Trade Marks Journal No: 1625, 27/01/2014 P`Kasana : Baart Sarkar
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Chapter 3 Methodology…
Chapter 3 Methodology… Methodology….. CHAPTER III METHODOLOGY The research being descriptive and analytical in nature, a longitudinal research design was planned to accomplish the framed objectives. The study had been divided into three different phases. The detailed historical research was conducted during the first phase while the second phase included the collection and documentation of the data. Earnest efforts for the preservation and popularization of the traditional royal costumes were made during the third phase of research. The organized research procedure that would be accomplishing the present study is mentioned as follows: 3.1 Selection of topic The present research had started with an inspiring thought of investigator’s master’s dissertation work and experiences. The researcher had seen various researches and documentation of Indian royal costumes especially of princely states of Rajasthan and Gujarat and found that the dearth of information was available on the royal costumes of Kachchh which led researcher towards its investigation. The present research had taken its shape as a researcher came across royal heritage of Kachchh for taking it into the limelight and preserving it in a decent manner for future generation. Moreover, the statement of the problem identified as Documentation of traditional costumes of rulers of Kachchh. The rulers of Kachchh were not as popular as other princely state rulers. The word “royal costume” provides an impression of luxurious fabrics, embellishments, and royalty. There could be the difference in these elements in royal costumes of Kachchh compared to other ruler’s costume. Kachchh’s geographical location has Rajasthan one end and Sindh Pakistan at the other end as neighboring states which could have influenced the costumes. -
Traditional Indian Textiles Students Handbook + Practical Manual Class XII
Traditional Indian Textiles Students Handbook + Practical Manual Class XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110301 In collaboration with National Institute of Fashion Technology Traditional Indian Textiles – Class XII Students Handbook + Practical Manual PRICE : ` FIRST EDITION : 2014 © CBSE, India COPIES : No Part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical photocopying, recording or otherwise without the prior permission of the publisher. PUBLISHED BY : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi - 110301 DESIGNED & LAYOUT : M/s. India Offset Press, A-1, Mayapuri Industrial Area, Phase-1, New Delhi - 110064 Hkkjr dk lafo/kku mísf'kdk ge Hkkjr ds yksx Hkkjr dks ,d ^¿lEiw.kZ izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kRed x.kjkT;À cukus ds fy,] rFkk mlds leLr ukxfjdksa dks % lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /keZ vkSj mikluk dh Lora=rk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek vkSj jk"Vª dh ,drk vkSj v[k.Mrk lqfuf'pr djus okyh ca/kqrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/kku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~}kjk bl lafo/kku dks vaxhÑr] vf/kfu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/kku ¼c;kfyloka la'kks/ku½ vf/kfu;e] 1976 dh /kkjk 2 }kjk ¼3-1-1977½ ls ÞizHkqRo&laiUu yksdra=kRed x.kjkT;ß ds LFkku ij izfrLFkkfirA 2- lafo/kku ¼c;kfyloka la'kks/ku½ -
GI Journal No. 77 1 November 30, 2015
GI Journal No. 77 1 November 30, 2015 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO.77 NOVEMBER 30, 2015 / AGRAHAYANA 09, SAKA 1936 GI Journal No. 77 2 November 30, 2015 INDEX S. No. Particulars Page No. 1 Official Notices 4 2 New G.I Application Details 5 3 Public Notice 6 4 GI Applications Guledgudd Khana - GI Application No.210 7 Udupi Sarees - GI Application No.224 16 Rajkot Patola - GI Application No.380 26 Kuthampally Dhoties & Set Mundu - GI Application No.402 37 Waghya Ghevada - GI Application No.476 47 Navapur Tur Dal - GI Application No.477 53 Vengurla Cashew - GI Application No.489 59 Lasalgaon Onion - GI Application No.491 68 Maddalam of Palakkad (Logo) - GI Application No.516 76 Brass Broidered Coconut Shell Craft of Kerala (Logo) - GI 81 Application No.517 