Banarasi Sarees Direct from Weavers
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SACRED SPACES and OBJECTS: the VISUAL, MATERIAL, and TANGIBLE George Pati
SACRED SPACES AND OBJECTS: THE VISUAL, MATERIAL, AND TANGIBLE George Pati BRAUER MUSEUM OF ART | APRIL 13 — MAY 8, 2016 WE AT THE BRAUER MUSEUM are grateful for the opportunity to present this exhibition curated by George Pati, Ph.D., Surjit S. Patheja Chair in World Religions and Ethics and Valparaiso University associate professor of theology and international studies. Through this exhibition, Professor Pati shares the fruits of his research conducted during his recent sabbatical and in addition provides valuable insights into sacred objects, sites, and practices in India. Professor Pati’s photographs document specific places but also reflect a creative eye at work; as an artist, his documents are also celebrations of the particular spaces that inspire him and capture his imagination. Accompanying the images in the exhibition are beautiful textiles and objects of metalware that transform the gallery into its own sacred space, with respectful and reverent viewing becoming its own ritual that could lead to a fuller understanding of the concepts Pati brings to our attention. Professor Pati and the Brauer staff wish to thank the Surjit S. Patheja Chair in World Religions and Ethics and the Partners for the Brauer Museum of Art for support of this exhibition. In addition, we wish to thank Gretchen Buggeln and David Morgan for the insights and perspectives they provide in their responses to Pati's essay and photographs. Gregg Hertzlieb, Director/Curator Brauer Museum of Art 2 | BRAUER MUSEUM OF ART SACRED SPACES AND OBJECTS: THE VISUAL, MATERIAL, AND TANGIBLE George Pati George Pati, Ph.D., Valparaiso University Śvetāśvatara Upaniṣad 6:23 Only in a man who has utmost devotion for God, and who shows the same devotion for teacher as for God, These teachings by the noble one will be illuminating. -
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. -
Nalli Silk Private Limited
+91-9551304567 Nalli Silk Private Limited https://www.indiamart.com/nalli-silk-saree/ Nalli, synonymous with Silk, was established in the year 1928 and has been a leader in the textile and retail business for over 80 years. An icon of South India, Nalli has become synonymous with silk or kanchipuram sarees. Nalli's success story has ... About Us Nalli, synonymous with Silk, was established in the year 1928 and has been a leader in the textile and retail business for over 80 years. An icon of South India, Nalli has become synonymous with silk or kanchipuram sarees. Nalli's success story has a fairy tale ring to it. Started as a small retail store for silk Sarees in Chennai by a young man called Nalli Chinnasami Chetty in 1928, the family-run shop did steady business for thirty years after which the grandson, Nalli Kuppuswami Chetti took over. In a radical departure from convention, Nalli Kuppusami decided that the shop would do no discount selling, an unheard-of prospect back in the 1950s. Since then it has been a pioneer in the field of textiles, leading the change for an entire industry. Nalli soon built up an image of unrivalled quality at reasonable prices; its roster of loyal clients also grew multifold. An 80 year brand with considerable equity in the South, Nalli's is still the popular destination of choice for silks and wedding sarees today. Today, Nalli's business focus has broadened, becoming not only a leading sari-retailer, but also one of the foremost manufactures and exporters of fabrics, apparel and home furnishings. -
Branch Libraries List
ADDRESS OF BRANCH LIBRARIES 1 District Central Library, 16 Branch Library, 307, Anna Salai, 2D, Nadu Street, Chengalpet – 603 002. Achirupakkam – 603 301. 2 Branch Library, 17 Branch Library, 78, Station Road, Main Road, Kattangolathur – 603 203. Thozhupedu – 603 310. 3 Branch Library, 18 Branch Library, Gandhi Street, Main Road, Guduvancheri – 603 202. Orathy – 603 307. 4 Branch Library, 19 Branch Library, 2/45, B. Santhaimedu, Ladakaranai, Endathur, Singaperrumal Koil – 603 204. Uthiramerur – 603 406. 5 Branch Library, 20 Branch Library, 129, Thiruvalluvar Salai, Bajanai Koil Street, Maraimalai Nagar – 603 209. Elapakkam – 603 201. 6 Branch Library, 21 Branch Library, 5, West Mada Street, 5/55, Salt Road, Thiruporur – 603 110. Cheyyur – 603 202. 