric patterns alongside floral, animal, and daily-life motifs, typically using the darning stitch from the reverse side of the fabric. It is famously seen dazzling on “Patiala suits”the pleated, voluminous trousers with a loose-fitting ‘kurti’ (tunic) creating a comfortable yet regally stylish look for festivals and weddings. Complementing this vibrant clothing is the iconic “Punjabi Jutti”, a handcrafted leather footwear, often flat-soled and interchangeable (no left or right distinc- tion). Traditionally adorned with metallic ‘zari’ or ‘tilla’ (gold/silver) embroidery, and now frequently embellished with beads, mirrors, or Phulkari work, the ‘jutti’ adds a final, flamboyant touch to the ensemble. For women, the look is often completed with a decorative hair ac- cessory called a “Parandi”, a colorful thread extension braided into the hair to add length and volume. When this festive fashion takes to the dance floor, fueled by the electrifying beats of “Bhangra”, it transforms into a dynamic cultural statement that truly dances. Himachal Pradesh The heart of Himachal Pradesh’s textile tradition lies in its response to the cold, notably with the famous “Kullu shawls” and “Pattu” wraps. Kullu shawls, interna- tionally recognized, feature vibrant, multi-colored “geo- metrical patterns” woven meticulously onto borders, a craft refined over centuries. The Pattu is a heavier, rectangular woolen fabric, traditionally worn by wom- en and fastened with ornate silver pins called ‘bhoom- ni’. These handwoven layers utilize rich materials like local sheep wool, Merino, and Pashmina, representing a deep, practical connection to the Himalayan climate and local resources. Complementing these essential woolen textiles is the distinct “silver jewelry” of the Pahari people. These heavy, artistic ornaments are not just for adornment but also carry significant cultural weight. A prime example is the “Chandrahaar”, a striking layered neck- lace of silver plaques and coins, often highlighted with beautiful blue and green enameling. Accessories like the ‘Chak’ (head ornament) and intricate earrings fur- ther demonstrate the skill of local silversmiths (suna- irs). The boldness of the silver jewelry creates a com- pelling, vibrant contrast against the simple, handspun wool, celebrating the artistic heritage of the hills.

SAFAR / 58 SAFAR / 59 Gujarat Gujarat’s cultural identity is a stunning display of vibrancy, most famously expressed through its traditional arts and festive spirit. This western state is a global center for exquisite textile craftsman- ship, where centuries-old skills result in magnificent fabrics. Key among these are “Kutch embroidery”, renowned for its vibrant mirror work (abhlas) and intricate stitches practiced by communities like the Rabaris, and “Bandhej” (tie-dye), where thousands of tiny, hand-tied knots create mesmerizing dotted patterns on cloth. These art forms, which are integral to traditional attire like the “chaniya choli” and men’s ‘kediyu’, transform fabric into a living canvas of heri- tage. The pinnacle of this joyful culture is the “Garba” dance, an energetic folk performance central to the “Navaratri” festival. During these nine nights, people across the state decked out in their finest Kutch-em- broidered and Bandhej-printed clothes, often acces- sorized with traditional “tribal silver bangles” participate in mass circular dances around a symbolic earthen pot. This collective celebration of rhythmic movement, bright colors, and intricate handiwork demonstrates that Gujarat’s rich heritage is not just preserved in muse- ums, but is actively and joyfully “worn on its sleeves” in daily life and during grand festivals. Maharashtra Maharashtra’s textile and leather heritage is a tes- tament to the state’s powerful history and artisanal brilliance, centered around the iconic “Nauvari saree” and the royal “Paithani silk”. The Nauvari, meaning “nine yards,” is distinctively draped in a dhoti-style, with- out a petticoat, historically allowing Maratha women freedom of movement—even on the battlefield. This unique, trouser-like drape symbolizes strength and grace, making it a quintessential garment for weddings, festivals like Gudi Padwa, and cultural dances such as Lavani. In contrast to the Nauvari’s warrior-like drape is the regal “Paithani”, the “Queen of Silks,” handwoven with pure silk and intricate gold or silver ‘zari’. Originating in Paithan, these brocade sarees are renowned for their magnificent pallus featuring nature-inspired mo- tifs like peacocks (Morbangadi), parrots (Munia), and lotuses, often displaying an iridescent, kaleidoscopic effect from interlocking two different colored threads. Complementing this majestic attire are the humble yet globally recognized “Kolhapuri chappals”. These handcrafted, vegetable-tanned leather sandals, originating from Kolhapur, are celebrated for their simple T-strap design, durability, and a rustic charm that adds a perfect, grounded touch to both traditional and mod- ern Maharashtrian ensembles.

