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Indian Classical Dance Is a Relatively New Umbrella Term for Various Codified Art Forms Rooted in Natya, the Sacred Hindu Musica
CLASSICAL AND FOLK DANCES IN INDIAN CULTURE Palkalai Chemmal Dr ANANDA BALAYOGI BHAVANANI Chairman: Yoganjali Natyalayam, Pondicherry. INTRODUCTION: Dance in India comprises the varied styles of dances and as with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country. These dance forms emerged from Indian traditions, epics and mythology. Sangeet Natak Akademi, the national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances, which might have origin in religious activities of distant past. These are: Bharatanatyam- Tamil Nadu Kathak- Uttar Pradesh Kathakali- Kerala Kuchipudi- Andhra Pradesh Manipuri-Manipur Mohiniyattam-Kerala Odissi-Odisha Sattriya-Assam Folk dances are numerous in number and style, and vary according to the local tradition of the respective state, ethnic or geographic regions. Contemporary dances include refined and experimental fusions of classical, folk and Western forms. Dancing traditions of India have influence not only over the dances in the whole of South Asia, but on the dancing forms of South East Asia as well. In modern times, the presentation of Indian dance styles in films (Bollywood dancing) has exposed the range of dance in India to a global audience. In ancient India, dance was usually a functional activity dedicated to worship, entertainment or leisure. Dancers usually performed in temples, on festive occasions and seasonal harvests. Dance was performed on a regular basis before deities as a form of worship. Even in modern India, deities are invoked through religious folk dance forms from ancient times. -
Particulars of Some Temples of Kerala Contents Particulars of Some
Particulars of some temples of Kerala Contents Particulars of some temples of Kerala .............................................. 1 Introduction ............................................................................................... 9 Temples of Kerala ................................................................................. 10 Temples of Kerala- an over view .................................................... 16 1. Achan Koil Dharma Sastha ...................................................... 23 2. Alathiyur Perumthiri(Hanuman) koil ................................. 24 3. Randu Moorthi temple of Alathur......................................... 27 4. Ambalappuzha Krishnan temple ........................................... 28 5. Amedha Saptha Mathruka Temple ....................................... 31 6. Ananteswar temple of Manjeswar ........................................ 35 7. Anchumana temple , Padivattam, Edapalli....................... 36 8. Aranmula Parthasarathy Temple ......................................... 38 9. Arathil Bhagawathi temple ..................................................... 41 10. Arpuda Narayana temple, Thirukodithaanam ................. 45 11. Aryankavu Dharma Sastha ...................................................... 47 12. Athingal Bhairavi temple ......................................................... 48 13. Attukkal BHagawathy Kshethram, Trivandrum ............. 50 14. Ayilur Akhileswaran (Shiva) and Sri Krishna temples ........................................................................................................... -
Circumambulation in Indian Pilgrimage: Meaning And
232 INTERNATIONAL JOURNAL OF SCIENTIFIC & ENGINEERING RESEARCH, VOLUME 12, ISSUE 1, JANUARY-2021 ISSN 2229-5518 Circumambulation in Indian pilgrimage: Meaning and manifestation Santosh Kumar Abstract— Our ancient literature is full of examples where pilgrimage became an immensely popular way of achieving spiritual aims while walking. In India, many communities have attached spiritual importance to particular places or to the place where people feel a spiritual awakening. Circumambulation (pradakshina) around that sacred place becomes the key point of prayer and offering. All these circumambulation spaces are associated with the shrines or sacred places referring to auspicious symbolism. In Indian tradition, circumambulation has been practice in multiple scales ranging from a deity or tree to sacred hill, river, and city. The spatial character of the path, route, and street, shift from an inside dwelling to outside in nature or city, depending upon the central symbolism. The experience of the space while walking through sacred space remodel people's mental and physical character. As a result, not only the sacred space but their design and physical characteristics can be both meaningful and valuable to the public. This research has been done by exploring in two stage to finalize the conclusion, In which First stage will involve a literature exploration of Hindu and Buddhist scripture to understand the meaning and significance of circumambulation and in second, will investigate the architectural manifestation of various element in circumambulatory which help to attain its meaning and true purpose. Index Terms— Pilgrimage, Circumambulation, Spatial, Sacred, Path, Hinduism, Temple architecture —————————— —————————— 1 Introduction Circumambulation ‘Pradakshinā’, According to Rig Vedic single light source falling upon central symbolism plays a verses1, 'Pra’ used as a prefix to the verb and takes on the vital role. -