7 Branch Library, 22 Branch Library, 34, Mamallapuram Salai, Angalamman Koil Street, Thirukazhukundram – 603 109. Kuvathur – 603 305. 8 Branch Library, 23 Branch Library, 203, Kulakarai Street, 2, East Coast Road, Sembakkam – 603 108. Kadapakkam – 603 304. 9 Branch Library, 24 Branch Library, 105, W2, Brahmanar Street, 9, Chakkaram Kodhandarama P.V. Kalathur – 603 405. Iyengar Street, Uthiramerur – 603 406. 10 Branch Library, 25 Branch Library, East Raja Street, Hospital Road, Mamallapuram – 603 104. Kaliyampoondi – 603 403. 11 Branch Library, 26 Branch Library, Nesco Joint, 1/172, Road Street, Kalpakkam – 603 102. Manampathi – 603 403. 12 Branch Library, 27 Branch Library, 70, Car Street, Main Road, Madhuranthagam – 603 306. Perunagar – 603 404. 13 Branch Library, 28 Branch Library, 3, Othavadai Street, Perumal Koil Street, Karunguzhi – 603 303. Salavakkam – 603 107. 14 Branch Library, 29 Branch Library, Railway Station Road, 138, Pillaiyar Koil Street, Padalam – 603 308. -
IBTEX No. 48 of 2016 March 04, 2016
IBTEX No. 48 of 2016 March 04, 2016 USD 67.29 | EUR 73.63 | GBP 95.26| JPY 0.59 Spot Prices of Overseas Ring Spun Yarn in Indicative Prices of Cotton Grey Fabrics in China Chinese Market Date: 3 Mar-2016 FOB Price Date:3 2-Mar-2016 Price (Post-Tax) (Pre-Tax) Description Prices Prices (USD/Kg.) (Domestic Production) (Yuan/Meter) Country C32Sx32S 130x70 63” 2/1 fine 20S 30S 7.20 Carded Carded twill India 2.10 2.30 C40Sx40S 133X72 63” 1/1 poplin 6.40 Indonesia 2.81 3.26 C40Sx40S 128X68 67” 2/1 twill 6.00-6.20 Pakistan 2.22 2.60 24Sx24S 72x60 54” 1/1 batik Turkey 2.60 2.80 4.60 Source CCF Group dyeing 20Sx20S 60x60 63” 1/1 plain cloth 6.20 Exhibit your company at www.texprocil.org at INR 990 per annum Please click here to register your Company’s name DISCLAIMER: The information in this message July be privileged. If you have received it by mistake please notify "the sender" by return e-mail and delete the message from "your system". Any unauthorized use or dissemination of this message in whole or in part is strictly prohibited. Any "information" in this message that does not relate to "official business" shall be understood to be neither given nor endorsed by TEXPROCIL - The Cotton Textiles Export Promotion Council. Page 1 News Clippings NEWS CLIPPINGS INTERNATIONAL NEWS No Topics 1 Call to adopt BT cotton production 2 Pakistan: Govt importing 50 lac cotton bales to meet local demands 3 Hopes raised Turkey can save Nigeria textile industry 4 Cambodia Mulls Joining TPP to Boost Trade 5 Time to put the TPP out of its Misery? 6 Pakistan textile -
Dress and Fabrics of the Mughals
Chapter IV Dress and Fabrics of the Mughals- The great Mughal emperor Akbar was not only a great ruler, an administrator and a lover of art and architecture but also a true admirer and entrepreneur of different patterns and designs of clothing. The changes and development brought by him from Ottoman origin to its Indian orientation based on the land‟s culture, custom and climatic conditions. This is apparent in the use of the fabric, the length of the dresses or their ornamentation. Since very little that is truly contemporary with the period of Babur and Humayun has survived in paintings, it is not easy to determine exactly what the various dresses look like other than what has been observed by the painters themselves. But we catch a glimpse of the foreign style of these dresses even in the paintings from Akbar‟s period which make references, as in illustrations of history or chronicles of the earlier times like the Babar-Namah or the Humayun-Namah.1 With the coming of Mughals in India we find the Iranian and Central Asian fashion in their dresses and a different concept in clothing.2 (Plate no. 1) Dress items of the Mughals: Akbar paid much attention to the establishment and working of the various karkhanas. Though articles were imported from Iran, Europe and Mongolia but effort were also made to produce various stuffs indigenously. Skilful master and workmen were invited and patronised to settle in this country to teach people and improve system of manufacture.2 Imperial workshops Karkhanas) were established in the towns of Lahore, Agra, Fatehpur Sikri and Ahmedabad. -
The Sari Ebook