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SAFAR / 62 SAFAR / 63 West Bengal West Bengal’s sartorial identity is famously woven into its diverse sarees, epitomizing both daily grace and grand celebration. The “Tant saree”, woven from fine cotton, is the quintessential lightweight drape, known for its crisp finish, broad borders, and dec- orative ‘pallav’ (end piece), making it perfect for the region’s humid climate. In stark contrast stands the luxurious “Baluchari silk saree”, a masterpiece of weaving artistry, which is recognized by its elaborate ‘pallav’ depicting scenes from Hindu epics and my- thology, often drawn from the terracotta temples of Bishnupur. These two textiles showcase the range of Bengal’s handloom heritage, from the comfortable and accessible to the opulent and labor-intensive. The cultural expression of Bengali women is com- pleted with specific colors and symbolic accessories. The “red and white saree” such as a white Garad or Korial with a striking red border is an essential visu- al marker, particularly during Durga Puja and other auspicious occasions, symbolizing purity (white) and married life/fertility (red). This attire is traditionally paired with the “Shakha Pola” bangles: white bangles (shakha) made from conch shells and red bangles (pola) traditionally made from red coral. Worn by married women, these ornaments are deep-rooted symbols of marital bliss and prosperity, creating a bold, vibrant statement that encapsulates the re- gion’s rich traditions. Assam The “Mekhela Chador” is the vibrant traditional attire of Assamese women, embodying the rich weaving heritage of Assam. This elegant two-piece garment features the “Mekhela”, a skirt-like lower portion, and the “Chador”, a long drape worn over the upper body. It is often meticulously hand-woven from As- sam’s prized indigenous silks: the rare, golden “Muga” (known for its lustrous durability), the warm and soft “Eri”, and the brilliant white “Pat” (Mulberry) silk. Far more than just clothing, the Mekhela Chador is a symbol of cultural identity, worn with pride during festivals like Bihu and especially by brides, often being passed down as a family heirloom for generations. The true heritage of Assam’s textiles is woven into the exquisite motifs and designs of the Mekhela Chador. These patterns are not printed but painstakingly craft- ed into the weave itself, frequently taking inspiration from the region’s abundant nature and culture. Tradi- tional designs feature representations of flora, fauna, and local symbols such as the ‘Japi’ (traditional conical hat), ‘Moyur’ (peacock), ‘Gos’ (tree), and intricate geo- metric shapes. This skillful artistry and connection to the natural environment make each Mekhela Chador a unique work of art, preserving the ancient traditions and mastery of Assamese handloom weaving in every fold and shimmering thread.