Screw Pine Craft of Kerala (Logo) - GI Application No.518 89 6 General Information 94 7 Registration Process 96 GI Journal No. 77 3 November 30, 2015 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 77 of the Geographical Indications Journal dated 30th November 2015 / Agrahayana 09th, Saka 1936 has been made available to the public from 30th November 2015. GI Journal No. 77 4 November 30, 2015 NEW G.I APPLICATION DETAILS App.No. Geographical Indications Class Goods 530 Tulaipanji Rice 31 Agricultural 531 Gobindobhog Rice 31 Agricultural 532 Mysore Silk 24, 25 and 26 Handicraft 533 Banglar Rasogolla 30 Food Stuffs 534 Lamphun Brocade Thai Silk 24 Textiles GI Journal No. -
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. -
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. -
REPORT + TRENDS Lakme Fashion Week 2 FASHION
REPORT + TRENDS Lakme Fashion Week AWEEK OF UPCYCLIN 136 | FIBRE2FASHION SEPTEMBER 2017 WEEK OF The Lakmé Fashion Week Summer/Resort 2017, that saw 93 designers exhibit their collections and innovations across 42 shows, was a lot about recycling and upcycling. Meher Castelino reports. G here has been constant talk in the past few years in India, abroad and at several seminars and discussions on how to protect the environment. This has led to many projects that have tried to figure out N how fast fashion can be slowed down. In turn, it is now being debated how the fashion industry, which is the most polluting, can make use of itsT discarded garments and turn them into new creations. What happens to all the old clothes that are discarded by the fashion- conscious? Are those just waste, or can they be used with inventive ideas? What happens to all the leftover fabrics in factories after the garments are made? A beginning to this end was made at the Lakmé Fashion Week Summer/Resort 2017 season through the concept of using old clothes to create new ones with the top designers like Rajesh Pratap Singh and Abraham and Thakore leading the way. SEPTEMBER 2017 FIBRE2FASHION | 137 REPORT + TRENDS Lakme Fashion Week Using discarded fabrics The Abraham & Thakore label by David Abraham and Rakesh Thakore has been loyal to sustainable and organic fashion for decades. At the Week this time, their menswear collection ‘Dandy March’ was a stylish parade of unconventional garments. Using only discarded fabrics like bedsheets, cushion covers and off-cuts, the duo made a creative attempt at recycling waste material from off-cuts on the factory floor. -
IJIR Paper Template
ISSN: 2455-3220 International Journal for Social Studies Available at Volume 04 Issue 02 https://edupediapublications.org/journals February 2018 Innovation of Fascinated Garments from Kerala Traditional Fabrics D. Anita Rachel¹, Satheesh.Y² 1Assistant Professor, Department of Apparel Manufacturing and Merchandising, Nift – Tea College Of Knitwear Fashion and Research Scholar Department of Rural Industries and Management , Gandhigram Rural Institute-Deemed University, Gandhigram- Dindigul, Tamil Nadu, India (1526P0045), 2B.Sc(AMM)Nift – Tea College Of Knitwear Fashion, Tirupur, Tamil Nadu, India Abstract traditional occasion in Kerala is complete This Project is to innovative of without people wearing traditional Kasavu Fascinated garments from Kerala costume into Garments traditional saree in to the fancy garment. Keywords: Woven fabrics, Solitary Woven fabrics are made by using eight set garments, Warp yarns, Weft yarns, Kasavu of weave structure with the change of Saree into Fascinated Garments settings in weaving machine more sets of yarn interlaced at right angles to each 1 Introduction other. Much variety is produced by A very large number of looms are located in weaving. Woven fabrics are generally more rural areas. The rhythm of handloom can be durable. A textile is a cloth which is either heard in almost every village in Kerala. woven by hand or machine. “Textile” has traditionally meant “a woven fabric’’. The 1.1Weaving: term textile comes from the latin word Weaving process is a method of fabric “texere”, means to weave, a textile is production in which two distinct sets of anything that is made up of fibers, yarn, or yarns or threads are interlaced at right fabrics. -
