Once the spices are dried until crispy, each is roasted to a specific temperature, ranging from mild to high. The oils released during this roasting process enhance the aroma and flavour, giving it a more complex and robust taste.
Spices are laid out for drying in the courtyard of Marthahil, a heritage home at Vasai that has been the residence of an East Indian family for more than 150 years. The masala-making season usually lasts from March until May. Earlier, drying spices in the open was a common sight in East Indian neighbourhoods, though the practice is declining as people nowadays opt to buy masala from the market.
Spices purchased at wholesale markets are sun-dried for two to three days to remove moisture. This usually happens once a year in the summer. After the rainy season ends in October, some households may decide to make another batch of masala.
Spices are laid out for drying in the verandah of a house in Vasai. Old houses typically had a long verandah or an inner courtyard where this activity was done. In houses that do not have a verandah, the spices are laid out by the side of the road or on rooftops.
Typically, one might purchase spices from vendors selling dried chillies at wholesale marketplaces. The masala's bright red colour and pungent flavour are derived from Kashmiri chillies used to make the base, though other varieties may also be used.
In the frieze of the drumming and dancing gods are Indra, seated on his elephant Airavata; a warrior holding a sword and shield, and an Apsara. Stella Kramrisch, in her work Hindu Temples (vol-2, plate LXVIII, p. 402-403) describes the spirit of the image in the following manner: 'the movement sways and surges to either side of a standing god who holds a long lance and seems to have ushered in before Indra the warrior so that he becomes one of the dancers. Indra, enthroned in a posture of ease, the right hand raised in Abhaya-mudra, grants fearlessness; his left-hand holds the Vajra. Small shapes surround him, Matali, his mahout, and companion spirits, Marut-like.' The elephant's trunk and the warrior's legs are interlaced; the warrior's is the largest movement; across the depth of the relief, he steps forward into the line of the celestials. Their dance vibrates, to the stamping of the feet, a suave tremor free from tension.” This image resonates with verse 7 of the Harsha stone inscription of Vigraharaja which mentions that the lord Harsha (Shiva) is worshipped on the hill by the joyous divine host, Indra.
This is one of the many images of yoginis found at the site hinting towards a lost yogini temple compound. Contextualizing this image with several other relevant images suggests a maturity of Shakti and tantric traditions at the site. The placid expressions of this two-armed yogini seated in the lalitasana pose suggest her benevolent nature.
This important image of Vaikuntha Vishnu reveals the presence of the Pancharatra form of Vaishnavism at Harsha Hill. Pancharatra had spread to various regions of Rajasthan from the eighth century CE onwards, with its most visible manifestations in temples like the Harshatmata Temple of Abhaneri. This image reveals its spread, even if in a limited manner, to the region of Shekhavati. The niches on either side depict damsels and musicians. The four faces of Vaikuntha Vishnu represent its four emanations/vyuha- Vasudeva, Sankarshana, Pradyumna and Aniruddha. The side faces are that of boar and lion, typical of Vaikuntha iconography. He is seated in the lalitasana pose.
Image courtesy: Government Museum, Sikar
This image of Durga-Mahisasuramardini in active worship is smeared with black paint and clothed, which obscures the details of the image. It is one of the many images, contemporaneous to the Harsha shrine, affixed in the enclosure of the Bhairon shrine.