SAFAR / 64 SAFAR / 65 Kerala The “Kasavu Saree”, often called the Kerala Saree or “Sett Mundu” (when a two-piece set), is the definitive ‘Vibrant Thread of Heritage’ from Kerala. Instantly recognisable by its pure white or off-white handloom cotton body and magnificent golden zari border, it embodies the state’s cultural philosophy of “luxury wrapped in modesty.” The white colour tradition- ally symbolises purity, simplicity, and peace, while the gold thread, or ‘Kasavu,’ represents prosperity, wealth, and divinity. This elegant balance makes it the quintessential attire for all auspicious occasions, including weddings, temple visits, and most famous- ly, the Onam harvest festival. Beyond its striking aesthetic of understated ele- gance, the Kasavu saree is a powerful cultural em- blem that transcends societal differences in Kerala. Historically, the width of the gold border was even a subtle indicator of one’s social standing, as the zari threads were once made of pure gold. The tradition- al way of wearing it, often with a simple, high-necked blouse, complemented by fresh jasmine flowers or a tied hair bun, and minimal gold temple jewellery, completes a vision of classic Malayali grace. Today, while the style has seen modern adaptations, the handwoven Kasavu remains a timeless signature of Kerala’s rich textile legacy and its deep-rooted tradi- tions. Tamil Nadu The cultural vibrancy of “Tamil Nadu” finds its most opulent expression in the “Kanchipuram silk saree” (often called Kanjivaram). Woven in the temple town of Kanchipuram, this handloom silk is celebrated for its exceptional quality, rich pure mulberry silk, and the substantial use of ‘Zari’ a silk thread intricately twisted with silver and dipped in liquid gold. What distinguishes a genuine Kanchipuram silk saree is the dramatic contrast between the saree’s body and its broad, heavy border and ‘pallu’ (the decorative end piece). The body and the border are often woven separately and then meticulously interlocked using a strong, almost invisible joint known as the ‘korvai’ technique, creating a textile that is prized not just for its beauty but its legendary durability, often making it a cherished family “heirloom”. The designs woven into Kanchipuram silks are a vibrant chronicle of the region’s heritage, frequently drawing inspiration from the architecture, sculptures, and mythological narratives found in South Indian temples. Traditional motifs include the “Gopuram” (temple towers), the “Mayil” (peacock), the “Yanai” (elephant), and floral elements like the “Kamalam” (lotus) or “Maanga” (mango). This deep connection to culture and tradition is amplified by the classic styling: the saree is frequently paired with heavy, or- nate “gold jewelry”, which complements the gold Zari work, and an abundance of fresh, fragrant “jasmine flowers” (malligai) woven into the hair, creating a uni- versally recognized and powerful image of traditional Tamil elegance and auspiciousness for weddings and major festivals.

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Sadeli Craft Gujarat, Surat Sadeli is a wooden micro mosaic work, where in tiny thin pieces of any kind of wood are cut with geometric precision. These shaped wood- cuts are fitted on a flat surface that can be anything from natural wood to particle board and even plywood. The fitting involves a spe- cific method and only someone who has been involved in this art for considerable amount of time can get the art of placement right. Peti- gara Marquetry, at present, is carried through only in Surat city of Gujarat, India. But its beau- ty took the artefacts to various parts of India and abroad. However, this aesthetically pleas- ing art was imbibed by us Indians, it did not originate here. This art was flourished by the Iranians as Khattan-kari, adopted in India as Petigara Marquetry Art it is also known as The Sadeli Work of Surat. This art was developed in India since 16” century in the southern parts of Gujarat. Today, There are only two Master Artist for this craft in India Mr. Jitendra Petigara (Nation- al Awardee 2005) & his son Rakesh Petigara (State Awerdee 2022, Kamala Awardee 2021, Interior Designer). This Art is now languishing Art in India. It is on the verge of extension and high time to preserve this art. Sanjhi Crafts Uttar Pradesh,Mathura ‘Sanjhi’ is an ancient and extremely intricate traditional art of paper stenciling that originat- ed in the temples of Mathura, Uttar Pradesh, the sacred land of Lord Krishna. The term is believed to derive from the Hindi words sajja (decoration) or sanjh (dusk), the time when the art was traditionally revealed. The craft began as a devotional practice, with stencils used to create elaborate, colorful, and ephemeral ran- goli patterns on temple floors and raised earth- en platforms (vedi), often depicting scenes from the life of Krishna, such as his Leela (divine play) among the cows and gopis, surrounded by com- plex floral and natural motifs like peacocks and the Kadamba tree. The artistry lies in the masterful technique of cutting the stencils. Using only small, cus- tom-made, fine scissors, the artisan meticulous- ly cuts away designs from handmade paper, with no prior sketching, to achieve delicate, lace-like precision. Traditionally, these stencils were placed on flat surfaces or even still water (Jal Sanjhi) and then coated with dry pigments, flowers, or colored powders to leave the final, inverse design. While its original purpose was ritualistic and fleeting, today, the Sanjhi stencils themselves are preserved and framed as intri- cate standalone artworks, with contemporary artisans applying the fine paper-cutting tech- nique to lampshades, wall hangings, and other decorative pieces. SAFAR / 68 SAFAR / 69

