As a little boy, Anukraman Singh’s fascination with all-wheel driving began during his accompaniment to his kinsmen on their periodic Shikaar (hunting) expeditions. Thereafter as a schoolboy, he would witness off-road motorcycling that would take place next to his horse riding classes in Jaipur’s Lilly Pool grounds. Purchase of the iconic Gypsy led to Anukraman’s participation in official motor rallies. His keen observation of the sport as a participant led him to a quick grasping of its organisation, and over time, Anukraman became a sought-after organiser of motor rallies. And just like that, the idea of Western Motorsports (WM) materialised into Anukraman’s professional dream of organising competitive rallies, adventure, and expeditionary motorsport events.

Ten years down the line, WM has brought countless people together in their shared passion for motorsports and adventure. Anukraman says, “We have brought people outdoors, our activities promote lesser-known places and expose them to new businesses. We have also been instrumental in educating our participants in traffic sensibilities, and have also encouraged them to uphold a more considerate attitude towards nature by refraining from littering and promoting the principles of recycling and reuse. We also host small plantation drives as a part of our events. In all, my goal is to promote Rajasthan as a prime destination for adventure tourism that is nature-friendly in its approach.”

Serving as the first generation into this business, Anukraman admits to this factor as contributing to a professional handicap in terms of experiential ineptitude. Discussing the multitude of challenges that he encountered along the way, he expounds, “There were struggles at every step. Finding sponsors, lobbying, and most crucially, being the first one to set up such an enterprise was difficult, as there is no example to follow or learn from. The challenge of building an adventure community too was very large, especially at a time when motorbike clubs were becoming redundant.”

That said, Anukraman and his team helped revive the motorsport scenario with some innovative ideas and founded a motorbike riding club called Jeypore Bike Riders (JBR) in 2011. The accessible and inclusive nature of JBR started to capture the attention of several bike enthusiasts and photographers and hence, gained greater publicity and membership. With its constant support towards motorcyclists, JBR is on its way to launching its very own motorcycle racing team this year and intends to extend its gambit to the world of cycling and running as well.

With an impressive average of six to seven events per year, WM has begun to work on a motorcycle racing venue project in Bagru, which is situated in the outskirts of Jaipur. Anukraman also intends on conducting workshops for the skilled preparation of adventure vehicles of two as well as four wheels for travel and competitive motorsport.

In hindsight, Anukraman shares the advantage that he enjoyed as one of the first pioneers of motorsport revival. “Being the first one to run such an enterprise gives you the freedom to act as you do not get compared to anyone, he says. As Anukraman looks ahead, he is excited to see WM growing and diversifying. He concludes by highlighting his future goals, “We started as a motorsport company, but now, besides competitive sports, WM is also into adventure tours, camping, bike rides, camping equipment rentals and a supporter of other outdoor sports events such as cycling and running.”

Costuming and fashion have always had an emotional connection with my life. Especially the vintage designs that belong to the era of the Raj and post-independence India of the sixties and seventies— like the florals from France in the finest chiffons, imported for the Maharanis by the leading textile ateliers of Europe.

Princess Brijeshwari Kumari of BhavnagarMaharani Radhika Raje of Baroda

Indeed, this is one fashion that cultured families from Punjab and Rajputs had in common. Their love for floral chiffons— just like the ones our mothers wore, printed by Indian mills on Chamundi chiffon, which at that time was, regarded the finest— was unmatched. I recall how my mother, a graduate from Lady Shri Ram, the batch of 1961 would drape her chiffon, fold it carefully and conserve it forever. How all her silk Banarsi borders would find their way to these saris as her bid to conserve.

It’s in this context that I felt a rush of nostalgia down my spine when I read the erudite Yuvrani of Dhenkanal, Meenal Singh Deo’s post on Facebook reminiscing of swatches that she saw first at her ancestral home: The Wankaner Palace. She posted, “A Penchant for Chiffons! Chiffon is a French word meaning cloth or rag. Tradition of Indian Royalty and style identity. Silk chiffons were available in Europe since the 1700s. Very expensive, signifying status. In 1958 nylon chiffon was invented, polyester and nylon made it more affordable and accessible to many more. Indira Raje, Princess of Baroda, later, Maharani of Cooch Behar is believed to have been one of the first to convert the six yards of fabric into high fashion Sarees. She customized her sarees in mills set up in Lyon, France.

