* Arts and Craft Madhya Pradesh
Arts and Craft Madhya Pradesh
¤ Bamboo work
Chances are when you visit MP you’ll actually find ‘the house with the bamboo door’. Bamboo thickets are a common sight in the state and the tribals are experts at putting it to use. Crafting bamboo articles for daily as well as decorative use is a popular pastime of the Gond, Baiga, Korku and Basor or Basod communities. You can buy anything from agricultural implements, fishing traps, hunting tools to baskets at local weekly markets. Apart from Chhattisgarh and Bastar, the main bamboo producing centres are Shahdol, Balaghat, Mandla and Seoni.
¤ Carpet Weaving
Though MP never took centrestage in the fraught history of
The weavers here are undisputed masters of not only weaving but dyeing too. Alas, as elsewhere in
¤ Dhurries
The floor coverings of Madhya Pradesh consist mainly of dhurries (flat-woven carpets) in a rich variety of designs. A dhurrie, essentially a thick cotton woven fabric, is made near Sironj. The technique of making these dhurries is quite primitive, but the colours and patterns more than make up for what they lack in finish. Dhurrie weaving is the domain of women in the rural homes of Sironj, Jhabua, Raigarh and
¤ Dolls & Toys
Here are cute, colourful little dolls to give bland old Barbie a run for her money. These dolls are made out of small cloth pieces and are produced in
¤ Metalwork
You’ll hear the ironsmith’s hammer going clang-clang in every little hamlet of India, but what makes the metalwork of Madhya Pradesh unique is the creativity and spontaneity that the tribals breathe into it. The Gadhavs of Bastar, in their simplicity and isolation from the world of progress and modern civilization, bring forth their own unique view of life, nature and the gods through age-old processes of metalwork.
The Gond, Muria, Bhatra and Dhruva tribals traditionally offer iron horses, swings, trishuls (trident, the symbol of the Hindu god Shiva) to gods on fulfillment of their wishes. Exquisitely carved diyas are gifted to brides to take to their husband’s home.
These artefacts, known loosely as dhokra work, are predominantly hollow-cast and are produced by the lost-wax process, which has long been known to these pre-Aryan communities. It is by the free and rapid way in which they construct a model, unlike the fastidious waxwork of their counterparts to the south, that the tribal metalworkers are able to achieve their exciting castings.
The blacksmiths from southern Madhya Pradesh forge and hammer iron into a most delightful range of oil lamps, tools and statues that depict animals, birds and men. Using only a few tools and a simple furnace of a handful of coals, the smiths twist and bend the hot iron into expressive shapes. Such work now adorns many city homes and most foreigners love to carry a few pieces back to their country.
¤ Ornaments & JewelleryAll forms of adornment are dear to the hearts of tribals. The adivasis of MP are no exception. The intricate and artistic twisting of thread was itself considered an embellishment to round or octahedronal metal beads used in tribal communities. They often weave cotton thread into a broad band as a textured or patterned base, then loop in buttons, beads or metallic droplets intermittently.
The people of this state also delight in silver ornaments. However, articles of particular value are only displayed on weddings and, to a lesser extent, when visiting fairs and festivals. Ornaments made of beads, cowries and feathers are also part of tribal costumes. The major centres for folk ornaments are Tikamgarh, Jhabua and Sheopur-Kalan. The rural and tribal women folk of Malwa, Nimar and Bastar regions are exceptionally fond of ornaments, and both men and women wear them.
¤ Paintings
The art of painting in
Drawings on walls of caves and rock shelters served a twofold purpose: decorating homes and appeasing deities. While the adivasis (tribals) of yore traced simple, very basic forms to ward off evil spirits and disease, more sophisticated art survives in the Buddhist rock-carved monasteries of the middle of the first millennium AD, such as
The Rathwa Bhils of MP and eastern
The Bhils and Bhilala tribes of Madhya Pradesh paint myths related to creation called pithora paintings. Horses, elephants, tigers, birds, gods, men and objects of daily life are painted in bright multicoloured hues.
Another form of art, widely practiced in MP is the mandana. Auspicious diagrams are drawn on the floor with rice paste, coloured powder, flower petals or grains of rice, often with symbolic motifs set within floral and geometric patterns. These are meant to attract cosmic powers for the well being of the household in which it is done.
Mughal miniature paintings also figure as a footnote in MP because the Persians of the court of Malwa were enthusiastic patrons.