Shola Pith Craft West Bengal, Odisha “Shola Pith” is an exquisite, traditional craft primarily from West Bengal, India, often re- ferred to as ‘herbal ivory’ due to its delicate, milky-white appearance. The art uses the soft, spongy inner core (pith) of the ‘Shola plant’ (Aeschynomene aspera), an aquatic shrub that grows wild in marshy, waterlogged areas. This lightweight, pure, and sacred material is deeply interwoven with Bengali religious and social life. The hereditary artisans, known as ‘Malakars’ (meaning ‘makers of garlands’), transform the pith into intricate, often ceremo- nial, artifacts using only simple tools like knives and scissors. The craft is essential for major Bengali rituals and festivals. The most famous products in- clude the ornate headgear worn by the bride (mukut) and groom (topor) in traditional wed- dings, as well as the lavish decorations (daak- er shaaj) for the idols of Goddess Durga and other deities during festivals like Durga Puja. Beyond ceremonial items, Malakars also cre- ate intricate decorative pieces such as flowers, garlands, peacock boats, and models of deities, showcasing an elegant and highly skilled carving technique passed down through generations. Toda Embroidery Tamil Nadu, Nilgiri Hills “Toda embroidery”, or “Pukhoor,” is an intricate, centuries-old art form practiced by the Toda tribal women in the Nilgiri Hills of Tamil Nadu, India. It is unique for its use of the reverse darn- ing stitch and the exclusive use of black and red woolen threads on a white cotton base, creating dense geometric patterns that closely resemble woven fabric. The craft is performed without any frame, with artisans meticulously counting the threads of the base cloth to achieve perfect symmetry and precision. The motifs are deeply inspired by nature featuring the horns of their sacred buffa- loes, sun, moon, and local flora. This reversible embroidery is traditionally used to adorn the ‘Poothkuli’ (shawls) worn by the community, serving as a profound marker of Toda cultural identity. The art was granted a Geographical Indication (GI) tag, underscoring its unique traditional value. The colors themselves are symbolic: white represents purity, red symbol- izes youth, and black signifies maturity. Histori- cally, this embroidery was restricted to the Toda community’s clothing, but today, it has been adapted for broader commercial use to sustain the craft. SAFAR / 71SAFAR / 70

Longpi Pottery Manipur, Longpi Village “Longpi Pottery”, locally known as ‘Longpi Ham’, is an ancient and distinctive craft orig- inating from the Longpi villages in Manipur, practiced primarily by the Tangkhul Naga community. This traditional earthenware is renowned for its characteristic black color, rustic matte finish, and remarkable durability. A key distinguishing feature is that the artisans create every piece entirely by hand, without the use of a potter’s wheel, a technique passed down through generations. Historically, these vessels held cultural and spiritual significance, being essential for cooking, storing food, and use in tribal rituals. The pottery’s unique composition comes from a mixture of ground black serpentine stone and weathered reddish-brown clay, both sourced locally. The labor-intensive process involves manually shaping the mixed material and then firing the pots in a traditional bon- fire. The final black color and lustrous finish are achieved by polishing the hot, fired pottery with a specific local leaf. Today, Longpi pot- tery is prized globally for its natural, non-toxic properties and has adapted to produce a wide array of products, from traditional cookware to contemporary decorative and serving items. Wrought Iron Craft Chhattisgarh, Bastar “Bastar wrought iron craft”, also known as ‘Loha Shilp’ or ‘Pitva Art,’ is a unique and ancient art form originating from the Bastar region of Chhattisgarh, India. Practiced primarily by the Gond and Maria tribal communities, this craft evolved from the essential work of ironsmiths who historically provided the tribes with agri- cultural tools, hunting implements, and arrow- heads. The region’s rich iron ore reserves al- lowed these ironsmith communities to flourish, and over time, their utilitarian skill beautifully transformed into a distinct form of folk art. The craft has received a Geographical Indication (GI) tag, recognizing its deep traditional and regional significance. The technique involves masterfully shaping and hammering recycled iron scrap without the use of casting or molding. Using simple, local- ly-made tools like the ‘Dhukna Sar’ (furnace) and ‘Muthli’ (hammer), artisans repeatedly beat the hot metal to achieve the desired intricate shapes and details. The resulting artifacts, which range from solid to hollow figures, often depict the traditional life, folklore, and religious beliefs of the tribes. Popular motifs include various animal and bird figures (such as deer and elephants), local deities like the horse-riding Budha Dev, dancing tribal figures, and tradition- al lamps (Deepak), making the craft a stunning expression of Bastar’s vibrant culture and con- nection to nature. SAFAR / 73SAFAR / 72

