William Dalrymple’s book explores India’s role in Buddhism, culture and maths
The Golden Road: How Ancient India Transformed the World highlights role of monsoon winds as ideas spread worldwide
William Darymple and Mita Mistry
By Amit RoySep 20, 2024
IN WILLIAM DALRYMPLE’S new book, The Golden Road: How Ancient India Transformed the World, the historian has vividly set out how India, not China, “was the beating heart of Asia between 250 BC and 1,300 AD”.
He spoke about his findings, first in a lecture at the Financial Times Weekend Festival, and then in an interview with Eastern Eye.
The book, he said, is divided into three parts.
“The first part is the story of how Buddhism was exported, initially by Ashoka, but then subsequently by merchants and individuals without any state assistance, in all directions.
“It was initially to Sri Lanka, with Mahinda, the son of Ashoka, eastwards to the Mekong Delta, China, Korea and ultimately Japan; westwards to Egypt, where more and more Buddhist remains are turning up on the Red Sea,” he told Eastern Eye.
The cover of The Golden Road
“And the book, in particular, is aimed as the corrective to this notion that China was the main organ of east-west contact, and the Silk Road, which sort of bypassed India in the classic map which went way to the north, was at all a thing until the 13th century. I think that the Silk Road existed, but only from the 13th century onwards.
“Up to that point, India was the centre of Asia and the monsoon winds blew Indian traders, missionaries, merchants, intellectuals, sages, mathematicians, westwards to the Arab world and the Mediterranean; eastwards to China.
“Part one is the story of the spread of Buddhism.
“Part two is how Hinduism and Sanskrit and the world of Sanskrit and Hinduism and Hindu kingship came to dominate Cambodia, Laos, Thailand, Malaysia and Vietnam.
“And the third part is how Indian numerals travelled west, first to the Arab world and then to Europe, with the Sanskrit literate former Buddhists who became the viziers in Baghdad. And they were the mediators who brought Indian mathematics and astronomy to the Arab world.
“It spreads through the translations and the transliterations of al-Khwarizmi, from whom the word algorithm derives. And then he’s read in Algeria by Fibonacci, who brings it into Italy. From Italy, it spreads through the rest of Europe.”
Dalrymple explained what he had done in The Golden Road: “So it’s a long relay lace of Indian influence, different ideas in different directions, but bringing them all together into a single narrative.
“So often, the story of the spread of Sanskrit is seen as something on its own, different from the spread of Buddhism, which is different from the spread of numbers.” He emphasised: “I think it’s all part of one process by which India is the beating heart of Asia, and that the Golden Road following the sea lanes using the monsoon winds, not some spurious Silk Road which never existed, is the force which knits it all together.”
That India was at the centre during this period “is not at all known in the west. Everyone knows it in India. On the current book tour (in the UK), I’ve been asking, how many know what they call Arabic numbers originated in India, and two people out of 1,000 will put up their hands – and they’re always Indian. It’s completely unknown here (in the west).
He had referred “totally tongue in cheek” to claims by some in India that there had been nuclear power in the past and people flying around.
“But this is, I think, out of the frustration that Indians have that no one in the west knows about their glorious past. This often assumes strange incarnations. And you do find, often on the internet, people talking about nuclear weapons in Kurukshetra and or plastic surgery in early India.
“And one of the jobs this book is trying to do is parse fact from fiction.”
He talked about the genesis of The Golden Road: “When I was growing up, I was always interested in archaeology. I got into university doing archaeology, and then ended up doing history and art history. So the two have come together. In my teens, I was digging on archaeological sites.
The temples sparked a curiosity about Indian cultural exports in the author
“And when I first went to India, the places I was going to were Ajanta, Ellora, Sanchi and the ancient sites. I think my teenage self would be very surprised to learn that I spent most of my professional life writing about the 18th century.
“The idea came when I was visiting Angkor Wat. I was very surprised to see representations of Kurukshetra and the Battle of Lanka sitting in the middle of the Cambodia, stories which originated in northern India represented so far from home.”
He started working on The Golden Road after his last book, The Anarchy: The Relentless Rise of the East India Company, was published in 2019.