¤ Papier Mache
In Madhya Pradesh, the main centre for papier mache is
The traditional expression of this craft was the creation of ornate articles like vases, figurines and icons. Today, craftspersons in
¤ Pottery
The terracotta pottery of Madhya Pradesh is simply remarkable, especially that practiced by the tribals of Bastar. Traditional statues of elephants, serpents, birds and horses from Bastar are incomparable in their simplicity and are offered to the local deity as an offering in lieu of sacrifice.
The Bhils of Jhabua and adjacent Chhota Udaipur in
Set down in the sacred grove that always lies in a secluded spot near the settlement, the terracotta animals are clustered together in a jumble of new and old, all eventually disintegrating and returning to the earth in their turn.
Sarguja,
¤ Stone-Carving
¤ Textile WeavingAncient texts speak of Madhya Pradesh as a famous centre of weaving between 7th century and 2nd century BC. Among the finest textures of northern
The Chanderi, widely woven in Guna, is also extremely fine but has a more intricately woven border (with motifs) than the Maheshwari. The weavers in both Chanderi and Maheshwar are Muslims, while Hindus take on the trading. As with most handlooms and handicrafts of
Tussar silk woven by the Devangan community of Madhya Pradesh is known by its Sanskrit name kosa. Raigarh and Champa are important centres for tussar silk saris and fabrics.
¤ Textile Printing
Due to its strategic location as a central state that shares its border with many others, Madhya Pradesh has absorbed influences from most textile traditions of India. The tie-and-dye (bandhani) and block-printing traditions of Rajasthan and
Batik, a resist process in which the fabric is painted with molten wax and then dyed in cold dyes, is done on a large scale in
¤ Woodcarving
The art of woodcarving has flourished long in Madhya Pradesh, and the beautifully embellished wooden ceilings, doors and lintels with finely carved designs are silent testimonials to its glory. The wood carvers of Madhya Pradesh, with great sensitivity and skill transform different varieties of wood such as shisham, teak, dhudi, sal and kikar (a prickly tree that keeps its leaves all through the year and has yellow flowers and also called babul or subabul) into works of art.
The craftspersons of Bastar and Chattisgarh, Malwa, Nimar and Bundelkhand, Sheopur-Kalan, and Rewa also make pipes, masks, doors, window frames and sculptures. The state also offers a variety of painted and lacquered woodcraft items such as toys, boxes, bedposts, cradleposts and flower vases. The major centres of this art are
* Historical Information on Madhya Pradesh
Historical Information on Madhya Pradesh
The Ruling Dynasties Down The Years
Ancient Period
Dynasty : Mauryas (capital: Patliputta, in present
Dynasty: Sungas (capital: Patliputta, in present
Dynasty : Kanvas (capital: Vidisha; under Sunga suzerainty), Era:- 75BC, Area & Expansion:- Area around Vidisha.
Dynasty : Satavahanas and the Kshtrapas i.e., Ahartas and Kadmkas capital: various; from Sanchi to
Dynasty : Nagas (capital: unknown, though probably
Dynasty : Vatakas (capital: Vidisha; at least to begin with), Era:- 2-4th century AD, Area & Expansion:- Depending upon the authority, it is a toss-up between Bundelkhand, and Vidharba. Also they ruled Satna and Panna till their last.
Dynasty : Guptas (capital: Patliputta), Era:- 4-5 th century AD
Area & Expansion:- The Guptas started in with Vidisha, then under Shaka rule. With some deft marital and martial relations they extended their empire as far down as Cattisgarh. After the fall of the Guptas lots of smaller dynasties, like Sooryas (Chattisgarh), Sharbhpuriayas (Sirpur), Pandus (Rajim) and others ruled limited areas of MP.
Dynasty : Parivajakas and Utkals (capital: Ucchkalpa; now Uccahara in Satna), Era:- 5-6th century AD, Area & Expansion:- Bundelkhand and Satna.
Dynasty : Aulikar (capital: Dashpur; now Mandsaur)
Era:- 5-6th century AD
Area & Expansion:- Mandsaur, moving on to western Malwa.