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Shona Stone Sculpture Zimbabwe, Africa Shona stone sculpture is a vibrant, modern art movement originating in Zimbabwe, gaining in- ternational acclaim since the mid-20th century. The Shona people have an ancient tradition of stone working, but the contemporary style was nurtured starting in the late 1950s by figures like Frank McEwen. Artists primarily use local stones such as ‘Serpentine’ and ‘Opal Stone’, believing their role is to “release the spirit” residing within the rock through direct carving. The nation of Zimbabwe itself derives its name from the Shona phrase “dzimbadzamabwe”, meaning “house of stone,” underscoring the deep historical connection to the medium. The art’s themes are deeply rooted in Shona culture, spirituality, and everyday life, focusing on ancestral spirits, folklore, and the relation- ship between the physical and spiritual worlds. Common subjects celebrate the family unit, featuring the ‘Mother and Child’ and honoring elders. Key artists who established the move- ment include “Joram Mariga” (the father of Shona sculpture), “Nicholas Mukomberanwa”, and “Henry Munyaradzi”. Their work achieved global recognition through major exhibitions at venues like the Museum of Modern Art in New York and the Musée Rodin in Paris. Scagliola Florence, Italy Scagliola is an art form that originated in ‘It- aly’ during the 17th century as a less costly, yet highly effective, substitute for marble and pietra dura inlay. This composite material is made from refined plaster, animal glue, and natural pigments, which are kneaded into a paste that hardens into an extremely durable, marble-mimicking surface. Its name comes from the Italian word scaglia (meaning ‘chips’), which refers to the selenite gypsum used as its base. The laborious technique involves incising pat- terns into a plaster base and filling them with the colored scagliola paste, followed by pains- taking scraping and polishing to achieve a bril- liant sheen. Used for architectural elements like columns and luxury items such as tabletops, it is primarily executed using either the traditional scagliola (thick paste) or the marezzo scagliola (liquid paste) methods. The craft spread across Europe during the Baroque and Rococo periods, becoming particularly favored in churches and palaces throughout Germany, Austria, and Brit- ain. The ability of Scagliola to create seamless columns and vast decorative panels, free from the joint lines of real stone, made it highly desir- able to architects like Robert Adam. SAFAR / 77SAFAR / 76

