Museum of Trees

There is nothing better than a playroom that is a big open green space or waking up to the bright light and taking in the fresh air. But big cities like Mumbai are struggling to up the growing demands of the residents desire of having some place to dwindle around.
Veermata Jijabai Bhosale Udyan, popularly known as Rani Baug, situated in Byculla in the southern part of Mumbai, is one of the largest open space of the city. The trees in the garden give out a picturesque vision for one to just spend time amidst the soothing green canopies and take in the freshness.

On experiencing the vastness of these ancient trees, one encounters the other collections that Rani Baug hosts, the Museum and the Zoo. The depleting condition of the zoo is a worry to the people concerned with the preservation of the garden. Although there are only few animals that remain in the zoo, the trees are plenty and seek care.  
This extensive research on the existing trees of Rani Baug states the observations and understandings that identifies a problem regarding the sustenance of the garden. The objective of this study is to draw attention to trees, for their own sake and to express concerns for the preservation of the Baug.

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AN INVISIBLE  WORLD
Other than the glory of the superstructure of the trees, there exists a world beneath, which depends on it. It is generally accepted that we know a lot less about the life in the soil than we do about the world on it. There is only a tiny fraction known of what there is to know about the complex life that has buried itself under our feet. For trees, though, this other world hidden under the plethora of trees, nestled in the cracks and crevices is probably much more important. Protected from the noise and the pollution of the metropolis, Rani Baug facilitates a diverse ecosystem. This realm never seen is actually a house to more life forms in a handful of forest soil than there are people on the planet. All these work the soil, transform it, make it immensely valuable for the trees, and remain invisible. 
The life amidst the roots of the trees might not be distinctly attractive and most species might not even be detected with the naked eye, but in the forest, these little beings are the first link in the food chain and can, therefore, be considered terrestrial plankton. 
“Tree crowns contain specialized wetland habitats. When a trunk splits to form a fork, rainwater collects at the point where the trunk divides. This minuscule pool is home to tiny little flies that provide food for rare species of beetles. It’s more difficult for animals to live in trunk cavities where water collects. The cavities are dark, and the murky, mouldy brew that lurks there contains very little oxygen.” -excerpt from The Hidden Life of Trees by Peter Wohlleben
There is just one tiny problem: the trunk is not a permanent replacement for soil, as it is constantly being degraded, until one day it disintegrates completely into humus on the forest floor and the roots follow the disintegrating wood into the forest floor. All will be lost then, including the magic of the invisible beings that help our mighty peers, the trees, to sustain.
 
CULTURE OF TREES
The means to mark a trend, which eventually leads in being called as culture, evolves through the juncture of various forms of art, film, literature and design. The crevices of details belonging to trees depict the occurrence of natural elements in expressions of that time. 
ART- Trees found their place on earth millions of years before humans did, their importance and our relationship with them, has been recorded in the paintings through ages. It is known to us from these records that the Peepal has lived in India for centuries, as also, the Parijat tree, which in the Hindu mythology emerged from the ‘ocean of milk’ in order to obtain the drink of immortality. This is part of the tales depicted in miniature paintings known to have been painted nearly three hundred years ago. With their beauty and cultural value, they echo power and the primary importance of trees, to Indians who lived in the past centuries.
It can be seen that trees and foliage in Indian miniatures were often added not as mere decoration, but to enhance the mood and to evoke the idea of paradise gardens, in order to complement the paintings narrative. Both in the foreground and in its background, the trees were painted with utmost detail, every leaf, fruit, flower, bird painted with care as if documenting the tree itself. This layering of elements, each detailed, was a core feature of the Indian miniatures. 
Trees had a role that balanced the cosmic composition, be it any style of painting- Rajathani, Pahari, Deccan or Pichwais.