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The Indian Culture By: Rachita Vinoth
The Indian Culture By: Rachita Vinoth Red, pink, yellow, green, purple, orange, blue, white. Colors float and wave around me. They are in front of me, beside me, behind me, everywhere! There are so many colors that it feels like I am in the sun where all the colors are combined. But to tell you the truth, I am in India. India is a place full of colors, and everywhere you look, everything is so lively and beautiful. There are so many varieties of everything here. India is even called “The Land of Diversity” because of the varieties of food, entertainment, traditions, festivals, clothing, religions, languages, and so much more. Every direction you look, from food to religion, you will see so many unique things. It helps you, it gives you energy, it is the thing that keeps you moving and working - it’s food. There are so many famous foods in India that it is called the land of spices. People from Northern India desire foods like Mughlaifood. Famous foods in Southern India are dosa, idli, and more rice-based dishes. Some foods that people across the country like are chole bhature, all kinds of bread like roti and naan, and of course the all time favorite biryani! Some Indian desserts that are famous are kheer, rasgulla, gulab jamun, and more different varieties. Indians like to play a musical game called antakshari. They also like to watch movies, and the movies are mostly musical, including many types of songs and dances. The movie industry, Bollywood, is almost as big as Hollywood now. -
Clothing of Ancient India
Clothing of Ancient India India has a strong connection to its history and traditions. This is especially evident in traditional Indian dress. Many people still wear traditional garments, although the use of Western clothes has increased markedly. Indian clothing is very diverse and varies by region and religious group. One of the most common garments for women is the sari. A sari is a wide strip of cotton cloth, 1.5 to 2.75 metres long, which is draped around the body. There are many methods for draping a sari. One common method is to wrap it around the waist like a skirt and then drape the end over the left shoulder. Saris are usually worn over a petticoat and a tight fitting blouse, or choli. Also common is the salwar kameez, a loose shirt over loose trousers. Men often wear a dhoti, which is similar to the sari. It only covers the lower half of the body and is worn with a traditional or Western-style shirt. Both the dhoti and the sari are ancient garments, possible dating back thousands of years. Men in some parts of India. On formal occasions men may wear a long, fitted coat called a sherwani. The turban was once a common head covering, but its use is in decline. Questions 1. Write a summary of the text. 2. True or False: (3 marks) a. Traditional Indian dress is diverse and is still worn today. b. Most Indians now wear Western-style cothing. c. The turban has undergone changes in popularity over the years. -
Ancient Civilizations Huge Infl Uence
India the rich ethnic mix, and changing allegiances have also had a • Ancient Civilizations huge infl uence. Furthermore, while peoples from Central Asia • The Early Historical Period brought a range of textile designs and modes of dress with them, the strongest tradition (as in practically every traditional soci- • The Gupta Period ety), for women as well as men, is the draping and wrapping of • The Arrival of Islam cloth, for uncut, unstitched fabric is considered pure, sacred, and powerful. • The Mughal Empire • Colonial Period ANCIENT CIVILIZATIONS • Regional Dress Harappan statues, which have been dated to approximately 3000 b.c.e. , depict the garments worn by the most ancient Indi- • The Modern Period ans. A priestlike bearded man is shown wearing a togalike robe that leaves the right shoulder and arm bare; on his forearm is an armlet, and on his head is a coronet with a central circular decora- ndia extends from the high Himalayas in the northeast to tion. Th e robe appears to be printed or, more likely, embroidered I the Karakoram and Hindu Kush ranges in the northwest. Th e or appliquéd in a trefoil pattern. Th e trefoil motifs have holes at major rivers—the Indus, Ganges, and Yamuna—spring from the the centers of the three circles, suggesting that stone or colored high, snowy mountains, which were, for the area’s ancient inhab- faience may have been embedded there. Harappan female fi gures itants, the home of the gods and of purity, and where the great are scantily clad. A naked female with heavy bangles on one arm, sages meditated. -
Research Guru Volume-5 (March, 2015) (ISSN: 2349-266X)
