Kerala is a treasure trove for anyone who loves nature, history, culture and food. As the sun rises on Onam, one of Kerala’s most iconic festivals which is celebrated with great fervour throughout the state, Malayalis enjoy a number of traditional sweet dishes, the knowledge of cooking which has been passed down from generations. This is a bid to explore some of the sweet dishes of Kerala, which are an integral part of every celebration and festival for the Malayalis.
1. Uniappam
Uniappam is a delicious sweet dish made of rice, bananas, coconut and spices. It is made during special occasions and is also popularly eaten as a snack in Kerala. It is made by mixing all the ingredients and fermenting the batter, after which it is either deep fried or fried in an appe pan.This delicious, soft and spongy sweet dish is certainly worth a try this Onam or otherwise!
Palada Payasam is made using rice ada(thick, glutinous rice flakes), milk, ghee and jaggery. It is one of the most iconic dishes during Onam and is served widely in Onam Sadyas or feats and Sadyas for other festivals as well. It is a rich, delicious sweet rice pudding that is made by stewing all the ingredients together for a considerable time.
Ellunda is a sesame seed and jaggery ball that is consumed throughout south India. Ellunda is one of the healthiest and simplest Indian sweet dishes and is widely consumed by people of all ages, and especially women for their hormone balancing and other nutritive properties. Jaggery is rich in iron and sesame seeds are excellent for balancing hormones, making the snack ideal for a healthy hormonal balance.
Elaneer payasam is a light and refreshing coconut pudding made mostly in the state of Kerala. It is light and made mostly of coconut and its derivatives- including tender coconut flesh, coconut water and coconut milk. Milk is boiled and the other ingredients are blended together and added, alongside jaggery and cardamom. The result is a smooth, light coconutty delight that is a delight to your taste buds.
5. Banana halwa
Banana Halwa is an easy and delicious dessert which can be made of just ghee, sugar and bananas. However, other flavouring like saffron, cardamom and even nuts and dry fruits can be added to Banana halwa. The halwa is made by cooking mashed banana and sugar in ghee till the mixture becomes glossy. Then, chopped roasted nuts and other flavouring is added in the mixture and set in a mould till it cools and solidifies. This is how simple and delicious banana halwa is made in Kerala during festivals and special occasions!
Ariyunda is one of the most popular sweet dishes in Kerala. It is basically made of rice, coconut and jaggery but additional flavouring can be added to it. Making Ariyunda starts with roasting rice and grinding it to a fine powder, after which it is roughly mixed with jaggery and coconut, alongside a few optional spices and flavouring, like cardamom and even cumin! Ariyunda is one of the most widely made and eaten sweet dishes in Kerala, and for a reason! The simple deliciousness of the sweet dish appeals to everyone alike, old and young.
Boli is one of the most popular choices for an Onam Sadya, especially in the city of Trivandrum. Boli is very similar to Puran poli/bobbattu as it is called in other states. The sweet dish is made by making a dough of all purpose flour, turmeric powder and sesame oil, which is rested after it is made. After that, a filling is made by cooking soaked Chana Dal, jaggery, and cardamom and mashing it. A very thin outer covering is made using the dough for a ball of the stuffing and is rolled out, after which the ‘sweet paratha’ is cooked with loads of ghee. The dish is consumed with paala payasam or milk pudding during Sadyas and is a lip smacking delight for anyone with a sweet tooth!
Ela Ada is a sweet steamed rice dumpling widely made in Kerala and the South of India. It starts with making a dough of rice flour and water, cooked together till solidified on the stove. The dough is set aside and a filling is made using coconut, jaggery, cardamom and ghee. The slightly sticky dough is rolled out roughly and a ball of the filling is put inside. The dumpling is then sealed and slightly flattened, after which it is steamed for a short while, wrapped in banana leaves greased with ghee. This is a delicious, simple and even healthy recipe for anyone looking for dessert ideas.
Kinathappam is a sweet steamed wheat and banana cake that is a popular snack in the state of Kerala. It is made by making a batter of whole wheat flour, jaggery, coconut and water, alongside spices and nuts and dry fruits. The batter is fermented and then placed in a cake pan, after which it is steamed.
The combination of Mutta mala and Pinjanathappam makes one of the most unique sweet dishes of Kerala. ‘Mutta’ refers to eggs, ‘mala’ refers to the delicate noodles made using the yolk, and ‘Pinjanathappam’ refers to the egg white cake. The yolk noodles are made using a serrated container through which whisked yolk is poured into a sugar syrup, and the egg white cake is made using the same method, other than the serrated container. The dish is made entirely of eggs and sugar, and is a truly unique dish from Kerala.
Final Thoughts
Kerala sweets are a delectable array of confections that reflect the rich culinary heritage of the southern Indian state of Kerala. Known for their unique flavors, intricate designs, and use of locally sourced ingredients, Kerala sweets hold a special place in the hearts of both locals and visitors.
Ranging from syrup-soaked delicacies like “Palada Payasam” to savory-sweet combinations like “Unniyappam,” Kerala sweets encompass a wide spectrum of tastes and textures. Many of these sweets are prepared using traditional recipes that have been passed down through generations, ensuring an authentic and unforgettable experience for those who indulge in them. These unique sweet dishes that are an integral part of the state’s cuisine and deserve to be celebrated this Onam. Happy Onam!
Out of the several facets of India, one of the most striking elements that throws light on the diversity and rich culture of the country is the usage of hundreds of languages. There are more than 121 languages in India, but 1500 plus ‘other’ languages that are either mother tongues or different dialects. However, Hindi and English are the 2 official languages of the country. On 14th September 1949, Hindi was recognized as the official language of the Republic of India. Each year Hindi Diwas is celebrated on 14th September to commemorate the occasion and to emphasise on the spread and growth of the Hindi language.
Role of Language in India
As said, ‘Language is not a genetic gift, it is a social gift.’ India is a land of many societies, communities and hence home to a fascinating range and dialects of languages. The cultural heritage is reflected and enhanced by parlance and usage of different languages. Undoubtedly, language in India is another out of the many examples that justify and uphold the ‘unity in diversity’ tagline. Yet, it has also led to differences and divisions. Language historically has been one of the reasons on which states have been segregated. In fact, the States Reorganisation Act, 1956 reformed state boundaries based on languages spoken in the region.
Hindi as the official language
During British India rule, the official languages included Urdu, English and Hindi. English was the main language used in administrative functions, education etc. Hindi, on the other hand, became the official language much later in the 1900 when an order was passed to allow the usage of Hindi in Devanagari script in the northwestern provinces.
However, post Independence, both English and Hindi were vying for official language status. The tussle was such that finally a compromise was reached, that is also known as the Munshi-Ayyangar formula.