Nanjanagud Bar Association : Nanjanagud Taluk : Nanjanagud District : Mysuru
3/17/2018 KARNATAKA STATE BAR COUNCIL, OLD KGID BUILDING, BENGALURU VOTER LIST POLING BOOTH/PLACE OF VOTING : NANJANAGUD BAR ASSOCIATION : NANJANAGUD TALUK : NANJANAGUD DISTRICT : MYSURU SL.NO. NAME SIGNATURE K S Jayadevappa PLD/1/58 1 S/O K S Basavaiah 12th Cross, R P Road Extension, Najnjanagud NANJANAGUD MYSURU 571301 MUNISUVRATHA C P MYS/621/62 S/O PADMANABHAIAH 2 15TH CROSS 3RD MAIN ROAD NANJANGUD MYSURU NANJANAGUD MYSURU 571301 YOGESH B. KAR/23/77 3 S/O BASAVARAJAPPA M S K S R T C BUS STAND NANJUNGUD MYSURU NANJANAGUD MYSURU 571 301 SETHU RAO M.J. KAR/352/77 4 S/O M.JAGANNATH 3324 12TH CROSS, SRIKANTAPURI NANJANAGUD MYSURU 571 301 1/26 3/17/2018 VENKAPPA GOWDA M KAR/475/79 5 S/O M.ANNAPPA GOWDA MYSURU CITY NANJANAGUD MYSURU 570005 SHANKARAPPA C M KAR/576/79 6 S/O B MUDDUMALLAPPA GEJJIGANAHALLI POST NANJANAGUD MYSURU PALANETRA KAR/333/80 S/O LATE BASAVARAJAPPA 7 1424 S-3, SUNRISE APARTMENT, 7TH CROSS, K.M PURAM NANJANAGUD MYSURU 571301 SRIKANTA PRASAD N KAR/164/81 8 S/O NAGARAJ P (LATE) R P ROAD , NANJANAGUD TOWN NANJANAGUD MYSURU 571 301 VRUSHOBHENDRA PRASAD K KAR/233/81 S/O KUMARASWAMY SWAMY 9 20/1 7TH MAIN SWIMMING POOL ROAD SARASWATHI PURAM NANJANAGUD MYSURU 2/26 3/17/2018 BASAVANNA S KAR/182/82 10 S/O SOMAPPA UMMATHUR, CHAMARAJANAGAR NANJANAGUD MYSURU 571301 MAHADEVA KUMAR E KAR/427/83 S/O EREGOWDA 11 NO 3385 ,'ISHANI NILAY' ,13TH CROSS, B V PANDITH ROAD, R P MAIN ROAD NANJANAGUD MYSURU 571 301 GIRIRAJA S KAR/165/85 12 S/O SUBRAYAPPA HULLAHALLI NANJANAGUD MYSURU 571 301 GANESH MURTHY. -
Original Research Paper
PARIPEX - INDIAN JOURNAL OF RESEARCH | Volume-9 | Issue-4 | April - 2020 | PRINT ISSN No. 2250 - 1991 | DOI : 10.36106/paripex ORIGINAL RESEARCH PAPER Arts KEY WORDS: Tholu Bommalatha, SUPPLEMENTARY ELEMENTS OF Kambaramayanam, Thiruvachakam,, Natya Sastra, Yakshaganam, Adalpattu, Are, ENTERTAINMENT IN LEATHER SHADOW Ranganatha Ramayanam, Ayappudava, Sadya Vazhthal,Gona Budha reddy, PUPPETEERING OF ANDHRA PRADESH Puppeteering, Yakshaganam, Wuti. Mada Pulavar. Kunthirikulathu Madom, MMRA 55A, Madan Kovil Road, Paruthippara, Babu K Muttada-P O, Trivandrum- 695 025, INDIA. With stupendous international kindred, leather shadow puppetry is a marvelous folk art form widespread in India. This art form has a role in conception of amusement in all south Indian states, (Kerala, Tamil Nadu, Karnataka and Andhra CT Pradesh). Apart from its special role on Hindu devotional practices it a well established engagement of entertainment. There are certain families absolutely devoted in puppet making, playing and surviving only with income produced through performances. It is very intricate for provide a normal survival to them because of the strong hostility with other various modern forms of entertainments existing in each corner. However it is the duty of the beholders and ABSTRA beneficiaries to keep the system alive for their continued existence. The certain changes and differences found in puppets and its manipulation in Andhra Pradesh are documented and evaluated its relevance here. INTRODUCTION: Kanyakumari, Bengaluru and Visakhapatinam straightly cut From child hood I have been well acquainted with several leather with a sharp knife and stitch them to make a huge types of performances conducted in temples offered as Ravana horrifying Puppet or smooth colorful pieces joined for worship to deities. -
The Seraikella Chhau Dance
The Seraikella Chhau Dance Text and Photographs by Mohan Khokar If the one-time princely state of Seraikella is known to the outside world, it is mainly because of the Chhau dance. For centuries the people here-rulers and commonersalike-havecherished and preservedthisextraordinarily stylised and aesthetically rich form of art. Dance traditions bearing the same name, Chhau, also obtain in nearby Mayurbhanj. in Orissa, and Purulia, in West Bengal, and certain parallel characteristics suggest a common origin for the three. Broadly, however, the Chhau of Seraikella can be said to be poetic and evocative, that of Mayurbhanj earthy and vibrant, and of Purulia robust and virile. Hara-Parvatt. 