In his FT Weekend lecture, Dalrymple began by showing a picture of a Buddha’s head which was discovered two and-a-half years ago. “It’s about the most multicultural object you could imagine from antiquity. This Buddhist head was discovered improbably on the Red Sea shores of Egypt, even more improbably carved in Prokonnesian marble from the Marmara, judging by the drill used for the tortellini curls of the Buddha’s head. It represents, obviously, the Buddha, an Indian holy man whose faith had only just at this point begun to emerge from the north Indian plains, but shown somehow transformed into a sort of Roman solar deity, Sol Invictus. Look at the wonderful sun rays coming out of the back of his head. So, every imaginable eastern and middle eastern and Mediterranean world is converging in this one object.”
For an FT travel piece, he had gone to Angkor Wat in Cambodia. “Reading about something which is put up by an Indian sea captain in an Egyptian temple in the Roman Empire to mark his safe arrival on a ship from Kerala, I realised that there is a story here, the incredible spread of Indian culture.
“We think of these countries as far apart, but using the speed of the monsoon winds, it takes only 40 days to sail from Kerala to the Red Sea coast in Egypt. If you get the winds right, the monsoon winds reverse for the next six months, and you can come back with equal speed. It has meant that Indian sailors on both coasts can propel themselves at speed, first westwards to Egypt and the Persian Gulf, and then from the east coast eastwards to the Malacca Straits and beyond China. So, India is geographically primed to be a major maritime power.”
To Eastern Eye, he made it clear that his book was “a work of history. It’s not a work of contemporary geopolitics. It’s not a political or economic guide to modern India.”
Lauren Sánchez didn’t need a red carpet to mark her pre-wedding celebration, just a close circle of friends and the charm of Paris. Days before tying the knot with Jeff Bezos, the former TV anchor turned aviation entrepreneur spent a laid-back but lavish weekend in the French capital with a dozen women she calls her pillars of strength.
The guest list was anything but ordinary. Kim Kardashian, Kris Jenner, Katy Perry, Eva Longoria, and a few other familiar faces from business, entertainment, and media joined Sánchez for what looked like a celebration of sisterhood rather than a spectacle. Over the course of two days, the group dined at chic spots like Lafayette’s and cruised through the city on a private boat, all while keeping things relatively low-key by celebrity standards.
From clinking espresso martinis to dancing to Earth, Wind & Fire, the vibe was expensive, chill, and relaxed. The celebration wrapped with a surprise vanilla meringue cake and laughter under the Paris sky.
Sánchez shared heartfelt moments on Instagram, calling her friends “the women who’ve lifted me up and shaped my heart.” The photos, mostly in black and white, showed candid rooftop laughs and cosy robe moments, far from the polished party shots one might expect.
Inside Lauren Sánchez’s Paris bachelorette Instagram/laurenwsanchez
Her outfit choices, too, while expensive, leaned into romantic minimalism. A short white Oscar de la Renta dress with 3D florals and a vintage pink Chanel bag added soft glamour to the weekend.
Heartfelt moments and low-key glam defined Sánchez’s pre-wedding celebration in Paris Instagram/laurenwsanchez
Sánchez and Bezos, who went public in 2019, got engaged in 2023 on board his yacht Koru, where he proposed with a rare 20-carat pink diamond worth approximately £15 million (₹160 crore). Their wedding is expected in June on the coast of Venice, Italy, although they’ve been tight-lipped about the specifics. Italian officials have already reassured locals that the ceremony will not disrupt the city.
A candid moment with Sánchez and her closest friendsInstagram/laurenwsanchez
Beyond the headlines and designer outfits, Sánchez’s celebration in Paris was about a woman pausing to honour the relationships that helped her grow, before stepping into a new chapter as Mrs. Bezos.
Ever walked into a cinema, popcorn in hand, all hyped for a big new Hindi release – only to realise, halfway through, that you have seen the exact same story before, just in another language? That weird sense of déjà vu has become all too familiar for Bollywood audiences in recent years, with one remake after another. Many are based on South Indian hits.
From Vikram Vedha to Shehzada, Bholaa to Selfiee, Bollywood seems to be treating South Indian blockbusters like a catalogue to borrow from. But here is the problem – most of them did not work. Not just with critics, but at the box office too. Which raises the obvious question: if the originals were such big hits, why can’t the Hindi versions strike gold?
The numbers do not lie Let us look at the figures.
The Tamil film Vikram Vedha (2017) was made on a budget of £103,695 (₹11 million) and earned £5.66 million (₹600 million). It had strong writing, originality, and standout performances. The 2022 Hindi remake starring Hrithik Roshan and Saif Ali Khan, despite slick production, was a costly misfire.