The advocates of pushing for Hindi as the official language of the country included KM Munshi, Beohar Rajendra Simha, Kaka Kalelkar, Hazari Prasad Dwivedi, Seth Govind Das and Maithili Sharan Gupt. On the other hand, several leaders, especially from southern India, such as N Gopalaswami Ayyangar, T A Ramalingam Chettiar and Frank Anthony wanted English as the official language. Three years after Independence, finally on September 14th 1949 the Munshi-Ayyangar formula was declared. Hindi would be the official language of India and English was designated as an associate official language for a time period of 15 years. Also, Hindu-Arabic numerals were established as the official numerals.
This resolution became the foundation of Article 343-351 of the Indian Constitution. Also, in the Eighth Schedule of the Constitution of India, 22 scheduled languages were listed, which are considered the next most spoken and written languages of the country. Some of these include Tamil, Urdu, Telugu, Assamese, Bengali, Gujarati, Kannada, Kashmiri, Malayalam, Sindhi and more.
However, after 15 years, the Indian Government declared that English would remain the ‘de facto formal’ language of India. Hence, today both Hindi and English are considered as the official languages of the country.
Hindi Diwas Significance
Though Hindi became the official language of India in 1949, Hindi Diwas celebrations started only in 1953. Pandit Jawaharlal Nehru was the first Prime Minister to adopt and celebrate Hindi Diwas.
One of the main reasons to commemorate Hindi Diwas was to ensure the spread and promotion of the Hindi language. Additionally, 14 September is also the birth anniversary of Rajendra Simha who was one of the most prominent champions of advocating the status of official language to Hindi.
Several events are conducted, especially in schools and colleges on this day. Besides, accolades and awards are given to distinguished literary artists and linguists on Hindi Diwas.
Around 600 million people speak Hindi across the world. However, the influence of English was and continues to spread, dangering the growth and preservation of Hindi. Keeping this in mind, governments of the past deemed it necessary to observe and celebrate Hindi Diwas. With various events and programs, this day marks the significance of the language that Mahatma Gandhi called the ‘language of masses.’ The day is a reminder of integration and preservation of the language. It celebrates the cultural richness and literary heritage of Hindi and honors its status in the country.
Moreover, Hindi Diwas also highlights the linguistic diversity of India.
Awards and Celebrations
Various local level events are organised on Hindi Diwas all over the country. Cultural programs, literary events and competitions are held in schools and educational institutions. Also, each year a theme is assigned around which the celebrations and events revolve.
On a larger level, the President of India awards excellence in the different fields of Hindi at the Vigyan Bhavan in New Delhi. The Rajbhasha Kirti Puruskar and Rajbhasha Gaurav Puruskar are conferred upon ministers, government departments, PSUs, nationalised banks etc.
Facts about Hindi
Hindi is derived from the Persian word Hind which means the ‘Land of Indus River.’ Persian Turks invaded the northern regions of the subcontinent and in the 11th century named Hindi as the language of the land.
Hindi has several dialects. However, all dialects use the Devanagari script. South Indian languages use the Dravidian script.
Hindi is the official language of Fiji. It is also a regional language of Suriname, Mauritius, Guyana, Trinidad & Tobago, Nepal.
Hindi is considered the most spoken language in the world after English, Mandarin Chinese and Spanish.
Bihar was the first Indian state to adopt Hindi as the official language by replacing it with Urdu.
The first published Hindi book is Prem Sagar written by Lallu Lal in 1805.
World Hindi Day is celebrated on 10th January all over the world.
Hindi is an important language of India and is spoken by more than 40% of its population. Several important literary works are also written in Hindi, making it an integral part of the culture and social structure of the country. Hindi Diwas is thus an attempt to value the language and ensure that it does not lose its significance over western influences.
FAQs on Hindi Diwas
When and why is Hindi Diwas celebrated?
Hindi Diwas is celebrated on 14th September to commemorate the status of Hindi as an official language of India.
Where is the status of Hindi mentioned in the constitution?
Article 343 of the Indian Constitution states that Hindi in Devanagari script is the official language of the Union and will be used for all official purposes.
In which states of India is Hindi predominantly spoken?
Hindi is spoken in Uttar Pradesh, Haryana, Delhi, Bihar, Madhya Pradesh, Jharkhand, Chhattisgarh, Rajasthan.
What are the initiatives taken by the government to promote Hindi?
There are several initiatives and developments undertaken by the government for the growth of Hindi. Some of these include:
Establishment of Central Hindi Directorate in 1960
Hindi Chairs were established by ICCR (Indian Council of Cultural Relations) in foreign institutions and universities.
LILA or Learn Indian Languages through AI initiated Prabodh, Praveen and Pragya levels of learning Hindi.
The Rajbhasha Awards for excellence in Hindi
Establishment of the Hindi Sahitya Sammelan Act in 1956
What is the theme of Hindi Diwas 2024?
The theme for Hindi Diwas 2024 is ‘Hindi- the bridge between traditional knowledge and artificial intelligence.
Few Lines on Hindi Diwas
Hindi is an integral part of Indian Culture.
2. Hindi Diwas is Celebration of the language that connects all.
3. Hindi Diwas is an initiative to promote and preserve the Hindi language.
4. Embrace Hindi, the language that reflects our pride and glory.
5. Hindi Diwas, a reminder of the rich heritage of the past and the path to an enriched cultural future.
6. On Hindi Diwas let’s celebrate Hindi – the vibrant and glorious language of our past, present and future.
7. Hindi Diwas – A celebration of our linguistic heritage.
The textile of Odisha is a reflection of rich heritage and diverse tradition in the field of textiles. Odisha is renowned for the unique tradition of textiles from the tribal regions of Odisha. Niyamgiri hill range is spread over 250 square km in southwest Odisha, situated in the eastern part of India. Dongria Kandhas are numerically the largest among the 62 tribes of Odisha. For centuries Dongria Kandhas have made “Niyamgiri” their abode. In their houses and community sacred spaces, Dongrias paint stories of their association with “Niyamgiri” in the form of mural art. Dongria kandhas are known for their colourful attire. Weaving is an age-old tradition of this tribal community of Niyamgiri hills and they preserved the age-old weaving technique. The “kapdaganda” is a woven and embroidered shawl with tribal motifs by the women of dongria kandha residing in the tribal -dominated region covering Bisamcuttack, Muniguda and Ksinghpur area of Niyamgiri hills of Rayagada district of Odisha.
It has been an age-old practice of women of Niyamgiri hill ranges to present these pieces of art (Kapdaganda) to those they love and respect. The beautiful kapdaganda shawls have bright colours with the design of their deity- Niyamraja, the “god of mountains”, is an intricate part of Indian handloom. The organic kapdaganda shawl is ethereal and can be considered a rare piece of art. The hand -crafted motifs in the shawl mainly lines and triangular shapes reflect the importance of mountains for the community.