THE SARI PDF, EPUB, EBOOK Mukulika Banerjee | 288 pages | 16 Sep 2008 | Bloomsbury Publishing PLC | 9781847883148 | English | London, United Kingdom The Sari PDF Book Anushka Sharma. So shop for yourself or gift a sari to someone, we have something for everyone. The wavy bun completed her look. Face Deal. Long-time weaving families have found themselves out of work , their looms worthless. Sari , also spelled saree , principal outer garment of women of the Indian subcontinent, consisting of a piece of often brightly coloured, frequently embroidered, silk , cotton , or, in recent years, synthetic cloth five to seven yards long. But for some in Asian American communities, the prospect of the nation's first Black and South Asian Vice President wearing a traditional sari at any of the inauguration events -- even if the celebrations are largely virtual -- has offered a glimmer of positivity amid the tumult. Zari Work. As a politician, Dimple Kapadia's sarees were definitely in tune with the sensibilities but she made a point of draping elegant and minimal saree. Batik Sarees. Party Wear. Pandadi Saree. While she draped handloom sarees in the series, she redefined a politician's look with meticulous fashion sensibility. Test your visual vocabulary with our question challenge! Vintage Sarees. Hence there are the tie-dye Bandhani sarees, Chanderi cotton sarees and the numerous silk saree varieties including the Kanchipuram, Banarasi and Mysore sarees. You can even apply the filter as per the need and choose whatever fulfil your requirements in the best way. Yes No. Valam Prints. Green woven cotton silk saree. Though it's just speculation at this stage, and it's uncertain whether the traditional ball will even go ahead, Harris has already demonstrated a willingness to use her platform to make sartorial statements. -
A Midsummer Night's Bollywood Dream by © 2009
A MIDSUMMER NIGHT’S BOLLYWOOD DREAM BY © 2009 Madison Elizabeth Spencer Submitted to the graduate degree program in Design and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements of the degree of Master of Fine Arts ________________________ Chairperson ________________________ ________________________ ________________________ Date defended: ________04/06/2009______ The Thesis Committee for Madison Elizabeth Spencer certifies that this is the approved Version of the following thesis: A MIDSUMMER NIGHT’S BOLLYWOOD DREAM Committee: ________________________ Chairperson ________________________ ________________________ ________________________ Date approved: _________04/24/2009_____ ii TABLE OF CONTENTS INTRODUCTION 1 HINDU DEITIES AND THE CASTE SYSTEM 4 DESIGN CONCEPT 8 COSTUME DESIGN 11 MAKE-UP 17 SET DESIGN 19 LIGHTING DESIGN 22 CONCLUSION 23 CLOTHING GLOSSARY 25 BIBLIOGRAPHY 27 NOTES 29 IMAGE INDEX 30 DOCUMENT INDEX 34 iii INTRODUCTION “Bollywood” is the colloquial term used to describe the Hindi film industry in India. It describes that part of the film industry with colorful, exaggerated, overly dramatic, music-and-dance-filled characteristics rather than this nation’s entire film making. In contrast to Hollywood, from which it takes its tongue-in-cheek name, Bollywood is no actual place; rather, it is the term that best describes a style of film making. Bollywood style in its broadest meaning is the mass media vehicle for entertainment that feeds some of the amusement needs of a population with a variety of languages and ethnic/caste backgrounds. Themes are simple and predictable for the most part, with a great degree of flexibility in the telling of even the most well known story in order to make a relevant point on a particular issue or current event. -
Glitter Text
All That Glitters – Spark and Dazzle from the Permananent Collection co-curated by Janine LeBlanc and Roger Manley Randy and Susan Woodson Gallery January 23 – July 12, 2020 Through the ages, every human society has demonstrated a fascination with shiny objects. Necklaces made of glossy marine snail shells have been dated back nearly 135,000 years, while shiny crystals have been found in prehistoric burials, suggesting the allure they once held for their original owners. The pageantry of nearly every religion has long been enhanced by dazzling displays, from the gilded statues of Buddhist temples and the gleaming mosaics of Muslim mosques and Byzantine churches, to the bejeweled altarpieces and reliquaries of Gothic cathedrals. As both kings and gods, Hawaiian and Andean royalty alike donned garments entirely covered with brilliant feathers to proclaim their significance, while their counterparts in other cultures wore crowns of gold and gems. High status and desirability