25 Seraikella lies in the heart of the Singhbhum district, formerly of Orissa and now of Bihar. Girdled as it is by the rolling Saranda and Bangriposi hills, it has for centuries maintained its own peculiar religious and cultural traditions, immune to influence from without. And these traditions find their fullest flower ing once every year, at the time of Chaitra Parva, the Spring Festival . Preceded by elaborate ceremonies and rituals, the Chhau is performed for four or five nights and witnessed by thousands from the city and around. The technique of the Chhau dance stems from the parikhanda system of exercise, an important part of the training of the sipahis, or warriors, of Seraikella. Pari means shield and khanda sword, and in the parikhanda the performers all hold swords and shields in their hands when doing the exercises. The parikhanda is generally performed in the early hours of the morning and, traditionally, only at one place-a stretch of raised land on the bank of the Kharkai river, known as Bhairavsal. -
Study of Dental Fluorosis in Subjects Related to a Phosphatic Fertilizer
Indian Journal of Traditional Knowledge Vol. 7(1), January 2008, pp. 130-133 Masks from the archives of the Indira Gandhi National Centre for the Arts Kakoli Roy Biswas Janapada Sampada DivisionIndira Gandhi National Centre for the Arts, New Delhi 110 001 E-mail: [email protected] Received 10 August 2007; Revised 30 October 2007 Mask, used since antiquity for both ceremonial and practical purposes, are normally worn on the face, typically for protection, concealment, performance, or amusement. Masks are believed to embody the spirit of an ancestor, and symbolize a message of wisdom, prosperity, security, and power. Masks have been worn in cultures throughout the world for thousands of years. Masks are made of varied materials including paper, cloth, grass, leather, metal, wood and stone. They are painted with symbolic designs and vivid colours. Masks and their manifold forms are a very significant mode of cultural expression. The Indira Gandhi National Centre for the Arts (IGNCA) has a rich collection of masks from all over the world. The paper describes historical background, material used, traditional methods of preparation and cultural significance of masks from the repository of the GNCA. The article also highlights the musicological, psychological and philosophical significance of these masks and focused description of the Chhau masks of West Bengal and Saraikela. Keywords: Masks IPC Int. Cl.8: B27, G10D Mask is an object, which helps a man to hide his own person. Traditional carvers or mask makers undergo identity and project various moods and required many years of specialized apprenticeship until images to act accordingly. The mask was invented by achieving mastery of the art. -
List of Empanelled Artist
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ -
Bahrain-Based Entrepreneur Baburajan Wins Pravasi Bharatiya
SUNDAY, JANUARY 10, 2021 02 Bahrain-based entrepreneur Baburajan wins Pravasi Bharatiya Samman Award Indian Ambassador Piyush Srivastava says, “Pravasi Bharatiya Samman brings great joy to Indian community”. Indian Ambassador to Bahrain Piyush Srivastava and Pravasi Bharatiya Samman Award winner KG Baburan with top officials and guests yesterday as part of the Pravasi dian (NRI), Person of Indian Or- assistance within India and GCC. attributed to the liberal, tolerant man and Managing Director of TDT | Manama Bharatiya Divas (PBD) Conven- igin (PIO), and organisations or The Ambassador wished and welcoming society of the BKG Holding, Qatar Engineering tions. institutions established and run the community and Babura - Kingdom.” Ambassador Srivas- Laboratories and Quality Piling ndian Ambassador to Bah- “The news brings great joy to by NRIs or PIOs. The Indian Am- jan every success in promoting tava thanked the Leadership and and Construction companies, rain Piyush Srivastava the members of the Indian com- bassador also thanked Baburajan Bahrain-India ties and a better Government of Bahrain “for the and has operations across the Iyesterday congratulated munity here in the Kingdom,” for his invaluable contributions understanding of India’s rich care taken by them of our com- GCC. Bahrain-based entrepreneur said the Indian Ambassador con- to the enrichment of the Indian culture and diversity across munity, particularly during the Baburajan was instrumental Baburajan Vava Kalluparambil gratulating Baburajan for being Diaspora, which had played a the world during celebrations difficult times of COVID 19 pan- during the construction of the Gopalan for winning the highest among the very best of India. crucial role in the development of 16th PBD Convention at the demic.” prestigious 25-kilometre-long honour conferred on overseas Baburajan is one of the di - of Bahrain and India and en - embassy. -
Potentil and Prospects of Pakistani Diaspora 1