There is no historical evidence about the origin of the “kapdaganda”, but it was believed that the community members during their visit to Jeypore king’s court wore kapdaganda. The practice of using the “kapdaganda” shawl by the Dongria Kandhas started during the period of King Vikram Dev of Jeypore in the mid-17th century.
Dongria Kandha men used to wear white loincloth with richly embroidered ends is termed drill or lenguti. It is 16 feet in length and 1 foot and a half in width and is wrapped around the waist several times in such a way that the two embroidered ends hang in the front and the back as a flap.
Dongria women use two pieces of cloth, and each piece is of four to five feet in length and two feet in width. The first piece is wrapped around the waist with a knot in the front. The second piece covers the upper part of the body and is tied to form a knot at the backside of the neck. Both men and women prefer to use white coarse clothes throughout the year for their comfort while doing the daily activities.
Both men and women of the Dongria Kandha community wear kapdaganda, resembling a shawl, during special occasions. Hand embroidered with colourful motifs on the off-white shawl, the kapdaganda is presented to the Dhangra (boy, partner) by the Dhangri (the Kandha girl) as a symbol of love, respect, and representation of Niyamgiri. So they have an emotional attachment in the pursuit of crafting the shawl.
The Dongria Kandha community nurtures a deep reverence for their God, “Niyamraja”. The forests, the rivers, and the hills are the motifs of the Dongria Kandh shawl that we love and cherish. Every aspect of their life is influenced by their surrounding environment and nature, which is reflected in their weaving pattern, like the temple design seen on the pallu and border, illustrates the hills and mountains of the village. Whereas the buttas of the body represent the flower, fruits and different colour strips represent the rivers. The motifs in the shawl are mainly lines, and temple shapes reflect the importance of mountains for the community. These motifs of temple and mountain also show the passionate connection with their surrounding environment and represent the simplicity and sustainable livelihood of this ethnic group.
The motifs of the shawl have specific significance; they start the embroidery works with the “watta”, i.e., the four straight lines of four colour starting from brown, red, yellow, and green running at the bottom of the cloth, represent the imaginary boundary wall of their habitation. It symbolises social security and protection from evil forces. “Keriwatta”, this design is derived from the tamarind leaf. “Kuddilinga,” the triangular design symbolises Niyamgiri Hills, the abode of “Niyamraja,” their household deity. “Karlikanna” the triangular shape design, represents the axe, which symbolises power, energy, aggressiveness, revenge, and the protector of their dongar (mountain). Being forest dwellers, everything learned by them from the forest is culturally exposed in their design.
The motifs are embroidered on an off-white coarse cloth by using bright colored threads like red, green, yellow and brown. They believe that red, green, brown, and yellow colours are most auspicious and use them in their embroidery. The depiction of each colour has different meanings and purposes, and each colour conveys some implications manifested with some socio-cultural value. Sometimes they are metamorphic. These colours have also specific significance, and are related to nature.
Green (aka): Dongrias live on the lap of nature, so green is the most favourite one. The green represents hills, green crop fields, and their fertile mountain ecology. It also represents the germination of seeds; its growth and spread of branches symbolises the growth and development of the community.
Red (Kambiti): Red signifies their religious faith (emblem of blood and sacrifices of animals), energy, power, revenge, aggression, etc.
Yellow (Hinga): Yellow denotes peace, calm, togetherness, smile, pleasure, happiness, and their cash crop turmeric. It also symbolises their origin and represents prosperity for the family and the community.
Brown (Mirga): The brown represents “Dharani Penu” (the Earth), the goddess the most important to the Dongrias.
Materials and Embroidery of Kapdaganda
The Dongrias prefer to use white coarse organic cotton clothes as base fabric. This white cloth is locally known as Ganda kapda. They use four colours of thread, namely red, green, yellow, and brown, for the embroidery of kapdaganda, and each colour has its own significance. Originally, Dongaria Kandhas did not weave the cloth and got it from the adjacent village or haats (weekly market) from the Domb weavers by barter, in exchange of forest and agricultural produce. Earlier Dongria Kandhas used natural colours like, turmeric, wild flowers, bean leaves, roots, and even soil to dye threads for these traditional shawls. Then the Dongaria girls, with excellent craftsmanship, embroidered the coarse off-white fabric by needle using red, green, brown, and yellow threads into a unique embroidered shawl known as Kapdaganda. The shawl features handcrafted designs made with satin stitches. These designs primarily consist of geometrical patterns arranged in colour-coded lines, rows, and triangles. The art of this unique embroidery requires a sense of arithmetic and geometry to create intricate geometrical weave patterns. Each geometrical design woven has a close intimacy to nature, as this tribal group lives close to nature and loves to protect it and believes in giving back to the nature.
Dongria Kandh women are very active and dedicated to their culture and tradition. Women embroider in their leisure time and teach the skill to every generation. This magical embroidery technique is passed down through generations. It is a way of life, and young girls learned this skill from Dongria Kandha women at a young age. It is considered the duty of elder women of the family and community to teach the young girls to knit the shawl in a definite design to carry forward the tradition to the next generation.
The embroidery of the Kapdaganda shawl is closely related to the tradition, festivals, and ethnicity of the Dongria kandhas. Dongria Kandhas now weave coarse cotton shawls from khadi yarn, which is produced locally. Now even they changed the technique from embroidery to weaving and it takes around 4 to 5 days to make a shawl and a minimum of 8 days to produce a sari.
In recent years, there has been a growing attraction among the urban elites towards the indigenous art motifs and symbols. This attractive piece of art is not only popular in the state or nation but also widely popular in foreign countries. With their permission and involvement, dongria motifs and fabrics are now replicated in other mediums such as mobile covers, masks, handbags, jackets, belts, and many more. Now the traditional shawl replicated into beautiful hand-woven saris in cotton. The exquisite weaving and intrinsic part of Dongria Kandhas’ cultural ethos make this sari an epitome of elegance and grace, which define the women of today. This is a welcome step indeed because of the mutual agreements and involvement of the weavers and designers.
Now even woven clothes are provided by the Dongria Kandha Development Agency (DKDA) to the artisans on which they embroidered the motifs. Now some agencies and SHGs provide training to women of the Dongria Kandha community, and also help them with the marketing of their product. A shawl- selling centre and workshop for the weavers are established at Rayagada. This encourages the tourists to know, how the shawls are woven, and they also buy them directly from the weavers.