Bholaa, a remake of Kaithi, leaned too heavily on visual effects and forgot the raw, gritty storytelling that made the original shine. Made for £8.8 million (₹1 billion), it only grossed £9.7 million (₹1.1 billion) worldwide. Compare that with Kaithi, made for £2.2 million (₹250 million), which earned over £9.3 million (₹1.05 billion) – without big stars or CGI. This pattern keeps repeating itself.
Selfiee, based on Malayalam hit Driving Licence, flopped. Shehzada tried to replicate the success of Ala Vaikunthapurramuloo and failed miserably. Sarfira, based on Soorarai Pottru, came and went without impact. Even Baby John (a version of Theri) and Deva (inspired by Mumbai Police) could not turn strong originals into Hindi box office hits.
Ajay Devgn in Bholaa
Star power is not enough These numbers paint a clear picture: the remakes are not connecting. But what about star power? Salman Khan, Akshay Kumar, Shahid Kapoor, Hrithik Roshan, Kartik Aaryan – surely such big names should guarantee success? Unfortunately, it is not that simple anymore.
Audiences are smarter now. Thanks to streaming platforms, dubbed versions and social media buzz, many have already seen the originals – or at least know the storyline. So when the Hindi version arrives, it often feels stale.
Hrithik Roshan in Vikram Vedha
What is missing from the remakes? Successful films rely on many elements – chemistry between the leads, emotional tone, pacing – things you cannot script or transplant.
Take Vinnaithaandi Varuvaayaa. The chemistry between Silambarasan TR and Trisha felt electric, rooted in the film’s deeply emotional story of unrequited love. The Hindi remake Ekk Deewana Tha, with Prateik Babbar and Amy Jackson, lacked that connection.
Okkadu had raw energy, with Mahesh Babu anchoring the emotional weight. Ghilli, its Tamil counterpart, had similar intensity with Vijay’s charismatic presence and high-octane action. But the Hindi version Tevar lacked the same punch and raw emotion.
Similarly, Theri worked because of Vijay’s stardom, Atlee’s direction, and its emotionally driven story. Baby John has not captured that same feeling.
Mahesh Babu in Okkadu
Audiences want originality Here is the real kicker – audiences are not rejecting South Indian cinema. In fact, they are embracing it. Baahubali 2, the Pushpa and KGF franchises, RRR, Kantara – all became massive pan-India hits. The appetite for regional content is real.
What people are rejecting is lazy filmmaking – the idea that simply changing the language, inflating the budget, and casting a big Bollywood name is enough.
What works today is originality. Films like 12th Fail and Article 15 resonated because they told new stories. Even blockbusters like Pathaan and Jawan succeeded by playing to their own strengths – not copying someone else’s.
RRR
A call for change So what should Bollywood do? The answer is simple: focus on originality.
Stop leaning on South Indian remakes. Start backing fresh, innovative stories that speak to today’s diverse audience. The success of South Indian films lies in their ability to connect emotionally, to create real characters and tell untold stories. Bollywood needs to find that magic again.
In the end, remakes may seem like a safe bet – but they are not always the solution. Why settle for déjà vu when you can create something unforgettable?
The audience has evolved. Maybe now, it is time the industry asked itself: has it?X: @GeorgeViews
On Sunday, 25 May, music lovers in Middlesex and beyond will have the rare opportunity to experience an unforgettable evening with the legendary Anup Jalota at the Beck Theatre, Hayes. Known as the “Bhajan Samrat” (Emperor of Bhajans), Anup Jalota is a celebrated Indian singer and musician famed for his soul-stirring bhajans and ghazals that have touched millions worldwide. This culturally rich concert promises to bring the spiritual and poetic essence of Indian devotional music to life, right in the heart of Middlesex.
Whether you are deeply connected to Indian classical and devotional music or simply curious to explore a new musical tradition, this concert offers a perfect blend of spirituality, art, and heartfelt emotion. Held at the well-regarded Beck Theatre on Grange Road, this event is expected to draw a diverse audience eager to witness Anup Jalota’s mesmerizing performance.
Anup Jalota has been a towering figure in Indian music for over four decades. His unique ability to fuse the spiritual with the musical has earned him immense respect and a devoted fanbase not just in India, but internationally. Known for his deep, soothing voice and flawless diction, Jalota’s bhajans invoke a sense of peace and devotion, making them timeless classics.