Potentil and Prospects of Pakistani Diaspora 1 Potentil and Prospects of Pakistani Diaspora 2 Potentil and Prospects of Pakistani Diaspora 3 Potentil and Prospects of Pakistani Diaspora 4 ACKNOWLEDGEMENTS This volume is based on papers presented at the two-day international conference on ―Potential and Prospects of Pakistani Diaspora‖ held on November 14-15, 2012 at Islamabad Hotel, Islamabad. The Conference was jointly organised by the Islamabad Policy Research Institute (IPRI) and the Hanns Seidel Foundation, (HSF) Islamabad. The organisers of the Conference are especially thankful to Dr. Martin Axmann, Resident Representative HSF, Islamabad, for his co- operation and sharing the expense on the Conference. For the papers presented in this volume, we are grateful to all participants, as well as the chairpersons of the different sessions. We are also thankful to the scholars, students and professionals who accepted our invitation to participate in the conference. The successful completion of the Conference owes much to the untiring efforts and logistical support provided by the staff of the IPRI and the HSF. Finally, our thanks are due to all those whom it would not be possible to thank individually for their help in making the Conference a success. Potentil and Prospects of Pakistani Diaspora 5 ACRONYMS ACFROC All-China Federation of Returned Overseas Chinese AJK Azad Jammu and Kashmir ANP Awami National Party APPNA Association of Physicians of Pakistani Descent of North America BBC Urdu British Broadcasting Corporation Urdu BEOE Bureau -
Nellaiappar Temple in Tirunelveli Bags First FSSAI Certification for Offerings
Nellaiappar temple in Tirunelveli bags first FSSAI certification for offerings TNN | Jan 19, 2020 Madurai: The Nellaiappar temple in Tirunelveli is to be the first temple in the state to receive Blissful Hygiene Offering to God (BHOG), a quality certification given by Food Safety and Standards Authority of India (FSSAI) for all food items offered in temples. The certification was introduced by the state food safety and drug administration (FSDA) to ensure that the prasadam distributed to devotees in temples after being offered to the deity and also that sold in the stalls conform to FSSAI standards. The FSDA had asked the Hindu Religious and Charitable Endowments (HR and CE) department to comply with the rules. A meeting to this effect presided by Tirunelveli district collector Shilpa Prabhakar Satish and officials of the administration was held recently. It was informed that the prasadam provided by the Nellaiappar temple had been certified most hygienic and clean and that the certification would be given away at the Republic Day celebrations. The Sankaranarayanar temple in Sankarankoil in the district has bagged the second spot among the major temples in the state in obtaining the certification. Temple executive officer N Yagna Narayanan said the certification had been implemented as a pilot project in the Nellaiappar and Sankaranarayanar temples. As they had fulfilled the norms of the certification, they were also certified as BHOG quality standard temple. The temple’s prasadam is boiled rice, but they also offered pongal and puliyodarai if the devotees wanted to make the offering. The annadhanam offered in the temple was also certified under this process. -
Onam Onam-Harvest Festival of Kerala • Onam Is the Biggest and the Most Important Festival of the State of Kerala, India
Onam Onam-Harvest Festival of Kerala • Onam is the biggest and the most important festival of the state of Kerala, India. • It is a harvest festival and is celebrated with joy and enthusiasm by Malayalis (Malayalam speaking people) all over the world. It celebrates rice harvest. • Onam is celebrated in the beginning of the month of Chingam, the first month of Malayalam Calendar (Kollavarsham), which in Gregorian Calendar corresponds to August-September. Chingam 1 is the New Year day for Malayali Hindus. • It celebrates the Vamana (fifth avatar of god Vishnu) avatar of Vishnu (principal deity of Hinduism). • It is celebrated to welcome King Mahabali, whose spirit is said to visit Kerala at the time of Onam. • The festival goes on for ten days. • Onam celebrations include Vallamkali (boat race), Pulikali (tiger dance), Pookkalam (floral carpet), Onathappan (worship), Vadamvali (Tug of War), Thumbi Thullal (women's dance), Kummattikali (mask dance), Onathallu (martial arts), Onavillu (music), Kazhchakkula (plantain offerings), Onapottan (costumes), Atthachamayam (folk songs and dance), and other celebrations. Vallamkali Pulikali Pookkalam Onathappan Vadamvali Thumbi Thullal Onathallu Kummattikali Onavillu Atthachamayam Onapottan Kazhchakkula Significance • King Mahabali was also known as Maveli and Onathappan. Mahabali was the great great grandson of a Brahmin sage named Kashyapa , the great grandson of demonic dictator Hiranyakashipu, and the grandson of Vishnu devotee Prahlada. Prahlada, was born to a demonic Asura father who hated Vishnu. Despite this, Prahlada rebelled against his father's ill-treatment of people and worshipped Vishnu. • Hiranyakashipu tried to kill his son Prahlada, but was slained by Vishnu in his Narasimha avatar, Prahlada was saved.