Conclusion
These attractive shawls and saris, which use one of the costly cotton materials, are much in demand in the national and international markets. Few weavers and private organisations, realising the popularity of dongria motifs, have tried to create the cheap replicas. In the e-commerce platforms, one will be surprised to discover a huge quantity of Dongria saris for sale, but a few questions may come to our mind: whether the permission is granted from Dongrias if their designs are re-used? How ethical this practice is? How are Dongrias going to benefit financially from profit sharing? Recently, Kapdaganda Shawl received GI tags and let us hope this step will provide the tribal weavers with legal help in preventing duplication of their traditional designs.
References
Madhusmita Majhi, “Promotion of Sustainable Livelihood through Skill Development of Dongria Kondh Communities During lockdown” JFMR23069976 Volume 5, Issue 6, November-December 2023.
Hand made for the 21st century, safeguarding traditional textiles(unesco)
3.Sethi .S and Naik .P, “Gender Role in Handicraft Promotion: A Case Study among Dongria Kandha Women in Rayagada District, Odisha” Anthropology and Ethnology Open Access Journal,ISSN: 2639-2119, Volume 3 Issue 1, 2020.
Banita Behera, “Persistence and Reflective of Tribal Narratives on Art and Craft: A Curatorial Study on the Particularly Vulnerable Tribes of Odisha”, (IJSR),2017.
Twinkle Rastogi, “DESIGN INTERVENTION ON THE MOTIF PATTERNS OF “KAPDA GONDA” CRAFT OF DONGRIA KONDH TRIBE OF ORISSA” Journal of Visual and Performing Arts January-June 2023.
A.B.Ota S. C. Mohanty, Scheduled Castes & Scheduled Tribes Research and Training Institute,2007.
TRIBAL TEXTILES OF ODISHA An Empirical Study in Eight Tribal Districts of Odisha,2016.
8. http//okgw.hmlibrary.a.in (chapter IV) dongria kandha: a brief account.
9. Raja parija. “Textile tale from Tribal Odisha .2022
Jumeirah Islands is a fusion of contemporary, affluent living, and natural beauty. It is a luxury neighborhood in Dubai that offers a unique lifestyle with incredible homes, lots of greenery, and scenic waterways. Jumeirah Islands is a freehold area in Dubai so it is an attractive destination to buy remarkably crafted villas for locals and foreign investors alike.
It is one of the iconic communities in Dubai that plays a pivotal role in upscaling Dubai’s real estate market and raising urban developments. As the most popular luxury community in Dubai, Jumeirah Islands has everything for everyone. In this comprehensive Jumeirah Islands area guide, you will learn everything about this community.
Jumeirah Islands Area Guide
Jumeirah Islands is a luxury housing project in Dubai. It was launched in 2003 and completed in 2006. The real estate developer behind this iconic residential island is Nakheel Property, a leading developer in Dubai.
About 300 hectares of land are devoted to the community and consists of 50 man-made islands. Out of these 50 islands, 46 are residential properties. Each of these units is made up of 16 Jumeirah Islands Villas. These properties are surrounded by landscape canals and waterfalls. This community is famous for its nature-loving environment and is a perfect place for those who prefer to be close to nature and want to live a life away from the hustle and noise of city life.
Inside the community, residents can enjoy all the necessary facilities for a comfortable, sophisticated, and luxurious life. Let’s explore the residential properties in the Jumeirah Islands and various medical, educational, and leisure facilities.
Residential Properties In Jumeirah Islands
An extravagant neighborhood, Jumeirah Islands has 851 residential properties. It offers a diverse range of housing options, appealing to various preferences and lifestyles. Out of 851 residential properties 736 are villa properties equally distributed among 46 clusters of Jumeirah Islands. This community is famous for villas and is counted among the best villa communities in Dubai.
Villas in the Jumeirah Islands are of different sizes and architectural styles. The community features four distinct architectural themes, including
Oasis
Islamic
European
Mediterranean
Each theme reflects the architectural heritage and characteristics of the respective region. The villas in the Jumeirah Islands are the epitome of excellence, innovation, and modern design. Each villa features 4 to 5 bedrooms covering an area of around 5,101 sq. ft to 7,200 sq. ft.
Other than these spacious villas, the community also features 31 luxury mansion villas on a private island. The size of these spacious residential properties ranges from 12,000 sq. ft. to 16,000 sq. ft. The mansion villas on Jumeirah Islands feature 5-bedrooms, servant quarters, chauffeur quarters, and private swimming pools and offer spacious luxury living to its residents.
A wide range of villas for sale in the Jumeirah Islands are available. This community offers ideal opportunities for investors and homebuyers to choose property as per their needs and preferences.
Location Of Jumeirah Islands
Jumeirah Islands is strategically situated at a prime location, between interchanges 5 and 6 of Sheikh Zayed Road (E11). Residents of this community can enjoy unparalleled accessibility to various landmarks across Dubai. The key communities in Dubai such as Dubai Marina, Jumeirah Beach Residence, JBR, Jumeirah Lake Towers, and Palm Jumeirah are located close to the Jumeirah Islands. Via Sheikh Zayed Road, residents of Jumeirah Islands can easily reach Downtown Dubai, Business Bay, and Dubai International Airport.
The following is an estimated travel time to key destinations:
Dubai International Airport: 30 Minutes
Jebel Ali: 20 Minutes
Dubai Studio City: 20 Minutes
Dubai Marina: 10-15 Minutes
Downtown Dubai: 25 Minutes
Amenities In Jumeirah Islands
Jumeirah Islands is exceptional in offering top-of-the-line amenities and services to the residents to enhance living standards and their quality of life.
24/7 Security System
Jogging and cycling paths
Tennis courts
Gymnasium
Spa and Wellness Center
Clubhouse
Relaxing Atmosphere
Shopping Centers
These facilities give peace of mind to residents. Jumeirah Islands also provides easy access to public transportation, including buses and taxis. In addition, the community is close to major shopping malls, restaurants, and other conveniences.
Educational Facilities In Jumeirah Islands
Parents living in the Jumeirah Islands should not worry about the high-profile education of their kids. Jumeirah Islands is home to several reputable schools. These schools offer high-quality education from kindergarten to high school.
Nurseries In Jumeirah Islands
The most popular nurseries in Jumeirah Islands are:
Chubby Cheeks Nursery
Oakfield Early Learning Center
Kids Kingdom
Raffles Nursery
Schools In Jumeirah Islands
Here is the list of top schools in Jumeirah Islands:
Dubai British School
Emirates International School
Delhi Public School
Regent International School
Universities In the Jumeirah Islands
Following are the top universities in Dubai that are easily accessible from the Jumeirah Islands:
The American University In Dubai
Knowledge Park
Medical Facilities In Jumeirah Islands
Jumeirah Islands provides easy access to several nearby hospitals, clinics, and medical facilities, ensuring residents can access top-class healthcare facilities.