In addition to bhajans, Anup Jalota is renowned for his ghazal renditions – poetic songs that express love, longing, and life's philosophical musings. His mastery in delivering both these forms of music with emotion and authenticity is unmatched. Audiences attending the Beck Theatre concert can expect to be transported through a variety of moods, from serene devotion to contemplative reflection.
The concert promises to be a carefully curated showcase of some of Anup Jalota’s most beloved bhajans and ghazals, as well as a few surprises for fans. The Beck Theatre, with its excellent acoustics and intimate setting, will provide the perfect atmosphere for a close connection between the artist and his audience.
Attendees can look forward to an evening filled with spiritual melodies and poetic beauty that celebrate Indian heritage and music traditions. It’s an ideal occasion for families, music enthusiasts, and anyone interested in experiencing a slice of India’s rich cultural tapestry.
The Beck Theatre is located at Grange Road, Hayes, Middlesex UB3 2UE. It is easily accessible by public transport and offers ample parking facilities nearby.
Tickets for this much-awaited concert are available on the Beck Theatre’s official website at www.becktheatre.org.uk. Given the popularity of Anup Jalota’s performances, early booking is strongly recommended to avoid disappointment.
Keep ReadingShow less
Ananya Panday gets candid about body shaming on Lilly Singh’s podcast
Ananya Panday is no stranger to the spotlight, but she’s also tired of being stuck under a microscope. In a recent chat with Lilly Singh on her podcast Shame Less, the actor spoke honestly about the constant criticism of her body and the double standards women face in the film industry.
Ananya recalled the early days of her career when, at 18, she was mocked for being too thin. Terms like “chicken legs” and “matchstick” were thrown at her regularly. “They said I had no boobs, no butt, like a flat-screen,” she shared. Fast forward a few years, and as her body naturally changed, new rumours popped up, but this time accusing her of undergoing cosmetic surgery. “Now they say I’ve had my butt done. You can never win,” she said.
What hits harder for Ananya is that this scrutiny often comes from other women. “The harshest comments I get are from women. I rarely see this happening to male actors,” she said, pointing out the gender gap in how public figures are judged.
But Ananya doesn’t shy away from taking responsibility either. She admitted that Bollywood films, including some of her own, have pushed unrealistic beauty ideals. “We’ve shown women waking up with perfect hair and makeup. That’s not real life. I’ve been part of that narrative, and I’m trying to be more aware of it now,” she said. Off camera, she tries to keep things real, reminding her followers that what they see on screen isn’t always the truth.
This honesty is, in fact, a shift in Ananya’s journey, from someone who once felt pressured to fit in, to an actor willing to question the norms she’s grown up with. Her recent work also reflects that change. From light-hearted romances to more grounded roles like her turn as a lawyer in Kesari: Chapter 2, Ananya is clearly making deliberate choices.
Women in the public eye are constantly judged, but it’s time to break that cycle. “If I talk about it, maybe one other girl will feel less alone,” she said. That, perhaps, is the quiet power behind her loudest statement yet.
Keep ReadingShow less
Remaining matches will be held at six venues, with Chennai, Hyderabad, Kolkata, and Dharamsala removed from the schedule.
The Indian Premier League resumes on Saturday, eight days after it was suspended due to escalating tensions along the India-Pakistan border.
Most foreign players who left the country after the suspension have now returned. The tournament was halted on May 8 during a match between Punjab Kings and Delhi Capitals in Dharamsala, which was stopped after 10.1 overs when rockets landed 80km away. That game will now be played on 24 May in Jaipur.
Remaining matches will be held at six venues, with Chennai, Hyderabad, Kolkata, and Dharamsala removed from the schedule.
The Pakistan Super League also restarts on Saturday. It had considered relocating to the UAE before suspension. Its final is now on 25 May, with matches limited to Rawalpindi and Lahore. Only Multan has lost hosting rights.
Royal Challengers Bengaluru will face Kolkata Knight Riders in the first of 13 remaining IPL league games, followed by playoffs from 29 May and the final on 3 June.
The revised IPL schedule overlaps with England’s ODI series against West Indies starting 29 May. Cricket West Indies released Sherfane Rutherford and Romario Shepherd to remain in India. Some players, including Mitchell Starc and Sam Curran, have opted not to return. Temporary replacements are allowed.