These swatches were my favorite pass time as a child! I treasure them till date! They had come to Wankaner Palace from Paris at the time of my aunt’s marriage to choose for their trousseau. There were bright shades on one side and pastels in the same print ,on the other side. Each numbered by hand. A shade card too. These swatches were very expensive and often circulated to other Royal families as was requested by the ‘Parisian Pure Silk French Chiffon’ companies in their letter accompanying the sample swatches. A saree in those days cost about 30 -40 Rupees!”

Florals indeed are embedded in Princely culture and it never ceases to amaze how a royal woman, whether from Vijaynagram or Kashmir wears her chiffons through sultry summer or chilly winters. A velvet cape, an embroidered pashmina, or a rare Toosh added to the look in winter to keep her warm. While there are many brands run by the nobility that creates chiffons, the recent birth of www.thesilkstory.com, based in Kolkatta and founded by a family of noble lineage has taken the Yuvranis and Maharanis by storm. Besides making its way to the wardrobes of fashionistas residing in the various Indian metropolises.

Created from the finest chiffons, 100% pure, these florals bring back the Raj era with total aplomb. Digitally printed they recreate the aura of chintz, the mystique of French floral. Recreated in a true blue vintage color palette, each flower emulates the brush strokes of European masters who could create magic with the Indian rose, the Himalayan hydrangea, the pristine jasmine and the vibrant lavender.

Easy in fall and rich in design, these sarees, along with the few tone-on-tone organzas they create, relive the sheer glamor immortalized by Maharanis of yore by their equally beautiful descendants.

Lord Macaulay may surely have been successful in Anglicising India (to some extent) and uprooting us from our core culture. But that did not stop us from embracing our concept of Sanatan Dharma, which is the core of Hinduism. The concept of Hindutva has been sadly misunderstood by the western world, but there has been zero tolerance to make a mockery of it.

Repeater pocket watch Champlevé enamel portrait depicting Maharaja Bhupinder Singh of Patiala, enamel coat of arms on the reverse, white enamel dial, 18k gold.\

We all have heard spicy stories of how Maharaja Jai Singh of Alwar converted his file of Rolls Royce to garbage carriers but there are so many more ostentatious sagas of Indian Royalties flaunting their European possessions.

Luckily the torchbearers of our culture, princely India had fought tooth and nail to preserve our heritage since Britishers colonised us. They had learnt from the Mughal Raj of three and a half centuries, what had to be done to do so.

Essayed here are a few noteworthy articles by European couturiers like Van Cleef & Arpels, Baccarat, F. & C. Olser, and H. Beiler, Heidelberg that became part of the Indian Maharaja’s bespoke possessions.

The trading of European goods in India began after a bilateral trading treaty between James the 1st and Mughal Emporer Jahangir in the early 16th century, another such treaty was signed in the middle of the 16th Century via a trading treaty between the King of France, Louis the 14th ( who commissioned the famed Palace of Versailles) and Mughal Emperor Shah Jahan via his ambassadors. After the Dutch and before the English, the French East India Company was established in certain ports of India. The trade route made it easy for the royals to adorn themselves with priceless clothing, jewellery, and artefacts.

With the rise of European power in India, ownership of such goods assumed a new meaning. Anything imported from Europe was considered aristocratic and such buyers were considered a cut above the rest. It was seen as a symbol of power and majesty. European high-end couturiers exploited the trading routes and developed a special clientele in India, comprising aristocrats, royalty, and the elite. Back then, made to order was the norm.

The Crown (a.k.a the British Monarch) encouraged such business activities. They had a two-fold advantage: the taste in western goods reflected their political loyalties, and this business created a vast clientele for Europe, as a means to expand their business and exploit more opportunities in the east.

With the introduction of Railways, Indian Princes commissioned luxurious private carriages, which were constructed in the west and finished in India. Amongst the finest of these was the railway car designed by Eckart Muthesius for Yashwant Rao Holkar II of Indore. Patiala, Baroda, Cooch Behar, Jaipur, Bikaner, Mysore, Gwalior, Indore, Udaipur, Kapurthala, and Nawanagar were some of the Royal houses who were perpetual buyers of western fineries.