Dynasty:- Mahismati Kalchuris
Era:- 6th century AD
Area & Expansion:- An extremely small dynasty which was able to hold a surprisingly large area which included Malwa and
Dynasty:- Vardhanas and Chalukyas
Era:- 7th century
Area & Expansion:- During this era these two powerful dynasties were uncomfortable partners in MP. and what’s more, at one time the two of the most powerful kings of the respective dynasties Harsha Vardhana and Pulakeshan II – were ruling at the same time. The area of the Vardhanas stretched from the
Dynasty:- Rashtrakutas (capital: Vidarbha)
Era:- 747 AD
Area & Expansion:- In 747 AD, the Rashtrakutas moved from Vidarbha to take Malwa. Next they went to
Dynasty:- Gurjara-Pratiharas (capital: Marwar; later Kannauj)
Era:- 8th century AD
Area & Expansion:- A branch of the Gurjara- Pratihara family headed by the famous Nagabhata ruled Malwa. In fact he single-handedly threw out insurgent Arabs from Avanti. His successors continued to rule Malwa and had a great reputation for standing no nonsense. When the scramble for supremacy broke out between them, the Palas of Bengal, and the Rashtrakutas of the south, the Gurjara-Pratiharas were defeated. However, they continued to rule a large chunk of Western and central
Dynasty:- Tripura Kalchuris
Era:- 7-10th century AD
Area & Expansion:- A member of the Mahismati Kalichuri family, Vamraj, first established his kingdom in the areas of
Dynasty:- Paramaras
Era:- 946-1306 AD
Area & Expansion:- The Paramaras started making overtures at Malwa as the Gurjara-Pratihara power started faltering. The Rashtrakutas had earlier attempted to put a puppet Parmara king on the Malwa throne; this was however speedily nipped in the bud by the Gurjara-Pratiharas. In 946 AD the Paramaras under Varisingh II took Malwa with the help of the Rashtrakutas. His son managed to overthrow the overlordship of their powerful ally and established Paramara rule. The legendary King Bhoj (see
Dynasty:- Chandelas
Era:- 925-1370AD
Area & Expansion:- Bundelkhand to start with. Yashovarman stretched this to Malwa region, while his son went ahead to take Vidisha and
Medieval Period
Dynasty:- Bundelas (Capital: Orchha)
Era:- 13th-17th century AD
Area & Expansion:- After the Chandelas vanished the Bundelas got their moment under MP’s rather harsh sun. Coming from Vidarbha, they took Bundelkhand and managed to keep it till Shah Jahan’s reign, thanks to a shrewd politically expedient policy of always keeping the big chief in
Dynasty:- Chttrashal Bundelas
Era:- 17th century AD
Area & Expansion:- That was however not the end of the Bundelas. Mughal rule was not very popular and soon a branch of the Bundelas, the Chttrashal Bundelas rebelled against them with the help of the Maratha warrior Shivaji. Over the next 50 years they were able to take back quite a big area of Bundelkhand back. Not for long, as the Mughals sent an army after them too. With the help of the Maratha Peshwa the Chttrashals were able to hang in there, however they had to ‘gift’ quite a bit of their land away to the Maratha.
Meanwhile in Malwa (Since Malwa always remained the most sought-after property for the rulers of the medieval period, it deserves a section in itself.)
Dynasty:- Ghauris (capital: Dhar and later Mandu)
Era:- 15th century AD
Area & Expansion:- Since 1305AD Malwa, with its capital Dhar, had been under the control of the Tuglaqs in
Alp Khan changed his name to Hoshang Shah and while he was about it also changed his capital – to Mandu. The Ghauris did not rule for long. Within a year of Hoshang Shah’s grandson’s accession to throne, Mohammad Khilji poisoned him and became sultan. 1531-1561 AD In this period confusion reigned rife in Malwa.
The Khiljis weren’t able to hold Malwa for long. Mohammad Khan’s reign was so full of battles that there was nothing but a fatigued army left for his successor Mohammad II who was the last ruler of the dynasty.
(These Khiljis are not to be confused with the Khiljis of Delhi.) After they went west, the region became a battleground for the Mughals and the Gujarat Sultans. In the middle somewhere another Khilji (Kadir Shah) tried to declare independence from here, but was brushed aside by Sher Shah Suri’s army in 1542. Sher Shah Suri appointed Shujaat Khan governor of Mandu.
In 1554 Shujaat Khan’s son Bayzaad Khan succeeded and promptly declared himself independent. He took the name Baz Bahadur (of Roopmati fame; see Mandu). In 1561 AD the new immigrants the Mughals finally turned their attention to Mandu.
Dynasty:- Faroquis (capital: Burhanpur and Asirgarh)
Era:- 1457-1600AD
Area & Expansion:- Nimar, southern Malwa and Khandesh. This was one of the rare dynasties that Madhya Pradesh can really call its own.
Dynasty:- Mughals (capital:
Era:- 1561-1761AD
Area & Expansion:- Akbar, the grand Mughal emperor, was the first Mughal to focus on Malwa.