Nepali Times Has Compiled All Its Travel Writeups Over the Past Eight Years Into a Special Destination Package
#420 3 - 9 October 2008 20 pages Rs 30 Weekly Internet Poll # 420 Q. Was the finance minister right to cut ’Tis the budget for festivals? the Total votes: 5,089 season Weekly Internet Poll # 421. To vote go to: www.nepalitimes.com Q.Do you expect next year’s Dasain- lear skies, fabulous mountain Tihar to be better than this year’s? C views, festivals, smiles. Those characteristics of the Dasain-Tihar holidays make the autumn season popular for tourism and trekking. With the peace process on track, elections over and a new government in place, visitor arrivals have picked up. Hotel rooms and airline tickets are scarce. But there are still places to go in this vast country that are off the beaten track, like Upper Dolakha (p 8-9). Nepali Times has compiled all its travel writeups over the past eight years into a Special Destination package. See: www.nepalitimes.com.np/ special/travel_nepal.php Editorial Time is running out p2 GUEST COLUMN Karna Shakya p2 PLAIN SPEAKING Prashant Jha p4 Dolakha’s hidden charm p8-9 Cars cars cars! p10-11 Maoist movies p15 College fashion p16 HAPPY HOLIDAY Nepali Times wishes all its readers and partners a happy Dasain, Chhat, Eid. Because of the holidays, there will be no BEAUTIFUL COUNTRY: issue of Nepali Dentistry student Times on 10 Sunaina Palikhe and October. The next hotel management hardcopy edition student Monita Pun of this paper will trekking in Dhampus come out on 17 amidst a spectacular October. Log on to backdrop of www.nepalitimes.com Machapuchre on for regular news Saturday. -
Study & Documentation of Balaramapuram Sarees & Fine
Study & Documentation of Balaramapuram Sarees & Fine Cotton fabrics: The Pride of God’s Own Country Textiles Committee Ministry of Textiles Government of India Mumbai Chapter I History of Handlooms 1.1 Handloom weaving in South India The Handloom weaving has been an industry of prime importance for centuries in India. The seventeenth and eighteenth centuries were a period of unquestioned prosperity, whereas the nineteenth and twentieth centuries have seen certain significant changes in the structure and organization of this industry. A number of historians have documented the production and trading systems pertaining to handloom cloth in earlier centuries. The Coromandel Coast as a whole and Masulipatnam fabrics in particular had achieved world-renowned name in the history of handlooms. It is well established that production was not only for an insular rural market, but also catered to a sizeable export demand. For example, the chintz or checked rumalls of Masulipatnam were in great demand not only in India, but also in Persia and Europe. Muslins and calicos too were important items of production and formed a significant component of trade. It was this textile trade that the British sought to control in South India. It has been observed that while local merchants used to link weavers with the export market earlier, “as deliberate colonial policy the English sought to use their power to alter the conditions of production of handloom textiles and to transform existing relations between producers and middlemen” (Arasaratnam, 1990:190). This gave rise to major alterations in the organization of production itself. Rather than deal directly with weavers themselves or use the existing marketing intermediaries, the East India Company appointed ‘Gumasthas’ as mediators in the process of accessing cloth. -
Ancient Indian Texts of Knowledge and Wisdom
Newsletter Archives www.dollsofindia.com The Saree - The Very Essence of Indian Womanhood Copyright © 2013, DollsofIndia A saree or sari is a long strip of unstitched cloth, which is draped by Indian women – it practically typifies Indian women and showcases the vast diversity of Indian culture as a whole. The word "Sari" is derived from the Sanskrit and the Prakrit (pre-Sanskrit language) root, "Sati", which means, "strip of fabric". Interestingly, the Buddhist Jain works, the Jatakas, describe women’s apparel, called the "Sattika", which could well have been similar to the present-day saree. Another fact is that the end of the saree that hangs downward from the shoulder is