The influence on indigenous architecture too was immense. One such example is the Lukshmi Vilas Palace designed by Major Charles Mant. Indo–Saracenic in its architectural ideology, its mystical arches and parapets followed a hybrid style that married Mughal, Rajput, and various European ornamental traditions. The largest private residence in the world and three times the size of Buckingham Palace, the palace is generously adorned with stone, glass, and crystal artefacts. Of special mention being the stained glass of Lord Ram flanked by Lakshman and Lord Hanuman that fills the ballroom.

Another example of Indian Maharajas ordering India-inspired products from European studios is the reverso Krishna wrist watch of Maharaja Sawai Man Singh II of Jaipur by Swiss watchmaker Jaeger-LeCoultre. Maharana of Mewar Sajjan Singh ordered a crystal miniature throne atop with an idol of Lord Ganesh. These small but unique ideas symbolise the open-heartedness with which the Indian monarchs embraced European design marrying it with strong indigenous, mythological symbols.  

Julfi SwariRohini Rana at Baber MahalThe cover of the book, ‘The Rana Cookbook’An array of typical Rana non-vegetarian dishes.Rohini Rana

Typical vegetarian dishes

Nepali spices

The Ranas of Nepal who ruled this Himalayan country for over 104 years, giving the nation nine statuesque Prime Ministers have a close, historic link to India, especially the faction of the family that owes its lineage to the master statesman Chandra Shumsher Jung Bahadur Rana. A forward thinker, he was responsible for the abolition of slavery and the Nepal-Britain Treaty of 1923, which recognised Nepal as an independent nation. His present-day scions, residing in the stunning Baber Mahal, Kathmandu, parts of which is now a luxury hotel, have one thing in common. Many of their daughter-in-laws’ hail from princely India and most of their daughters are married into great Maratha families of Jaisalmer, Jammu & Kashmir, Gwalior, Patna, and Bolangir etc. While the daughters blended into their families’ culture, the girls from India too have adapted to the Rana way of life. 

One such bahu is the petite and pretty Rohini Rana, married to General Gaurav Shamsher Jung Bahadur Rana who served as the Chief of Army Staff in Nepal. Hailing from Awagarh, Uttar Pradesh she has written a delectable book, chronicling for posterity some of the most iconic Rana recipes that she learnt after coming to this hill kingdom 45 years ago. ‘Rana Cookbook: Recipes from the palace of Nepal’ is not just a visual treat but a masterpiece in precision, making cooking these heritage dishes a veritable cakewalk. 

The Ranas, known for their European influenced lifestyle, the tiaras, the wedding gowns, the decadent high teas and silver service dinners, held within their Stucco structured palaces inspired by French and British architecture, also created a rich culinary heritage, one that thrives through the ages within their homes and the many Indian homes where the daughters got married. Hence, an Anda Sandko can even be found in Jhabua where one of the daughters got married. And Meghna Singh Deo, Rohini’s daughter, married to Kalikesh Singh Deo in Patna Bolangir has taught the famous Julfi Swari to her cooks in Odisha. (A jalebi fried in desi ghee, it is encased in wafer-thin pooris made from white flour and served as a savoury at breakfast and high tea) 

For Rohini, a voracious cook herself, who enjoys, “rustling up every kind of meal,” the inspiration to cook the indigenous cuisine came from her husband who is such an epicure. “For me, food became a talking point in my new home where everyone was as much a foodie as the family in India.” Rohini recalls spending idyllic times in the Awagarh summer home in Nainital where tables were, “piled up with food and the family lived from one meal to the other.” 

It was her husband’s nanny Chiniya Champa (whose father had worked in Baber Mahal) who “lovingly initiated me into the kitchen secrets of the Rana household. She painstakingly taught me each dish with all its nuances.” As a result, as many as 90 dishes in the book are the ones she learnt from Chiniya and the rest 40 are a product of Rohini’s culinary journey. Each recipe, however, is researched from the kitchen legacy that thrived during the regime of the nine Rana Prime Ministers who ruled the nation from 1846 to 1951.  