He defeated Baz Bahadur quite convincingly. Baz Bahadur did try his luck again with Malwa, but was able to hold it for a very short time. Mandu was quite a hotspot with the Mughals (Akbar, Jahangir and Shah Jahan) spending a lot of their time here. Under the efficient and firm control of the Mughals, Malwa remained peaceful and prospered till 1731AD, when it passed on to the Marathas.
Dynasty:- Gonds (capital:
Era:- 1400-1742AD
Area & Expansion:- The origin of the Gonds is debatable. In 1400AD, as the Kalchuri power began to wane, they managed to establish themselves as an independent force. Gondwana,
as their realm was called, reached its peak under Sangram Shah (1480-1530AD). The area under
their control was throughout limited to
Dynasty:- Kacchapaghatas (capital:
Era:- 1150-1196AD
Area & Expansion:- The origin of this dynasty is obscure. We have ample records about one of the kings Vajradaman though, thanks to the many inscriptions around the
Dynasty:- Tomaras (capital:
Era:- 1398-1754AD
Area & Expansion:- In 1398, after Timur the Lame’s sacking of
Dynasty:- Bhonsles
Era:- 1742-1889AD
Area & Expansion:- Chattisgarh. In the middle from 1818-1830AD, the British were given control of this area under a treaty following the Third Maratha War (see History under
Dynasty:- Holkars (capital: Indore)
Era:- 1703-present
Area & Expansion:- In the confused conditions prevailing following the collapse of the grand
Mughals and the subtle entry of the British in India, the Marathas started making overtures at Malwa. After many campaigns and taking of small regions, Malhar Rao Holkar finally established the Holkar dynasty with its seat at
Dynasty:- Scindias (capital:
Era:- 1732-present
Area & Expansion:- When Malwa passed on to the Marathas, they divided it among the Holkars, Scindias and Pawars. So along with Malhar Rao Holkar, Ranoji Scindia established himself in
A lot of the action of the 1857 Indian Uprising was staged around MP. This was largely because of the close ties that the Rani of Jhansi (in UP) had with
Throughout history, until as late as the coming of the British, Madhya Pradesh remained a sort of caravansarai of
As things turned out, it was all to the good. The state never got star billing in the scene of Indian history, but then nor was it ever a victim of foreign invasions, needless wars and bloodshed. For very long, much more than the south, central
Tribes
Tribals in
Since the tribals in
Perhaps it is because of this isolation that, despite growing intolerance all around, the Chandelas were still building erotic temples in Khajuraho as late as the 12th century AD. Also when the Muslims invaded and then finally settled in for a long rule in
A Contentment Among The People
Lack of incessant warfare, plenty of money and peace ensured that the people of Madhya Pradesh never had to struggle for basics, so life thrived here. The arts – music, dance, architecture, painting and so on - flourished. In fact Madhya Pradesh is much celebrated for its many love stories and quaint local legends. The most famous love story of them all is of course that of Baz Bahadur and Rani Roopmati (see Mandu for details).
History here is divided region-wise and cannot be clubbed under one head. At best MP can broadly be said to be Rajput-influenced in the north and Maratha in character in the south.
Dynasties
From the time of King Asoka of the Mauryan dynasty to that of the Guptas in the 4th century AD, many dynasties came and went. Principal among them was the Sungas, the andhras, the Satavahanas, the Ksaptrapas and the Nagas. The all-pervading and all-invading Huns tried their luck in the Malwa region of the state, but it was simply too far away for them to hold for long. Then in the 7th century AD it became a part of King Harshavardhana’s empire. In the 10th century, a number of dynasties were cheek-to-jowl in various corners of the region; the Chandelas at Khajuraho and the Kachhawahas at
Dynasties again changed hands in the 11th century, when the Muslims conquered
From then on whatever few upheavals this state had been witness to, end. Madhya Pradesh became a tranquil oasis in the midst of chaos, great battles, and many other feats that might have gone ringing down in the annals of history but were not very conducive for serenity and hence good living.
With the fading of the Mughal power, the Scindia and Holkar dynasties of the Marathas ruled independently at
After independence, the
The
The Scindias of
The present scion of the family is Madhavrao Scindia. As with most royal families, the family is now divided into two bitter factions; one headed by the present Maharaja’s mother, the Rajmata Vijayraje Scindia, and sister, Princess Vasundhara Scindia, and the other by the Maharaja himself.