Research Guru Volume-5 (March, 2015) (ISSN: 2349-266X) Apparel art of Solanki Period Dr. Dharti Patel Apparel is the most eminent from of individual as well as racial self expression. It is at the same time an excellent embodiment of their sense if beauty. An Artistic age generally produces artistic apparel and artistic people cloth then selves accordingly. Archeological art in an aesthetic expression or exercise it‟s a study of great civilization of humanistic ideas. It can be explored in many new materials, so this study makes it possible to like at it with a fresh set of ideas and new research idea. The traditional Indian clothing takes us close to our cultural roots and reminds us of the glorious past. Read about the Indian ethnic wear. In Earlier dynasties i.e Maurya , Sunga, Saka , Parthian , Satvahana & Kushan etc. Many Beautiful costumes are found of the different sculpture . These sculptures are from walls Of temples , stups , pillar , viharas , caves , relics etc. Traditional clothing has come into prominence once again. Well, if you notice the trends in fashion industry, you'll realize that modern fashion has aped the styling and designing of the bygone eras, the period of royalty, when Maharajas and Rani „s used to spend extravagantly on their clothing. Whatever the royals chose to go in for was reminiscent of splendor and luxury. The creative fashion designers of today are in a lookout for ethnic designs that take us close to our cultural roots and remind us of the glorious past. Well, in this section, we will provide you with information on the different kinds of traditional clothing in India. -
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VISION Government Polytechnic, Aurangabad will be world class technical institute pursuing for excellence, catering to the needs of global community, striving for its harmonious development by inculcating lifelong learning skills to serve for the socio economic development having concerned for ecology and social harmony MISSION To create multi disciplinary best citizens to suit local, state, National and International needs having scientific temperament , moral ethics , values and multi facetted proactive personality by providing excellent education system ii Date CERTIFICATE This is to certify that the Curriculum of Diploma in Dress Designing and Garment Manufacturing Programme has been implemented with effect from 2011-2012. This Curriculum Document contains pages from to and from to Head of In Charge Principal Dress Designing and Curriculum Development Cell Government Polytechnic Garment Manufacturing Government Polytechnic Aurangabad Aurangabad Aurangabad iii Date CERTIFICATE This is to certify that the Curriculum of Diploma in Dress Designing and Garment Manufacturing Programme of Govt. Polytechnic Aurangabad (An Autonomous Institute of Govt. of Maharashtra), which has been implemented with effect from 2011-12 academic year, is equivalent to Diploma in Dress Designing and Garment Manufacturing Programme Implemented by Maharashtra State Board of Technical Education, therefore Equivalence is hereby granted. Member Member Member ( ) ( ) ( ) Member Member Member ( ) ( ) ( ) Member Member Member ( ) ( ) ( ) Member Secretary Chairman ( ) ( ) iv Index SR. CONTENTS COURSE PAGE CODE NO. NO. 1. Scope of Diploma In Dress Designing & Garment Mfg. ------ 8-12 2. Strategy adopted for Curriculum Development ------------- 13-16 3. Sample Path -10th Pass -------------- 17 4. Level Wise Course Structure --------------- 18-24 5. Semester Wise Course Structure -------------- 25-30 6. Basic Drawing-I [BDR-I ] 5D101 31-32 7. -
EXPRESSION of INTEREST for TESTING of SAMPLES.Pdf
EXPRESSION OF INTEREST FOR TESTING OF SAMPLES UNDER INDIA HANDLOOM BRAND Government of India Ministry of Textiles Office of the Development Commissioner for Handlooms Udyog Bhawan, New Delhi-110 011 Tel : 91-11-2306-3684/2945 Fax: 91-11-2306-2429 1. Introduction 1.1 India Handloom Brand (IHB) has been launched by the Govt. of India to endorse the quality of the handloom products in terms of raw material, processing, embellishments, weaving, design and other parameters besides social and environmental compliances. The IHB is given only to high quality defect free product to cater to the needs of those customers who are looking for niche handmade products. 