Lacquerware Myanmar, Southeast Asia Lacquerware is a highly esteemed art form in East Asia, with traditions dating back several millennia in countries like China, Japan, and Korea. The material is derived from the sap, or resin, of the ‘lacquer tree’ (Toxicodendron vernicifluum), which cures in a humid environ- ment to form an exceptionally hard, durable, and glossy finish that is resistant to water and heat. The creation of decorative lacquerware is an intricate, time-consuming process involving the painstaking application of many thin layers of lacquer. East Asian artisans developed a wide array of distinctive decorative techniques over the centuries. Notable Chinese methods include ‘Carved Lacquer (diaoqi)’, where a thick layer is built up and then carved into three-dimen- sional designs, and ‘Engraved Gold (qiangjin)’, which involves incising fine lines into the sur- face and filling them with gold powder. Jap- anese craftsmanship is particularly famous for ‘Maki-e’, a technique where gold or silver powder is sprinkled onto wet lacquer to create elaborate surface designs. These luxury objects continue to be prized globally for their meticu- lous craftsmanship and lasting beauty. Croatian Lacemaking Croatia, Europe Croatian lacemaking is an esteemed tradition that dates back to the Renaissance and was rec- ognized by “UNESCO in 2009” as an Intangible Cultural Heritage of Humanity. This craft is pre- served today in several regional centers, each with its own distinctive style and technique. The three most famous varieties are ‘Pag lace (Paška čipka)’, ‘Lepoglava lace’, and ‘Hvar lace’. Histori- cally, lacemaking provided rural women with a crucial source of additional income, and the skill has been passed down through generations, often maintained and taught in convents and special schools. The three main styles showcase diverse meth- ods and materials. ‘Pag lace’, from the island of Pag, is a needle-point lace renowned for its firm texture, “spider web” patterns, and geometric motifs. ‘Lepoglava lace’, originating from north- ern Croatia, is a delicate ‘bobbin lace’ made with flax or cotton thread and is recognized for its stylized floral, geometric, and animal pat- terns; it had a “Golden Age” between the two World Wars, winning international gold medals. Most uniquely, ‘Hvar lace’ is exclusively made by Benedictine nuns from fine, white threads painstakingly extracted from the core of fresh agave (aloe) leaves, making it the only agave lace in the world. SAFAR / 79SAFAR / 78

Pasto Varnish Colombia, South America Pasto Varnish, or Barniz de Pasto, is a pre-His- panic decorative art form unique to the city of Pasto, Colombia, with over 800 years of history. This indigenous technique involves decorating wooden objects with thin, colorful sheets of resin extracted from the buds of the rare mopa-mopa tree. The craft is specialized and cannot be mechanized, relying on the so- phisticated knowledge and skills passed down through generations. The production is a meticulous process involv- ing harvesting, woodworking, and decorative varnishing. Artisans clean, cook, and dye the mopa-mopa resin before stretching it into flexible sheets. These thin sheets are then intricately cut and layered onto the carved wooden objects, creating a permanent, mosa- ic-like design fixed with heat. Due to threats to the mopa-mopa resource, the technique was inscribed on the UNESCO List of Intangible Cul- tural Heritage in Need of Urgent Safeguarding in 2020. Wayang Kulit Puppetry Java and Bali, Indonesia Wayang Kulit is an ancient and traditional form of shadow puppet theatre, primarily found in the cultures of Java and Bali, Indonesia, with a history stretching back to at least the 10th century. The term itself means “shadows from hide,” referring to the intricate, flat, and artic- ulated puppets crafted from buffalo hide and mounted on bamboo sticks. These performanc- es are typically held at night, where a single master puppeteer, the ‘dalang’, manipulates the figures behind a translucent screen, casting elaborate shadows under the light of a lamp. A performance by the ‘dalang’ is an all-encom- passing dramatic experience. The puppeteer not only manipulates hundreds of puppets but also provides all the voices, narration, and dia- logue for the show, which can traditionally last from midnight until dawn. The stories are gen- erally drawn from Hindu epics like the ‘Ramayana’ and the ‘Mahabharata’, or local Javanese legends, and are accompanied by the complex melodies of a ‘gamelan’ orchestra. Rec- ognized for its elaborate puppets and musical styles, Wayang Puppet Theatre was proclaimed a Masterpiece of the Oral and Intangible Heri- tage of Humanity by UNESCO in 2003. SAFAR / 81SAFAR / 80