Top Hospitals near Jumeirah Islands are:
Al Zahra Hospital
Saudi German Hospital
The most famous healthcare clinics that ensure secure and healthy living environments for the residents of Jumeirah Islands are:
Life Medical Jumeirah Lake Tower Clinic
The NMC Family Clinic
The Clinic in the Jumeirah Islands Pavilion
The Armada Medical Center and Jumeirah Park Pavilion MediCenter
Dining Options In Jumeirah Islands
Whether craving Italian, barbecue, fast food, continental cuisine, or Asian delicacies, Jumeirah Islands offer a wide range of dining options within the community or in the surrounding areas. The residents or even visitors to the Jumeirah Islands can enjoy delicious meals with their friends and families in any of these top restaurants, cafes, or bars.
Top restaurants in Jumeirah Islands or nearby areas are:
Circle Cafe
Hamptons Cafe
Sal’s Bistro
Isola Ristorante
Joe’s Backyard
Wendy’s
The Monk
Pitfire Pizza
The Cavendish Restaurant
Wokyo Noodle Park
The Jumeirah Islands Club
Final Thoughts
Jumeirah Island stands as a testament to Dubai’s ability to fuse luxury living with a serene natural environment. The variety of architectural styles, combined with modern amenities and the exclusivity of the community, make it an ideal choice for discerning buyers seeking both comfort and elegance. Whether you are drawn by tranquil lakeside settings or opulent homes, Jumeirah Islands offers a lifestyle that’s truly paralleled.
India, being a culturally rich and diverse country, has traditionally produced a wide array of utensils that reflect its deep culinary traditions. These utensils are handcrafted from materials like copper, brass, and clay. From the rural kitchens of Kerala to the royal kitchens of Rajasthan, traditional utensils have been used continuously over many centuries, not only because they provide practicality in cooking but also because of the special flavors and health benefits they offer. In this article, let us take a look at few such traditional utensils of India that, even today, form an intrinsic part of Indian kitchens and stand as hallmarks of India’s rich heritage and wisdom in cooking.
India has a great variety of utensils due to a very ancient history that dates back to times such as the Indus Valley Civilization, which first developed metallurgy.
Traditional utensils of India are made from locally available metals and reflect the culture and resources of the region. Copper and brass items are common throughout North India, while the southern region is more commonly associated with its distinctive clay pots and stone grinders. These metals were not just designed to cook but actually enrich the food with added nourishment, as it was believed that certain metals imparted vital minerals to food.
Kalchatti is a stone pot made from soapstone, conventionally used in South Indian kitchens for slow-cooking curries, rasam, and sambhar. Soapstone has heat-resistant and porous natural properties, making it ideal for slow cooking. During the process of cooking, it retains the natural flavor and nutrient value of the food. Kalchattis need seasoning with rice water or oil before their first use to increase their durability and non-stick properties. Besides their functional value, these pots also hold aesthetic appeal and durability and are normally passed down through generations.
2. Parat (Wide Shallow Bowl)
A parat is a wide, shallow brass bowl used in many Indian households, especially in North India, for kneading dough or mixing ingredients for large meals. Its shallow design allows easy handling of large quantities of dough, especially while preparing rotis, puris, or parathas. Brass is known for its anti-microbial properties and toughness, making the parat both hygienic and durable enough to be used as a long-lasting kitchen item. Even today, it is widely used on special occasions, festivals, or family gatherings.
3. Handi (Clay Pot)
The handi is a clay pot with a wide base and a narrow neck, used throughout India for slow cooking. It is known for locking in moisture and heat, making it perfect for preparing dishes like biryani, curries, or stews. Since the clay is porous, moisture circulates inside the pot, ensuring even cooking. The earthiness of the handi subtly enhances the flavor of the dishes cooked in it.
4. Sil Batta (Grinding Stone)
The sil batta is a traditional tool used for manually grinding spices, chutneys, and pastes. The sil refers to the flat grinding surface, and the batta is the grinding stone used to crush ingredients. This traditional tool is still preferred by many households over modern grinders because it extracts flavors more intensely. The grinding action releases oils and aromas that are difficult to achieve with an electric blender.
5. Chakla-Belan (Rolling Board and Pin)
No Indian kitchen is complete without the chakla-belan, used for rolling dough for chapatis, parathas, puris, and more. The chakla is a round, flat rolling board, usually made of wood or marble, and the belan is a long, cylindrical rolling pin made of wood. The smooth surface of the chakla ensures uniform rolling, while the belan allows control over the dough’s thickness.
Kansa is an ancient alloy of copper and tin, considered very healthy. A Kansa thali is a plate used to serve meals in many traditional Indian families. Food that comes into contact with this metal is said to be purified, as it aids digestion and boosts immunity. Kansa thalis are commonly used during religious events, festivals, and special occasions, as they add a subtle metallic taste to food, enhancing its flavor.
The matka is one of the most well-known traditional utensils in India, used to store drinking water. Its porous structure allows for natural evaporation, keeping the water cool without refrigeration. This eco-friendly and sustainable way of storing water imparts a distinct taste and maintains refreshing temperatures. Matkas are still widely used today, especially in rural areas, and are an integral part of Indian sustainable living.
The uruli is a shallow, multi-purpose cooking vessel traditionally made from brass or bronze, commonly used in Kerala and Tamil Nadu. With its wide, round base, it allows even heat distribution, making it ideal for frying, roasting, or slow cooking. It is often used for preparing payasam (a sweet dish) or frying ingredients for curries and stews. Due to its size and stability, the uruli is frequently used during festive occasions, weddings, and large gatherings.
9. Churner (Mathni/Ghotni/Phirni)
The churner, also known as mathni, ghotni, or phirni, is a small wooden or metal tool used for churning buttermilk, cream, or curd. Operated by hand-twisting the handle between the palms, it creates a turning action that separates butter from curd or froths buttermilk. Popular in rural households, the churner is used to prepare traditional drinks like lassi and chaas, representing a simple form of green food processing.
The idiyappam press is a traditional South Indian tool used to shape rice flour dough into string hoppers, known as idiyappam. It is used to extrude the dough into fine noodles, which are steamed and served with coconut-based curries. Typically made of brass or stainless steel, this press is an essential utensil in many South Indian homes, especially for breakfast preparations.
Similar to the idiyappam press, the sevai maker is used for pressing boiled rice dough into thin strands. These strands are further steamed and served with various chutneys and coconut milk. The sevai maker is a commonly used traditional utensil in South Indian kitchens for preparing rice noodles.
The colander, also known as chalni, is a traditional Indian utensil used to drain water from boiled food, rice, vegetables, or similar items. Typically made of stainless steel, modern versions are available in bright-colored ceramic or powder-coated varieties. In Indian households, the colander is frequently used for washing grains, filtering liquids, and removing excess oil from fried items like pakoras.