1.2 The list of products eligible for registration under the IHB is enclosed at Annexure – 1(A). However, as per recommendation of IHB Review Committee, new items can be included/ existing specifications can be changed/ new specifications may be added in the list from time to time. 1.3 For registration under IHB, the applicant has to submit on-line application in the website www.indiahandloombrand.gov.in. The applicant has to then submit the printout of the online application form and the sample of the product of atleast 0.25 mt. length in full width to the concerned Weavers’ Service Centre (WSC). The applicant also has to submit registration fee of Rs. 500 plus service taxes in the form of Demand Draft or through on-line payment. The WSCs will then send the sample to the testing laboratory for testing. 1.4 The sample received by the laboratory has to be tested as per standard testing procedure and testing result has to be submitted before Evaluation Committee in the Evaluation committee meeting which is generally held in Textiles Committee, Mumbai. -
Universi^ Micn^Lms
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Fashion and Accessories (Clothing Styles and Trends)
21 Aug 2018 Accessing the ASEAN Consumer Market: Fashion and Accessories (Clothing Styles and Trends) ASEAN is a region of different markets, varying economic developments, and diverse cultures. The ASEAN fashion market is greatly influenced by the region’s rich history, diverse customs and religions. Different cultures have been moulded into a gigantic melting pot of Chinese, Indian, Portuguese, Spanish, American, and indigenous Malay influences, making it one of the most interesting fashion scenes in the world. While the cultural and social diversity creates an expansive list of possibilities, it also poses a challenge for foreign brands and designers attempting to make inroads there. Traditional Costumes and Daily Wear Indonesia Made up of over 16,000 islands and 300 ethnic groups, Indonesia had many types of traditional costume. However, traditional costume is mainly worn on special occasions, such as festivals, weddings, and religious occasions. Most Indonesians wear western style clothing on a daily basis. The climate is hot, so most clothing styles are loose and use airy materials. Women are not required to wear traditional Muslim costume, but they tend to dress conservatively because there is such a large Muslim population. For formal occasions, Indonesian women wear Islamic style clothing. the kebaya. Indonesians use many sources in looking for information on fashion trends. Most search for information online using social media and websites. Among various online sources, social media (Instagram, Facebook etc.) is more popular than websites or blog. Among offline sources, magazines are the most popular, according to a survey by Jakpat.[1] The survey also revealed that people’s interest in local brands is quite high. -
Traditional Clothes of the Country(Joint
Message froM PRESIDENT Dear Rotaractors, Warm Rotaract Greetings from Rotaract Club of Thane North (RID 3142- India) We are glad sharing an editorial space with you and find great pleasure introducing the Traditional attire of our country. As you know India is a diverse country and has 29 states and 7 union territories. Every state has their own diverse language and traditional attire. We even have diversity in religion maximum people following Hinduism and the rest being Islam, Christianity and Sikhism; leave aside the other tribes which have their own traditional attire. Living in such a diversified country it is difficult to write about the entire traditional clothing, but here I will just try giving you a glimpse of the same. For men, traditional clothes are the Achkan/Sherwani, Bandhgala, Lungi, Kurta, Angarkha, Jama and Dhoti or Pajama. Additionally, recently pants and shirts have been accepted as traditional Indian dress by the Government of India. In India, women's clothing varies widely and is closely associated with the local culture, religion and climate. Traditional Indian clothing for women in the north and east are saris worn with choli tops; a long skirt called a lehenga or pavada worn with choli and a dupatta scarf to create an ensemble called a gagra choli; or salwar kameez suits, while many south Indian women traditionally wear sari and children wear pattu langa. Saris made out of silk are considered the most elegant. Mumbai, formerly known as Bombay, is one of India's fashion capitals. In many rural parts of India, traditional clothes is worn. -
Living in a Lungi