So much so that they are members of Parliament from different political parties: the Rajmata (Queen Mother) and the Princess represent the Bharatiya Janta Party and the Maharaja is a very popular Congress I member. (See
The Holkars of
The present Maharaja is half-American and is called Richard Holkar. His wife is also an American, Sally Holkar. Sally and Richard together have done a lot of work for the revival of the traditional arts and crafts of
However Richard and Sally have now separated and Sally has gone back to live in
The Nawabs of
Famous Rivers of Madhya Pradesh
Famous Rivers of Madhya Pradesh
Madhya Pradesh has numerous rivers, the important ones being
¤
The 
¤ Narmada - The Lifeline of Madhya Pradesh
Earlier known as Reva and Mahakalasuta, the Narmada is also referred to as the lifeline of Madhya Pradesh. Originating in Amarkantak, the highest peak of the
The 1300km long
Two of the most well-known historical cities along the banks of the
There are many fables about the origin of the
¤
The 965km long Chambal is the largest and most important river of western MP. This river was referred to as Punya in the 4th century b.c. epic, the Mahabharata, and as Charmanavati in the Puranas which are ancient Hindu texts.It is said that King Ranti Dev (one of the successors of King Bharata, Lord Rama’s brother) had sacrificed cows to honour his guests. The blood that oozed out of the cows’ charmas (skin) turned into a river named Charmanavati.
The river Chambal originates from the
¤ Tapti/Tapi River
Apart from the Narmada, the Tapti is the only river that flows westward and falls into the Arabian Sea, in the Gulf of Khambat, to be precise. The 724km long Tapti is agriculturally very important as it drains an area of over 65,145sq km spread over Madhya Pradesh,
According to the Puranas, ancient Hindu texts, , the Tapti is the daughter of the Sun god, Surya, who created her to save himself from his own intense heat. Tapti is also known as Tapi (taken from the Sanskrit word taap, which means heat). In the Hindu epic, the Mahabharata, it is mentioned that Tapti had married Sanvaran, a legendary hero of the Moon Dynasty. They had a son called Kuru, from whom the Kuru Dynasty started.
¤ Shipra River
The Shipra starts her journey in the Vindhya Range from a hill called Kokri Tekdi situated at a distance of 11km from Ujjain. This river is 195km long, out of which 93km flow through
The Shipra has been mentioned not only in ancient Hindu texts, like the Puranas, but in Buddhist and Jain scriptures as well. Legend has it that once Lord Shiva, the Destroyer of the Universe, went begging, using the skull of Lord Brahma, the Creator of the Universe, as a begging bowl. Nowhere in the three worlds did he manage to get any alms. Ultimately, he went to Vaikunth, or the seat of Lord Vishnu, and asked Lord Vishnu for alms. In return, Lord Vishnu showed Lord Shiva his index finger, which enraged the latter. Lord Shiva took out his trishul, or trident, and cut Lord Vishnu’s fingers. The Preserver’s fingers began to bleed profusely, and the blood accumulated in Brahma’s skull and soon overflowed from it. The flow became a stream and finally a river – the Shipra. The Puranas, or ancient Hindu texts, also suggest that the Shipra originated from the heart of Varaha, Lord Vishnu’s incarnation as a boar. Also on the banks of the Shipra is Sage Sandipani’s ashram, or hermitage where the blue god,
¤ The Legendary Tale
Princess Narmada (the river) was the daughter of King Maikal (the mountain). Maikal announced that the prince who could bring Gulabkawali – a flower supposed to have the power to cure all kinds of eye ailments – would be the ideal match for his daughter. Prince Shona brought Gulabkawali, but he took much longer to get it than he was supposed to. But Princess Narmada was so impressed by the attractive Shona that she decided to marry him and sent her hairdresser, Johila, to inform Shona about her feelings. Prince Shona, who had never seen
¤
Sone is also called Maikalsut (whose source is in Maikal) as it originates from a mountain called Amarkantak in the
One of the major tributaries of the river
¤ Mahanadi
The 857km long Mahanadi originates from a hill in the Sihawa mountain range situated southeast of Raipur. Before ending its journey in the
On the
The tributaries of the
¤ Betwa River
Originating in the Kumra village in Raisen district of Madhya Pradesh, the river Betwa flows for 380km. After meandering through Madhya Pradesh, it enters the neighbouring state, Uttar Pradesh, and joins the river Yamuna in Hamirpur. The Betwa takes along with it the water of the eastern Malwa plateau. The tributaries of Betwa are Bina, Yamini, Dhasan and Ken. In ancient times, the Betwa was known as Vetrawati.
