The Time-Machine

More than just reading about history,Deglurkar wanted to contribute to its pages. The iconoclast says,“I wanted to find something unique by challenging something that had become a paradigm.” Thence he embarked upon his thesis under the guidance of Dr Shantaram Balachandra Dev,then director of Deccan College. “My topic was: Cultural History of Marathwada with Special Reference to Old Monuments. My studies were aimed at challenging the belief that the Marathwada region has since centuries been a backward region. The claim is true for this century,but I wanted to contest the idea that it has been historically backward.”

At this juncture Deglurkar shares an incident,“Before I commenced my research,my mentor asked me how I would react if I found that the Marathwada region has indeed been backward economically and culturally right from the early centuries of common era,since I belong to that region. I said ‘I’d let the truth triumph’.”

His studies,though,revealed that all the dynasties which ruled Maharashtra from 2nd century BC to 12-13 century AD,right from the Satvahana dynasty to the Jadavas,were related to the Marathwada region. All these kingdoms were rich in art and literature and were economically affluent. “I concluded my studies by quoting from the Shukraniti,which contains these two proverbs: ‘Yatha raja,tatha praja’ (the subjects always follow the king) and ‘Raja kalasya karanam’ (the king is instrumental in moulding the trend of the times),” says Deglurkar. He adds that it went to prove that the culture of Maharashtra had originated in the Marathwada region and that ancient Maharashtra was nothing more than greater Marathwada.

As an excavator too,Deglurkar made astonishing discoveries. For example,basing his argument on identical ivory dolls which were excavated respectively from Bhokardan in Jalna district and Pompeii in Italy,he proved the presence of Roman tradesmen in this region during Satvahana rule. But the discovery closest to his heart is one which allowed him to contribute to the field of iconography. “In Mandhar I found unique images of Shiva in which he has been represented with eight and 12 heads; I named the latter representation as Sarwapashwa Mukha Shiva (Shiva watching all directions),which to me symbolises the omnipresence of God,” says Deglurkar.