have always been signaled by the transformative effects of reflected light. Recent research indicates that our brains may be hard-wired to associate glossy surfaces with water (tinyurl.com/glossy-as-water). If so, the impulse drawing us toward them may have evolved as a survival mechanism. There may also be subconscious associations with other survival necessities. Gold has been linked to fire or the sun, the source of heat, light, and plant growth. The glitter of beads or sequins may evoke nighttime stars needed for finding one’s way. The flash of jewels may recall an instinctive association with eyes. In jungles as well as open grasslands, both prey and predator can be so well camouflaged that only the glint of an eye might reveal a lurking presence. -
July 2015–December 2015
ACUITAS-The Journal of Management ACUITAS The Journal of Management Research Volume VI Issue-II July 2015–December 2015 Vol VI, Issue-II, (July-December, 2015) Page 1 ACUITAS-The Journal of Management ACUITAS - The Journal of Management Research Volume VI Issue-I January 2015–June 2015 Patron: Bhadant Arya Nagarjuna Shurei Sasai Chairman, P.P. Dr. Babasaheb Ambedkar Smarak Samiti, Deeksha Bhoomi, Nagpur Shri. S.J. Fulzele Secretary, P.P. Dr. Babasaheb Ambedkar Smarak Samiti, Deeksha Bhoomi, Nagpur Advisory Board: Dr. Vilas Chopde, Vice-Principal, Dr. Ambedkar College, Nagpur Capt. C.M. Chitale, Dean, Faculty of management, Savitribai Phule Pune University Dr. Babanrao Taywade, Dean, Faculty of Commerce, RTM Nagpur, University, Nagpur Editorial Board: Dr. Sudhir Fulzele, Director, Dr. Babasaheb Ambedkar Institute of Management Studies and Research, Nagpur Dr. S.G. Metre, Professor, Dr. BabasahebAmbedkar Institute of Management Studies and Research, Nagpur Dr. Charles Vincent, Professor, Centrum Catolica, Pontificia Universidad Catalica de Peru, South Africa Dr. S.S. Kaptan, Head of the Department and Research Centre, Savitribai Phule Pune University Dr. V.S. Deshpande, Professor, Department of Business Management, RTM Nagpur University, Dr. D.Y. Chacharkar, Reader, SGB Amravati University Dr. S.B. Sadar, Head of the Department, Department of Business Management, SGB Amravati University Dr. J.K. Nandi, Associate Dean, IBS, Nagpur Dr. Anil Pathak, Assistant Professor, MDI, Gurgaon Mr. Sangeet Gupta, Managing Director, Synapse World Wide, Canberra, Australia Ms. Sanchita Kumar, GM-HRD, Diffusion Engineering Ltd. Vol VI, Issue-II, (July-December, 2015) Page 2 ACUITAS-The Journal of Management Editorial Committee: Dr. Nirzar Kulkarni Executive Editor Dr. -
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. -
Journal 45.Pdf
GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO. 45 September 11, 2012 / BHADRA 20, SAKA 1933 INDEX S.No. Particulars Page No. 1. Official Notices 4 2. New G.I Application Details 5 3. Public Notice 6 4. GI Applications Bhagalpur Silk Fabrics & Sarees – GI Application No. 180 7 Mangalagiri Sarees and Fabrics– GI Application No. 198 Madurai Malli – GI Application No. 238 Tequila – GI Application No. 243 5. General Information 6. Registration Process 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 45 of the Geographical Indications Journal dated 11th September 2012 / Bhadra 20th, Saka 1933 has been made available to the public from 11th September 2012. NEW G.I APPLICATION DETAILS 371 Shaphee Lanphee 25 Manufactured 372 Wangkhei Phee 25 Manufactured 373 Moirang Pheejin 25 Manufactured 374 Naga Tree Tomato 31 Agricultural 375 Arunachal Orange 31 Agricultural 376 Sikkim Large Cardamom 30 Agricultural 377 Mizo Chilli 30 Agricultural 378 Jhabua Kadaknath Black Chicken Meat 29 Manufactured 379 Devgad Alphonso Mango 31 Agricultural 380 RajKot Patola 24 Handicraft 381 Kangra Paintings 16 Handicraft 382 Joynagarer Moa 30 Food Stuff 383 Kullu Shawl (Logo) 24 Textile 23, 24, 384 Muga Silk of Assam (Logo) 25, 27 & Handicraft 31 385 Nagpur Orange 31 Agricultural PUBLIC NOTICE No.GIR/CG/JNL/2010 Dated 26th February, 2010 WHEREAS Rule 38(2) of Geographical Indications of Goods (Registration and Protection) Rules, 2002 provides as follows: “The Registrar may after notification in the Journal put the published Geographical Indications Journal on the internet, website or any other electronic media.” Now therefore, with effect from 1st April, 2010, The Geographical Indications Journal will be Published and hosted in the IPO official website www.ipindia.nic.in free of charge.