The traditional utensils of India are not just tools for cooking but represent the core of the country’s cultural and culinary history. Passed down through generations, these utensils reflect ancient methods of preparing and enjoying food.
These ancient tools are still found in many kitchens today, reminding us of simpler, more sustainable ways of cooking and living. Whether for their practical benefits or cultural significance, traditional utensils continue to be cherished and valued.
Frequently Asked Questions
What are the health benefits of using traditional Indian utensils?
Traditional utensils made from brass, copper, clay, and iron are said to be much healthier. Copper and brass have antimicrobial properties, while clay pots help retain the nutrients in food. Iron cookware imparts some iron into the food, enhancing iron intake and preventing diseases like anemia.
Why do clay pots give food a special flavor?
Since clay pots are porous, they allow equal distribution of heat and moisture during cooking. This slow and natural method of cooking infuses the food with an earthy aroma that is hard to achieve with modern metal utensils.
How do you care for brass and copper utensils?
Brass and copper utensils should be cleaned regularly to prevent tarnishing. Diluted lemon juice with salt or tamarind pulp can be used for cleaning. After washing, they should be dried immediately to prevent corrosion.
Are traditional utensils still used in modern Indian kitchens?
Yes, many traditional utensils are still used in modern Indian kitchens. People often prefer utensils like sil batta, chakla-belan, and handi due to their unique culinary advantages.
What is the significance of Kansa utensils in Indian culture?
Kansa utensils hold significant cultural and health value in Indian tradition. It is believed that eating from Kansa thalis improves digestion and boosts immunity. These metal plates are often used during religious functions and festivals.
Rajasthan is a state in northwestern India known for its rich cultural heritage and vibrant art forms. From intricate miniature paintings to colourful textiles, Rajasthan has a long and varied artistic tradition that has captivated people around the world. Among the many forms of Rajasthani art, one of the most unique and fascinating is Kavad art. Kavad art is a form of storytelling that has been passed down through generations of artists and storytellers.
Kavad Art History
Kavad art is a traditional form of storytelling that originated in Rajasthan. It dates back to the sixteenth century, Kavads are portable shrines made of wood that contain several panels or doors that can be opened and closed. The Kavad tradition is a complex one with carpentry, artistry and storytelling rolled into one art.
It finds indirect mentions in religious texts like Tarikh-i-Firoz-Shahi of Afif, where it is referred to as a ‘Muhrik’ – a wooden table covered with paintings inside and out.
Etymology
The word ‘Kavad’ is derived from the Hindi word ‘kavach’, which means ‘armour’ or ‘protection’. Kavads were originally used as portable shrines by itinerant bards who would travel from village to village to tell stories and sing songs, and for people. Over time, the Kavads evolved into complex works of art that were highly valued by the people of Rajasthan.
Kavad Art Community
The community doing the woodwork are called Suthars, and the artists- chitrakars. Usually, the artist and the carpenter are the same person. The Suthars who make the Kavads are believed to be the descendants of Vishwakarma himself, the celestial architect. However, the narration of the stories is done by a different community, known as the Kavadiya Bhats. The Suthars work closely with the bards to create Kavads that are tailored to their specific needs. The bards would provide the Suthars with a list of stories that they wanted to tell, and the Suthars would paint the appropriate scenes on the Kavad.
Cultural significance of Kavad Art
The Kavad is an important part of Rajasthan’s cultural heritage and is used for a variety of purposes. It is often used in religious ceremonies and festivals. The Kavad is carried in processions and is used as a focal point for prayers and offerings. It is also used in puppet shows and other forms of folk theatre. The Kavad is an important source of livelihood for the Suthars, who sell their creations to collectors and tourists.
The Kavad is not just a work of art, but also a repository of knowledge. The paintings on the Kavad are used to tell stories and convey important messages. The bards who use the Kavad to tell stories, the Bhats, are highly respected members of their communities. They are often called upon to resolve disputes and provide guidance in matters of faith and morality.
Kavad Art Process
The Kavad is usually made of mango or semla wood and consists of several panels that are hinged together. The panels can be opened and closed like the doors of a cupboard, unravelling new facets of the story as the cupboard itself unravels. The number of panels usually ranges from ten to sixteen- based on the complexity of the story being told. The Kavad is painted with scenes from Hindu mythology, local folklore, and historical events. The paintings are usually done in bright colours using natural dyes and pigments, but today, acrylic is the popular medium for its vibrancy. The Kavad is often embellished with mirrors, beads, and other decorative elements.
The first step to making the Kavads is fashioning the basic structure and the multiple panels out of wood, which is done with basic tools by the Suthars. The panels are later attached with hinges. The wood is thoroughly smoothened by sanding. Then, the artist begins painting, traditionally using natural colours. Today, mineral colours mixed with tree resin are the most common, and even acrylic paints are used. Traditionally, Kavads were always made on a red background, but today, they are made to cater to a variety of tastes.
The most impressive component of Kavad making is painting the main theme. The outlines of the people, Gods and objects are all made free hand, with great precision. This requires years of training and skill.
Prominent Artists in Kavad Art
One of the most famous Suthars today is Dwaraka Prasad Jangid, who is based in the Chittorgarh district of Rajasthan. Dwaraka Prasad Jangid learned the craft and carried it forward from his father and grandfather. He includes a wide range of themes in his work, from Hindu mythological scenes from the Ramayana and the Mahabharata, and also includes social themes and scenes from everyday life. One of his Kavads included the millennium development goals of the United Nations. Another one of his works, a twenty five feet Kavad, was featured in the 2014 Republic Day Parade tableau of Rajasthan.
Another famous Kavad artist is Sathyanarayana Suthar, who has won a national award for his works to preserve the craft. A Kavad made by him, depicting the life of an artist’s journey from the village to the city, has been exhibited in many locations across the world, including Paris, Delhi and Cairo. His Kavads have also been exhibited in Singapore.
Challenges
The Kavad tradition has faced several challenges in recent times. The rise of modern forms of entertainment such as television and the internet has led to a decline in the popularity of Kavads. The younger generation is often not interested in traditional forms of art and storytelling. The Suthars and bhats themselves are facing economic pressures, as the demand for Kavads has declined. Many of them have had to switch to other forms of work to make a living, and most practise farming and similar occupations alongside the art.
Ganesh Chaturthi is a celebration of the birth of the pot bellied remover of obstacles in Hindu tradition, Lord Ganesha. It is one of the most widely celebrated festivals all over India- crores of households sit together and pray to Ganesha on this auspicious day to bless their lives. There is a lot of preparation behind the pooja and the festival, the most important aspect of it being the decoration. Decoration is a very important element in Ganesh Chaturthi, creating a festive environment in and around the entire household. This article is the absolute beginners’ guide to traditional decoration for Ganesh Chaturthi!