¤ Indrawati River
Starting from Bastar, this river flows westward for a distance of around 40km before forming the magnificent Chitrakoot waterfalls near Jagdalpur. Indrawati derives its name from Indra, the God of Rain.
Awards & Honours
STATE-LEVEL AWARDS
| S.No. | Name of Award | Institution year | Award Amount | Faculty for which this award is instituted |
| 1. | Shikhar Samman (Literature) | 1980-81 | Rs. 62000/- | For excellent work in literary field |
| 2. | Shikhar Samman | 1980-81 | Rs. 62000/- | In the field of music, theater, dance and folk Art |
| 3. | Shikhar Samman | 1980-81 | Rs. 62000/- | Excellent work in the field of plastic Art |
NATIONAL AWARD
| S.No. | Name of Award | Institution year | Honorarium | Faculty for which this award is instituted |
| 4. | Mahatma Gandhi Award | 1995-96 | Rs. 10.00 lakh | To an institution who is working according to Gandhi Philosophy and Ideology |
| 5. | Kabir Award | 1986-87 | Rs. 3.00 lakh | In the field of Indian poetry |
| 6. | Tansen Award | 1980-81 | Rs. 2.00 lakh | In the field of Hindustani Music |
| 7. | Kalidas Award | 1980-81 | Rs. 2.00 lakh | In the field of classical Music |
| 8. | Kalidas Award | 1980-81 | Rs. 2.00 lakh | In the field of classical Dance |
| 9. | Kalidas Award | 1980-81 | Rs. 2.00 lakh | In the field of theatre |
| 10. | Kalidas Award | 1980-81 | Rs. 2.00 lakh | In the field of painting and sculpture |
| 11. | Tulsi Award | 1983-84 | Rs. 2.00 lakh | In the field of folk and traditional tribal Art (only for male Artist) |
| 12. | Lata Mangeshkar Award | 1984-85 | Rs. 2.00 lakh | For music direction, and playback singer in the field of light music |
| 13. | Iqbal Award | 1986-87 | Rs. 2.00 lakh | For creative Urdu writing |
| 14. | Maithilee Sharan Gupt Award | 1996-97 | Rs. 2.00 lakh | In the field of Hindi Literature |
| 15. | Devi Ahilaya Award | 1996-97 | Rs. 2.00 lakh | In the field of traditional folk and tribal Art (For female Artist) |
| 16. | Kishor Kumar Award | 1997-98 | Rs. 2.00 lakh | For film direction, Acting script writing and lyric writing |
| 17. | Sharad Joshi Award | 1992-93 | Rs. 1.00 lakh | In the field of writing of Report, Diary letter and Hindi satire |
| 18. | Kumar Gandharv Award | 1992-93 | Rs. 1.00 lakh | For young Artist in the field of classical music for vocal and instrumental |
Parliament Constituencies & members of Madhya Pradesh
| Madhya Pradesh |
Advocate Generals of Madhya Pradesh :
Advocate Generals of Madhya Pradesh :
| SNO. | NAME | FROM | TO |
| 1. | LATE HON. SHRI M.ADHIKARI | 01.11.1956 | 31.05.1966 |
| 2. | HON. SHRI A.P.SEN | 01.06.1966 | 07.11.1967 |
| 3. | LATE HON.SHRI Y.S.DHARMADHIKARI | 12.08.1971 | 31.07.1975 |
| 4. | LATE HON. SHRI N.C. NIHALANI | 27.08.1975 | 11.07.1977 |
| 5. | LATE HON.SHRI S.L.GARG | 11.07.1977 | 13.03.1980 |
| 6. | HON.SHRI A.M.MATHUR | 13.03.1980 | 15.04.1987 |
| 24.02.1988 | 21.07.1989 | ||
| 7. | HON. SHRI M.V.TAMASKAR | 15.04.1987 | 18.02.1988 |
| 31.03.1989 | 16.03.1990 | ||
| 8. | HON.SHRI N.C. JAIN | 17.03.1990 | 21.12.1992 |
| 9. | HON. SHRI ANOOP GEORGE CHOUDHARI | 13.09.1994 | 24.10.1996 |
| 10. | HON.SHRI S.L. SAXENA | 23.11.1996 | 15.02.1999 |
| 11. | HON. SHRI V.K.TANKHA | 16.02.1999 | |
| 12. | HON. SHRI R.N. SINGH | PRESENT AG |
 |
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