called the Pallav. Experts believe that the name came to be during the reign of the Pallavas, the ruling dynasty of ancient Tamilnadu. A saree typically ranges from six to nine yards in length and can be worn in several ways, depending upon the native of the wearer and her outlook on current fashion. Usually, a saree is tucked in at the waist and is then wrapped around the body with pleats in the center, the other end draped loosely over the left shoulder, showing the midriff. This apparel is also popular in Pakistan, Bangladesh, Nepal, Bhutan, Myanmar, Sri Lanka, Singapore and Malaysia. This very feminine garment is worn over a petticoat, also referred to as a lehenga in the North, a paavaadai in the South, a parkar or ghaghra in the West and a shaya in the East. It is worn along with a bodice or blouse, called the choli (in North India) or ravikkai (in South India). -
Fairs & Festivals, Part VII-B, Vol-XIV, Rajasthan
PRG. 172 B (N) 1,000 CENSUS OF INDIA 1961 VOLUME XIV .RAJASTHAN PART VII-B FAIRS & FESTIVALS c. S. GUPTA OF THE INDIAN ADMINISTRATIVE SERVICE Superintendent of Census Operations, Rajasthan 1966 PREFACE Men are by their nature fond of festivals and as social beings they are also fond of congregating, gathe ring together and celebrating occasions jointly. Festivals thus culminate in fairs. Some fairs and festivals are mythological and are based on ancient traditional stories of gods and goddesses while others commemorate the memories of some illustrious pers<?ns of distinguished bravery or. persons with super-human powers who are now reverenced and idealised and who are mentioned in the folk lore, heroic verses, where their exploits are celebrated and in devotional songs sung in their praise. Fairs and festivals have always. been important parts of our social fabric and culture. While the orthodox celebrates all or most of them the common man usually cares only for the important ones. In the pages that follow an attempt is made to present notes on some selected fairs and festivals which are particularly of local importance and are characteristically Rajasthani in their character and content. Some matter which forms the appendices to this book will be found interesting. Lt. Col. Tod's fascinating account of the festivals of Mewar will take the reader to some one hundred fifty years ago. Reproductions of material printed in the old Gazetteers from time to time give an idea about the celebrations of various fairs and festivals in the erstwhile princely States. Sarva Sbri G. -
Media,18278,Smxx.Pdf
When you visit the exhibit you will see: 11 100 years old Indian men’s clothing 21 Saris made of pure gold and silver threads hung on the walls 31 Muslim women wear 41 100 years old bridal attire 51 Traditional Indian costumes that were produced recently 1 • Maharaja is a title for a Great Ruler in India1 • Maharani is either the wife of the Maharaja or a female ruler of a state in India1 • Refer to the exhibition pamphlet VELVET SILK CHOGA COTTON VEIL ANKLES SHERVANI FABRIC TUNIC ACHKAN TURBAN SARI During important ceremonies, upper class men often wore a 1.________ over their Angarkha, which is a type of overcoat made out of 2._________ muslin or another precious fabric such as 3._______ or 4.________. The Choga had been replaced by the 5._________ and 6._________. All Indian men wear 7.________ or some sort of plain head cover. The 8._______ is generally regarded as a symbol of India. The garment was used mainly in the east and south until the 19th century. Each region of India has its own style, which differs in 9.________; weave decoration and manner of draping. Women mostly wore a skirt extending down to the 10._______, with a blouse and a 11._______. In northern and western India Muslim women wore trousers 12._______ and a veil. 3 ____ 1. Maharaja is a female ruler. ____ 2. Rajmata is the Queen Mother. ____ 3. 4 Find the following words: ACHKAN CHOGA SHERVANI ABHA CHANIYA SARI o d t v k p m y c a s k a y d l g f g a c t u a e n P o h c t h n h k l r f g a c h k a n a o b x i f a q c l o i h r g r c t r r u k g h j a j a o i h u k f t s n I s h e r v a n i o a h e n q a o s s a r a f c h a n i y a e a b h a 5 Draw an item of your choice from the Maharaja’s collection.