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Somnath Jyotirlinga Gujarat, India. Somnath Jyotirlinga • Location: Prabhas Patan, Veraval, Gujarat. • Significance: The first Jyotirlinga, believed to be self-mani- fested. • Legend: Moon god (Soma) worshipped Shiva here to regain his lost shine due to a curse. Shiva blessed him and restored his glow. • Highlight: Rebuilt multiple times after invasions; stands strong near the Arabian Sea. • Tourist Highlights: Somnath Temple, beachside views, Som- nath Museum, Triveni Sangam. • Best Time to Visit: October to March (cooler weather). • Peak Season: During Mahashivratri and Kartik Purnima. • Nearby Attractions: Gir National Park, Diu lsland. Mallikarjuna Jyotirlinga Andhra Pradesh, India. Mallikarjuna Jyotirlinga • Location: Srisailam, Andhra Pradesh. • Significance: Symbolizes Shiva and Parvati’s presence together. • Legend: Shiva followed his son Kartikeya here, and Parvati accompanied him. They stayed here as Mallikarjuna (Shiva) and Bhramaramba (Parvati). • Highlight: Located on the picturesque Nallamala Hills. • Tourist Highlights: Bhramaramba Temple, Srisailam Dam, Ropeway, Nallamala Forest. • Best Time to Visit: September to February. • Peak Season: Mahashivratri and Karthika Masam (Nov-Dec). • Nearby Attractions: Akkamahadevi Caves, Pathala Ganga. SAFAR / 84 SAFAR / 85

Mahakaleshwar Jyotirlinga Madhya Pradesh, India. Mahakaleshwar Jyotirlinga • Location: Ujain, Madhya Pradesh. • Significance: The only south-facing (Dakshinamukhi) Jyotirlinga. • Legend: Appeared to protect devotees from a demon, Dushana. Associated with time and death. • Highlight: Famous for Bhasma Aarti using sacred ash. • Tourist Highlights: Bhasma Aarti, Kal Bhairav Temple, Shipra River. • Best Time to Visit: October to March. • Peak Season: Mahashivratri, Kumbh Mela (every 12 years). • Nearby Attractions: Indore, Omkareshwar, Mandu. Omkareshwar Jyotirlinga Madhya Pradesh, India. Omkareshwar Jyotirlinga • Location: Omkareshwar lsland, Narmada River, MP. • Significance: Island shaped like (Om), sacred symbol. • Legend: Shiva appeared after a great war between Devas and Danavas. • Highlight: One of two Jyotilingas in MP; sce- nic river island setting. • Tourist Highlights: Om-shaped island, boat rides, Siddhanath Temple. • Best Time to Visit: October to March. •Peak Season: Mahashivratri and Shravan month (July-August). • Nearby Attractions: Maheshwar, Mandu. SAFAR / 87SAFAR / 86

Baidyanath Jyotirlinga Jharkhand, India. Baidyanath Jyotirlinga • Location: Deoghar, Jharkhand. • Significance: Known as the “healing” İyotirlinga. • Legend: Ravana worshipped Shiva here to gain pow- ers; offered his heads one by one. Shiva appeared as a doctor (Vaidya) to heal him. • Highlight: Associated with the powerful Shravani Mela festival. • Tourist Highlights: Shravani Mela, Naulakha Mandir, Tapovan Caves. • Best Time to Visit: October to March. • Peak Season: Shravani Mela (July-August) massive pilgrimage. • Nearby Attractions: Basukinath Temple Bhimashankar Jyotirlinga Maharashtra, India. Bhimashankar Jyotirlinga • Location: Sahyadri Hills near Pune. • Significance: Source of the Bhima River. • Legend: Shiva killed the demon Tripurasura here to protect the sages. • Highlight: Surrounded by dense forest; part of a wildlife sanctuary. • Tourist Highlights: Forest sanctuary, water- falls, trekking. • Best Time to Visit: October to February. • Peak Season: Shravan month, Mahashivratri. • Nearby Attractions: Matheran, Lonavala, Kar- jat. SAFAR / 89SAFAR / 88