University of Northern Iowa UNI ScholarWorks Open Educational Resources Open Educational Resources 2012 Living in a Lungi Dawn Brown Let us know how access to this document benefits ouy Copyright ©[2012?] Dawn Brown This work is licensed under a Creative Commons Attribution 4.0 License. Follow this and additional works at: https://scholarworks.uni.edu/oermaterials Part of the Geography Commons Recommended Citation Brown, Dawn, "Living in a Lungi" (2012). Open Educational Resources. 159. https://scholarworks.uni.edu/oermaterials/159 This Lesson Plans is brought to you for free and open access by the Open Educational Resources at UNI ScholarWorks. It has been accepted for inclusion in Open Educational Resources by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Living in a Lungi Dawn Brown – GAI Grade Level (Req.): 5th-12th Content Area (Req.): Geography Unit (Opt.): grade Connections to Other Disciplines (Opt.): • • • Time Frame (Req.): 1 class period Goal (Req.): Students will identify aspects of Bangladeshi culture. Objective (Req.): Students will be able to describe, make, and wear traditional Bangladeshi male attire. Students will be able to sew French stitches on cotton fabric. Materials Needed (Req.): New Vocabulary (Opt.): • 2-1/3 yards of 44”-45” wide plaid cotton • for each lungi and coordinating thread to • match fabric • • Sewing machine and skills to straight stitch • • “Lungi Sewing Instructions” and “Lungi • Tying Instructions” • PowerPoint of men and boys in lungis and/or photos • “Living in a Lungi” student handout • “Ode on a Lungi” student handout, optional • “Ode on a Lungi” vocabulary words defined, optional Anticipatory Set/Introduction [Inquiry Question is required] (Req.): What is the traditional male attire in Bangladesh, how does one make it, and how comfortable and useful is it? Instructional Sequence/Procedure (Req.): 1. -
Chapter Ii Review of Literature
CHAPTER II REVIEW OF LITERATURE 11 The related researches that have been carried out are mainly on the costumes of different communities in the cities and on folk art. However, some studies have been done on tribal traditional costumes in general. The literature reviewed in this Chapter has been presented under the following heads. 2.1 Theoretical Review 2.2 Research Review 2.1 Theoretical Review The name of Gujarat was not known until the inroads of ' Gujjar' tribes from Punjab made the name more familiar. The 'Guj jars' were supposed to be the sub-tribes of the ' Huns'. The region known in ancient times as Anarta, Saurastra, Lata and Aparant came to be known as 'Gujaratra' or the land of Gujaras who seemed to have descended from the North viz. Kashmir and who have left traces of their racial culture in middle Asia( 70 }. The tribal people of India lived in the forests, hills and naturally isolated regions. They were popularly known as 'Vanvajati' (castes of forest), 'Vanvasi' (inhabitants of forest), 'Pahari'(Hill dwellers), Adim-jati (Primitive people), 'Anusuchit' janjati (scheduled tribes)etc. Among all these terms 'adivasi' is known most extensively and 'Anusuchit' 'janjati' or scheduled tribe is the constitutional name covering all of them. In the ancient literature of India their names in Sanskrit language appear to have been (i) 'Nishadas', 'Sabaras', 'Bhils' and 'Kolias’ (ii) 'Kiratas' (iii) 'Dasas', 'Dasyus', 'Sudras', 'Dramidas' and 12 'Dravidas'. The ancient and epic literature the Vedas, the Puranas, the Ramayana and the Mahabharata emphasize that India was inhabited by several types of tribes or people. -
Color Symbolism in Hinduism
Color Symbolism in Hinduism For the Hindu, colors play a very important role in the religion and culture and have a very deep significance, transcending purely decorative values. Hindu artists use color on the deities and their dresses signifying their qualities. Proper use of colors creates an environment, which should keep a person cheerful. Some of the main colors used in religious ceremonies are red, yellow (turmeric), green from leaves, white from wheat flour. etc. Red indicates both sensuality and purity. In Hindu religion, red is of utmost significance and the color most frequently used for auspicious occasions like marriages, birth of a child, festivals, etc. A red mark is put on the forehead during ceremonies and important occasions. As a sign of marriage, women put red powder on the hair parting. They also wear a red sari during marriage. Red powder is usually thrown on statues of deities and phallic symbols during prayers. It is also the color of Shakti (prowess). A red colored dress is put on deities who are charitable, brave, protective, and who have the capacity to destroy evil. On the death of a woman, her body is wrapped in a red cloth for the cremation. Saffron The most sacred color for the Hindu saffron. Represents fire and as impurities are burnt by fire, this color symbolizes purity. It also represents religious abstinence. This color connotation has a sacred meaning for the Hindu. It is the color of holy men and ascetics who have renounced the world. Wearing the color symbolizes the quest for light. It is the battle color of the Rajputs, the warrior caste.