The exposition in Bangalore |
(I wrote this piece in 2008)
How major a role have Indian spices,
plants and native drugs played in world history? Was traditional medicinal and
herbal wisdom from the subcontinent a known factor in pre-colonial times, long
before the patenting of basmati, neem and turmeric became a contentious issue?
Did European practitioners have access to Indian medical knowledge, as recorded
in palm leaf manuscripts, as passed down by oral traditions?
Such Treasure and Rich Merchandise, an exposition of texts, maps and prints on Indian
botanical knowledge at Bangalore’s National Centre for Biological Sciences
(February 15 to April 30), answered some of these questions through a sharing
of seven erudite illustrated European books from the 16th and 17th century. The
exposition will relocate to Mysore’s National Museum of Natural History in
June.
Realised within the architectural
layout of the NCBS, especially its central open-air space, the show focused on
knowledge culled from indigenous medical traditions and agrarian wisdom. An
interactive, computer-based experience greeted us at the entrance, whetting our
curiosity until we arrived at breathtaking outdoor panels of an Indian ficus
or fig tree fluttering in the breeze.
Copperplate engraving of the Malabar palm |
We noticed a growing pepper plant at
the base of a woodcut panel from Spaniard Christobal Acosta’s 1578 Tracto de
las Dragos y Medicinas de las Indias Orientalis, based on his Indian
experiences, mainly as personal physician to the Viceroy of Goa. Acosta
introduced an earlier seminal work to Europe — Portuguese naturalist-physician
Garcia da Orta’s 1563 study based on 30 years of first-hand learning from hakims,
vaidyas and folk healers in Goa. Titled Colloquies on the Simples,
Drugs and Materia Medica of India, it is couched as dialogues between Orta
and an imaginary Portuguese physician, a newcomer to Goa!
As we went around the exhibition, we
gasped at our collective ignorance. For these books were written around the
time when Elizabeth I was on the English throne, while Akbar became the Mughal
emperor in 1555. Orta, trained at the University of Salamanca, highlighted 57
commodities from the Indian west coast, each vital to the Spice Route.
The exhibition shares copies of
fragile, ancient manuscripts from the depths of Oxford’s Bodleian library,
besides knowledge repositories at California, New York, London, Delaware and
Stanford. Among these treasures is the Bower manuscript, its ink calligraphy on
51 birch bark pages dating back to 350-375 AD. It was identified as the
pocketbook of Yasomitra, a Buddhist monk physician. The 12-volume Hortus
Malabaricus, published in Amsterdam between 1678 and 1693, includes 792
copperplate engravings compiled by the Dutch governor of Malabar, Henricus
Adrianus van Rheede. He is known for ousting the Portuguese from Cochin, while
crowning Vira Kerala Varma as raja. These books include contributions in
Malayalam from traditional physician Itty Achudem and three Ayurvedic
practitioners.
This exhibit also features a 1605
book by Charles E’Cluse, founder of the Dutch botanical garden at Leiden; De
Historia Stirpium (1542) by German scholar Leonhart Fuchs; Dutchman John
Huyghen van Linschoten’s Itinerario (1598); and John Gerard’s 1597 The
Greate Herball.
Their scholarship is showcased
through the multi-layered show, including a stone carved with botanical names
in Malayalam, Sanskrit, Latin and Arabic scripts in a sunken-in space. There
are quotations from Shakespeare, Milton and the Tamil epic Silappathikaram,
and Hortus plants like gooseberry and areca sourced from Bangalore’s Foundation
for the Revitalisation of Local Health Traditions (FRLHT).
The exhibition is the brainchild of
Kerala-born, Stanford-educated cell biologist Annamma Spudich, who was a
scholar in residence at NCBS. Moving away from basic research to documenting
Indian scientific traditions in natural sciences, she spent five years on this
project. The last two years saw collaborations with designer Sarita Sundar and
her team at Bangalore-based Trapeze, who achieved a perfect visual and verbal
balance. Fusing history, science and art, Annamma acknowledges in the
impeccable catalogue that her trail began with Gerard’s book at the Cambridge
University library, with its woodcuts of spices and the brilliant image of the ficus.
“This history, or pre-colonial east-west interaction, is surprisingly different
from what came after, during the colonial period,” she states over email. “I
have travelled in south India extensively, seeking out practitioners of
traditional medicine, and found scholarly persons at different socioeconomic
strata.”
Sarita states, “While we drew up
plans and sketched ideas, Annamma continued her ferreting at libraries around
the world. Once in a while, a beautiful new image or story would land by
courier or by mail.” The final show was put together by eight designers and
four consultants, realised by 50-odd carpenters, stone carvers, electricians,
architects, civil engineers, and gardeners.
To Sarita, “the ficus was the
best symbol of knowledge and its spread through cultures such as NCBS. For, as
in the Milton quote, its branches come down and are reborn.”
Through this journey of discovery,
we encounter our roots anew. For instance, through nine exquisite botanical
illustrations of, say, a Malabar palm, alongside a local dweller. Through
Linschoten’s world map that marks the important ports of ‘Calicut, Goa, Diu,
Guzarate and Cambium.’ Through learning that Elihu Yale, the governor of Fort
St. George at Madras, once traded in diamonds, textiles, pepper, lac and other
valuable commodities.
Like Annamma, we admit, “In our rush
to embrace modernity and technology, we must not forget the scholarship that is
indigenous to India.” That home truth is reason enough why this evergreen
exhibition should tour more Indian locations beyond Bangalore and Mysore.
(The Hindu Business Line 2008)
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