Rana cuisine is a coming together of Mughal influences and Nepalese cooking techniques. History suggests that post the mutiny, the Ranas brought in khansamas from Lucknow who worked closely with the Hindu chefs of Baber Mahal to create unique cooking styles. While the Mughals brought in the tradition of ornately embellishing the food, the Nepalese kept to their core technique of stir-frying everything to later temper it on top with Himalayan herbs like jimbu (Aalium Chives), timur (Sichuan pepper), and tama (fermented bamboo shoots). “In India, our curries are richer as we start each dish by frying the masalas in oil and ghee. In Nepal on the contrary, most dishes are either stir-fried or steamed and then giving a ‘jhol’ (tempering) with sharp mustard oil and various Himalayan herbs and spices.”

The book delves into the culinary history of Rohini’s family as she goes on to share immaculate, easy to cook recipes of some classic dishes. She breaks her book into carnivorous cooking stories in chapters titled Bandel, Chara, Macha, and Jangali Janawar etc. She talks as much of vegetarian cooking traditions in chapters that list the lentil preparations of Nepal, their tarkaris, achars and Guliyos (sweet dishes). Indeed a treasure for food lovers, ‘Rana Cookbook: Recipes from the palace of Nepal’ is a manifestation of Rohini’s belief and that of many other royals that the kitchen culture of the kings must be as preserved as their palaces and jewels. This is the real gem of living legends that thrive still within their families and must be preserved with tender loving care.

From the chiselled finesse of the rock-cut caves at Udaygiri and Khandagiri to the sculpted splendour of the Sun Temple at Konark, the architectural marvels scattered across Odisha have continued to bear testimony to the dexterity of the local craftsmen for centuries. While religious influences encouraged an impressive array of structures in the state, local artisans wielded their magic in equal measure to erect a magnificent constellation of palaces belonging to the princely states of Odisha. 

Entrance of Dhenkanal Palace

Sailashree Palace at Bolangir

Raja Parija, the author of ‘Royal Heritage of Odisha’

Entrance of Nilgiri Palace that earlier functioned as a lighthouse

Locally known as ‘Rajbati’ or the King’s abode, each of these palaces exhibit a unique design sensibility complementing the topography of the location. Perched on the slopes of the Paniohala hills, Dhenkanal Palace is the only regal structure in Odisha incorporated with the features of a fort and a palace. It has a blooming natural garden on the second floor of the citadel. 

Be it the century-old still functional sun-dial at Baramba Palace that is strategically located to receive apt sunlight throughout the year or the intricately crafted ‘Chatris’ at Bolangir Palace, the intriguing tales about the structural brilliance of these palaces were waiting to be explored. And then a native bureaucrat Raja Parija curated the coffee table book ‘Royal Heritage of Odisha.’   

“The legacy of these palaces extends way beyond their walls of brick and mortar,” says Parija, who is currently posted as the Special Secretary cum Director of SC & ST Development Department, Government of Odisha. “Since royal families were the most loyal patrons of their region’s art and culture, I have made a conscious effort to explore these palaces beyond their architectural glory and delve into the fascinating stories associated with their socio-cultural context.”

The author believes that every palace has its own unique story to tell, and he has left no stone unturned while researching this book to bring forth the choicest glimpses of the bygone era. Covering a distance of over 10,000 kilometres across the state over several years, Raja Parija has collected first-hand information from the members of the royal families to compile a priceless treasure of captivating stories.

Yuvrani Meenal Jhala Singh Deo of Dhenkanal had narrated how Maharaja Bhagirath Mahindra Bahadur had chanced upon the location of the present palace in the 1830’s and got inspired to build the ‘rajbati’ on this spot after being impressed by the bravery of a dove that was valiantly defending itself against a hawk on this land of the brave.

He believes that every palace has a unique story, and left no stone unturned to bring forth the choicest glimpses of the bygone era in this book. Parija has collected first-hand information from the members of the royal families to compile a priceless treasure of captivating stories. Yuvrani Meenal Jhala Singh Deo of Dhenkanal had narrated how Maharaja Bhagirath Mahindra Bahadur had chanced upon the location of the present palace in the 1830s and got inspired to build the ‘rajbati’ on this spot after being impressed by the bravery of a dove that was valiantly defending itself against a hawk on this land of the brave. Raja Jayant Mardaraj of Nilgiri had shared how the towering entrance gate of the palace was originally constructed as a lighthouse during World War II by the British forces. The former lighthouse now stands peacefully as a part of the palace complex.  