Decoration of homes for Ganesh Chaturthi begins not just with superficial decoration. Since it is a festival when Lord Ganesha is invited over, the preparations begin with efforts to clean one’s house thoroughly. Homes are organised, furniture, walls, windows and everythings are dusted and old and useless objects are discarded. All members of the household buy new clothing to ‘decorate’ themselves for the occasion. It is only after all of this that the house is decorated.
Traditional Decoration for Ganesh Chaturthi
For every festival, Indian homes are traditionally decorated with a wide range of minimalistic, affordable and sustainable accessories. Traditional Indian practices are sustainable without even making an effort to be so and are just as affordable. Besides, what better way can there be to celebrate Ganesh Chaturthi than respecting traditional methods of decoration? So, traditional decoration for Ganesh Chaturthi is a very viable option for everyone- from the old to the young and broke.
Ganesha Pandal
The Ganesha Pandal is the most important part of Ganesh Chaturthi. At my home, a small panel of criss-crossed wooden canes was decorated and hung above the Lord. From this panel, a number of fruits and leaves said to be the favourites of Lord Ganesha would be hung to please him. A clay idol of the lord that we would make at home would be placed on a wooden peetham or low stool below on a bed of auspicious leaves including darbha grass. This is the traditional way to make your personal pandal, but of course, one can customise it.
You can choose to make a pandal with an antique feel by using brass lamps, idols and decor or you can make it earthy, minimalist and natural by using clay idols and flowers and plants. It is all up to you!
Mango leaves
Mango leaves are a part of every Indian festival. They are generally hung beside doorways or as festoons on doorways. Mango leaves are of supreme importance in Indian culture, and are said to represent Goddess Lakshmi. Hence, they are hung to signify an auspicious and fresh welcome. Besides, the deep, lush green of the mango leaves is bound to uplift your mood and create a festive atmosphere in the house.
Marigold/Flower garlands
Marigold flower garlands are also an important part of every Indian festival. Every doorway has beautiful, bright orange marigold garlands tied to doorways, with dark green mango leaves complementing the deep orange hue of the marigolds. The Marigolds represent the radiance of the sun themselves and are a symbol of purity and auspiciousness for every Hindu home. If not available, other flowers are also a perfectly viable option – all flowers are sacred and festive in Hindu tradition.
Rangoli/muggu/kolam
A Rangoli or a kolam is an intricate drawing made of coloured or plain rice flour in front of Indian houses. One of the most joyous parts of festivals in India is drawing intricate patterns with family members for hours while squatting at the doorsteps of our homes. Besides being a tradition, this is probably one of the most beautiful parts of Indian households during a festival, and is a must do!
Drawing made with coloured or uncoloured rice flour in the doorsteps of houses. It is so integral to the Hindu mind that a house without a Rangoli is considered bad luck. Rangolis are considered a symbol of luck and togetherness, since traditionally, women of the household came together to draw them amidst laughter and happiness. A Rangoli is a must for not just any festival, but for any day!
Lamps
Lamps are an important symbol in the Hindu religion. They are symbolic of the victory of the light over darkness, of victory against evil. Hence, what better day is there to light lamps on Ganesh Chaturthi, celebrating the God who removes all obstacles? Besides, lamps are an integral part of Ganesh Chaturthi traditions and Poojas either way, so they deserve to be a part of your Ganesh Chaturthi decorations. To add an extra sparkle to your house, you could also decorate it with clay lamps filled with ghee – cheap, easy and beautiful.
Add ons!
Parisara ganapati
Besides the traditional decor for Ganesh Chaturthi, one could always decide to get creative and add a few modern elements to the festival. For example, origami and papercraft decor is a great way to go! Paper lamps, flowers, festoons and handmade paper pandal back runners are some easy decor options. just a few things that can be made at home to add a little crafty bling to the festival!
Conclusion
This Ganesh Chaturthi, bring Lord Ganesha home to pray away all your troubles and worries. Happy Ganesh Chaturthi!
Decorating for Ganesh Chaturthi can be a delightful DIY project. Start by crafting eco-friendly clay idols of Lord Ganesha or repurpose existing ones. Create a vibrant ambiance with colorful rangoli designs made from rice flour or flower petals. String up decorative lights and traditional torans to enhance the festive spirit. Incorporate natural elements like fresh flowers and leaves for a fragrant and visually appealing altar. Personalize your decorations to infuse your home with the joy and spirituality of this auspicious Hindu festival.
Reverence for teachers is a universal emotion. Everywhere in the world every generation is aware of the importance of a teacher. Teachers play a pivotal role in the development of a child and the influence of the teacher can be far and wide.
Celebrating Our Teachers
Many nations celebrate Teacher’s Day on different days in different ways, however, the first ever Teacher’s Day was celebrated in India in 1967 on the birthday of President Dr. Sarvepalli Radhakrishnan. A renowned and loved teacher himself, when his young students requested to celebrate his birthday, Dr. Radhakrishnan replied saying it would be a ‘proud privilege’ if instead of celebrating his birthday alone the day would be marked and celebrated in honor of all teachers of the nation. And hence, on 5th September was born Teacher’s Day defined by much fervor, frolic and respect on the Indian school calendar.
It is no surprise that India started celebrating Teacher’s Day much before many other nations of the world, since historically the subcontinent has always been associated with a beautiful relationship between a teacher and his students. The Guru Shishya relation is described as early as in the Mahabharatha where Eklavya idolizes his Guru Drona’s symbolic statue and self learns the art of archery. In spite of learning the skill himself, he maintains that the Guru Drona is his true teacher and cuts off this right thumb as Guru Dakshina. The idea that the image of a true teacher in one’s heart inspires and guides a student onto the path of learning has long been the crux of education. Because in the Indian culture, acquiring knowledge is given utmost importance and the teacher who imparts that knowledge is no lesser than the divine. The respect regarded to the giver of knowledge and education is hence of the highest accord, sometimes also surpassing that of parents.
The renowned and earliest universities of the world at Taxila and Nalanda also believed in Guru Dakshina. Students who could not afford education were also taught by the teachers yet each of the students had to as a mark of respect offer the Guru some form of ‘dakshina’ or ‘offering’ for the priceless accumulation of an education.
Though modern educational centers do not follow any form of Guru Dakshina as such, the reverence for teachers has managed to stay at an exalted position. Even today students rise up from their seats and wish the teacher when he or she enters the classroom. It is considered good manners to greet a teacher if he or she is met outside the classroom environment. In many schools and tuitions, children bend down and touch the feet of the masters as a sign of respect. And interestingly, the scope of teaching is not limited to studies or books alone. A teacher is anyone who imparts knowledge and skill on any aspect of life and hence, a dance teacher, a karate teacher, a language teacher and also a religious teacher are all bracketed together with the same reverence and humbleness.