Rameshwar Jyotirlinga Tamil Nadu, India. Ramanathaswamy Jyotirlinga • Location: Rameswaram, Tamil Nadu. • Significance: Lord Rama installed the linga be- fore crossing to Lanka. • Legend: Rama worshipped Shiva to absolve the sin of killing Ravana. • Highlight: Temple has India’s longest temple corridor. • Tourist Highlights: Long temple corridors, 22 holy water wells, Dhanushkodi ruins. • Best Time to Visit: October to April. • Peak Season: Mahashivratri, Navratri, and Karthigai Deepam. • Nearby Attractions: Dhanushkodi, Pamban Bridge, APJ Abdul Kalam Memorial. Kedarnath Jyotirlinga • Location: Kedarnath, Himalayas. • Significance: One of the holiest pilgrimages; part of Char Dham. • Legend: Pandavas sought forgiveness from Shiva after the Kurukshetra war. He eluded them and manifested as the linga here. • Highlight: Accessible only during summer months due to snow. • Tourist Highlights: Trekking, snow-capped peaks, Panch Kedar circuit. • Best Time to Visit: May to June and September to October. • Closed During: November to April due to snowfall. • Peak Season: Char Dham Yatra (May-June), Mahashivratri. • Nearby Attractions: Badrinath, Tungnath, Rudraprayag. Kedarnath Jyotirlinga Uttarakhand, India. SAFAR / 91SAFAR / 90

Ghrishneshwar Jyotirlinga Maharashtra, India. Grishneshwar Jyotirlinga • Location: Near Ellora Caves, Maharashtra. • Significance: The last and smallest Jyotirlinga. • Legend: Shiva appeared to bless a devoted woman named Grishna. • Highlight: Close to UNESCO World Heritage Ellora caves. • Tourist Highlights: Ancient temple carvings, Ellora and Ajanta Caves. • Best Time to Visit: October to February. • Peak Season: Mahashivratri and Shravan month. • Nearby Attractions: Ellora Caves (UNESCO), Daulatabad Fort, Aurangabad city. Kashi Vishwanath Jyotirlinga Uttar Pradesh • Location: Varanasi (Kashi), Uttar Pradesh. • Significance: Considered the spiritual capital of India. • Legend: Shiva himself lives in Kashi and protects it from destruction. • Highlight: Said to grant moksha (liberation) to devotees. • Tourist Highlights: Ganga Aarti, boat rides, ghats, spiritu- al atmosphere. • Best Time to Visit: October to March. • Peak Season: Dev Deepawali, Mahashivratri, and Kartik month. • Nearby Attractions: Sarnath, Banaras Hindu University. Uttar Pradesh, India. Kashi Vishwanath Jyotirlinga SAFAR / 92 SAFAR / 93

Trimbakeshwar Jyotirlinga Maharashtra, India. Trimbakeshwar Jyotirlinga • Location: Near Nashik, Maharashtra. • Significance: Source of the Godavari River. • Legend: Sage Gautama worshipped Shiva to bring the river down to earth. • Highlight: Unique three-faced linga repre- senting Brahma, Vishnu, and Shiva. • Tourist Highlights: Brahmagiri Hill trek, Go- davari origin, ancient architecture. • Best Time to Visit: September to March. • Peak Season: Shravan month, Kumbh Mela (every 12 years). • Nearby Attractions: Nashik vineyards, Pan- chavati, Anjneri Hills. Nageshwar Jyotirlinga Gujarat, India. Nageshwar Jyotirlinga Gujarat • Location: Near Dwarka, Gujarat. • Significance: Protector from poison, fear, and evil. • Legend: Shiva defeated demon Daruka here and saved his devotee. • Highlight: Home to a massive 80-ft stat- ue of Lord Shiva. • Tourist Highlights: Giant Shiva statue, Dwarka beach, temple town. • Best Time to Visit: October to March. • Peak Season: Mahashivratri and Jan- mashtami. • Nearby Attractions: Dwarkadhish Tem- ple, Bet Dwarka. SAFAR / 95SAFAR / 94

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