Another slice of riveting history was revealed by Yuvraj Vijayendra Chandra Deb about how the ‘Singha Dwar’ or the Lion Gate of Talcher Palace was built by his ancestor Raja Ram Chandra Birabar Harichandan in the 1870’s under a famine relief scheme to provide food and employment with dignity to the people of this region. When a scanty monsoon followed by casual export of food grains under the British regime broke the backs of the locals, the benevolent ruler rose to the occasion and resurrected the socio-economic structure of this area.

“Exploring such inspirational stories from the past not only create a sense of pride, but they also inculcate a feeling of territorial loyalty towards our tangible heritage,” feels Parija. Piecing together one story after another has certainly evolved his deep sense of admiration towards Odisha’s regal history. He exclaims,“Heritage is our legacy from the past, what we live with today, and pass on to our coming generations. We must learn to appreciate what we have before time makes us appreciate what we had.”

Immerse into the thicketed world of Achintya Singh, a fast-evolving naturalist and wildlife photographer. Raised by a forest officer parent, Achintya’s interaction with the wild began when he was only 4-year-old. Ever since, he has volunteered for wildlife rescue programs, awareness drives, and educational projects in collaboration with the Wildlife Institute of India, the Corbett Foundation and the Turtle Survival Alliance. Although at 26 he associates most with his cause as a naturalist, Achintya’s accompanying camera lens kit opens up a fascinating world from the tiniest insects to big cats and everything in between. 

Q. Tell us about your species of fascination?

A. I am fascinated by reptiles and the smaller world. I shoot everything, from insects to birds to big cats. 

Q. Which is your preferred wildlife photography destination?

A. India’s Western ghats and the lesser-explored rainforests of India are no less than a visual treat to the eyes. They are also home to not so common animals and some very rare and endemic species live in these beautiful rainforests. New species of frogs amongst other wildlife are being discovered to date, which proves how biodiverse and unexplored these habitats are. 

Q. What is the most challenging aspect of wildlife photography?

A. Not knowing whether you will get to see your target species at all. Several times while looking for wildlife to photograph, we don’t even see our target species, leave alone taking good photos, but that’s all part of the game, however, when we do see our subjects in favourable light or atmosphere, the adrenaline is just sky-high. 

Q. What is your favourite part of the genre?

A. Finding the animal while looking for something rare or unique, be it snow leopards in the Himalayas or a critically endangered frog in Western ghats, there’s a story behind finding the animal that makes each shot unique in itself. It is easy to spot animals in captivity, such as zoos and biodiversity parks, but that wouldn’t be as wonderful an experience as finding and photographing species in their natural habitat. Sometimes, we experience very thrilling moments in terms of animal behaviour. I once saw a leopard take down a newborn Nilgai calf and offer it to her sub-adult cubs. Another time I saw a snow leopard call out her cubs in a snow-filled gorge in the high-altitude Himalayas. The whole experience of visiting different national parks, forests, and habitats makes the genre so interesting. 

Q. Tell us about your current lens kit?

A. I am a Canon user, I currently use the following equipment : 

Camera bodies: Canon 1DXmark 2, Canon 5d mark4, and Canon 7d. 

Lenses: Canon 600 mm f4, Canon200-400 mm f4, Sigma 150-600 mm f5.6, Sigma 70-300 mm f3.5 Canon 70-200 mm, Tokina 11-16 f2.8, Tokina 10-17 fisheye, Tamron 90 mm f2.8 macro, Canon 18-135 mm, and Canon 50 mm. 

I use different camera bodies and lenses depending upon the situation and the kind of image I want to capture. I also use GO PRO HERO9. 

Q. Which is the best wildlife photography kit in the market today?

A. There are new cameras from Sony and mirrorless cameras that have changed the way photographers are shooting. Investing and getting new gear is a good thought, but acquiring skill and perception is even better. New technology keeps coming as time passes by, but as a photographer, I really like the current set of gear I own and aim to master my equipment to the fullest. 

Q. Are mirrorless cameras a major breakthrough in the photography world?

A. Mirrorless cameras have changed the game for wildlife photographers but many of these camera bodies are compact and not as sturdy as DSLRs. I’ve seen a lot of mirrorless cameras die and fail on rough use on field days. Like I always say, no matter what equipment you shoot or own, you must learn how to use it to its maximum capability and take good care of your camera gear, there’s nothing like “bad camera”. It’s just a myth, it’s more to do with who’s shooting rather than what it’s being shot with.