Teacher’s Day is hence celebrated in all schools and by all children as a reminder to nurture these sentiments towards their teachers. Most of the times, the celebrations are the usual, a song or dance or skit performed by the kids, classrooms decorated, teachers offered gifts or flowers and so on. However, the outward manifestation may be limited to a few standard ways of celebration, but the impact and importance of valuing the relation between a teacher and student is reinforced with added enthusiasm on this day. And thus, Dr. Radhakrishnan needs to be heart fully thanked for teaching his students even in the advent of a personal celebration, to incorporate the larger group of the profession of teachers and pay their respect. The day though just a single day in the calendar year, is looked upon with excitement by both students and teachers who may have lost the meaning of true teaching and learning in the daily grind of a competitive fast moving world.
Of course with changing times and the commercialization of education, the art of teaching has relegated considerably and so has the quality of the students. In the race to make money and have a career, education has along the way become more of a tool to learn facts rather than become a way of life as seen in the ancient Indian times. And it is hard to imagine another Eklavya being born in our modern times, who would happily forgo of his greatest asset on the command of his Guru, as much as it is hard to find a guru who would dedicate his entire life selflessly for the genuine growth of his pupils.
One would argue that great teachers make great students and in many ways the dedication of Eklavya probably outshone and overshadowed that of his guru. He became a beacon of the ideal student.
But modern India has also been lucky to witness some of its finest teachers in public life, such as, Dr. Radhakrishnan, Dr. APJ Abdul Kalam, Chanakya, Rabindranath Tagore, Swami Vivekananda and Savitri bai Phule. More recently, and though less famous, India has seen some of the finest amongst them who have taken upon themselves to educate the lesser fortunate, such as, Aditya Kumar also called ‘cycle guruji’ who rides a bicycle for kilometers every day to teach the children living in the slums of Lucknow, or Babar Ali who has been teaching in his make shift school since the age of 9, or Rajesh Kumar Sharma who runs a school under the Delhi Metro Bridge, the 80 year Vimla Kaul or the young Roshini Mukherjee who runs an online educational platform are only a few teachers who in their most unconventional ways are trying to bring true the right of universal education for all Indians.
But there are those countless teachers that have along our lives inspired us in school and college. Those few teachers that have remained in our memory long after school is over are the ones that we silently thank for in our prayers.
Takeaway
In the words of Dr. Radhakrishnan, ‘Teachers should be the best minds in the country.’ Wishing the best of our minds a Happy Teacher’s Day and hoping that they help fulfill the real definition of education, which is “the end product of education should be a free creative man, who can battle against historical circumstances and adversities of nature.”
Ganesha is a much-revered god in Hinduism. He is an ishtadevata (favourite God) of many devotees and is worshipped by millions of Hindus across India. He is known as the remover of obstacles, Ganesha is offered ‘puja’ at the beginning of any new endeavour by Hindus. He is also called Ganapati, Ganaraya, Vinayaka, Vigneshwara among many other names. He is the God of intellect and wisdom. He became prominent as a deity in the 4th and 5th century. The scriptures dedicated to Ganapati are the Ganesha-purana, Mudgala-purana, Ganapati-atharvashirsha upanishad and Brahmandapurana. Ganesha is the son of Lord Shiva and Parvati. His vehicle is the big rat or mooshaka. He is the Lord of the ganas; semi-divine beings who are a part of Lord Shiva’s retinue. Ganesha is the only deity with an elephant’s head. Worshipped before every new beginning and placed along with Goddess Lakhsmi mostly in shops and other establishments; Ganapati is also prayed to before embarking on a journey for a trouble-free experience and smooth transit.
Vakratunda Mahakaaya
Suryakoti Samaprabha
Nirvighnam Kuru Mey Deva
Sarva Kaaryeshu Sarvada
“The Lord with the curved trunk and a mighty body, who has the lustre of a million suns, I pray to thee Oh Lord, to remove the obstacles from all the actions I intend to perform” …. …. from the ‘Mudgalapurana’
Ganesha’s Unique Birth
Many stories exist regarding the birth of Ganapati. According to the Matsya Purana, Lord Shiva used to arrive during the bathing time of his consort Parvati, which used to annoy her. In order to stop this, she is believed to have taken the oils and other ointments along with the impurities from her body she formed it into a live boy-figure by sprinkling some water from the Ganges. She kept him to be her door keeper while she was bathing. Lord Shiva arrived and wanted entry. However, he was denied the same and a quarrel ensued. He got angry and cut of the boy’s head. Parvati came out and was very upset. Lord Shiva asked his attendants to get the first head that they could find to bring back the boy to life. The first head happened to be an elephant’s which was fixed on the boy’s trunk and he came back to life. This appeased Parvati and her son became Ganesha or Ganapati, the elephant headed God. There is another mythological story regarding the birth of Ganesha. Goddess Parvati is believed to have worshipped Lord Vishnu for a son. Lord Vishnu himself came to her as a boy-child. All the Gods came to congratulate her and fixed their gaze on the child. Only God Shani did not look at the boy as he was cursed that anything he fixed his gaze upon would perish. However, Parvati insisted and the moment Shani gazed upon the child, the child’s head flew off to Vaikunta. Parvati cursed Shani and was inconsolable. Lord Vishnu went in search of a head and came back with an elephant’s head. Parvati fixed it on the trunk of the child and Lord Brahma infused him with life.
Another story as per the Varaha Purana, Lord Shiva himself produced Ganesha, on request of holy sages to produce a being to combat obstacles. From Lord Shiva’s countenance emerged a beautiful young boy. Parvati got jealous of him and cursed him saying he will have an elephant’s head and a protruding belly. Lord Shiva blessed him saying he will be the leader of the ganas and everybody will worship him first on all occasions. Ganesha’s consorts Siddhi and Buddhi came to him by a competition with his brother Kartikeya. Both were asked to circle the entire world in order to win the maidens’ hand. While Kartikeya went off on his peacock, Ganesha simply quoted from sacred literature relating to geography that he had already done the tour.
Lord Ganesha in the Pahari School
Lord Ganapati’s iconic representations are many. He has 32 forms. He is shown with a red countenance as ‘Rakta Ganesha’ in 15 forms to symbolise the brilliant shining effulgence of the rising sun. He may be shown standing, seated, dancing or with a musical instrument or on his mother’s lap. He is seen with two to sixteen arms in different representations. He has been well depicted in all schools of miniature painting. Let us check out some unique depictions of Ganesha from the Pahari Schools of miniature painting in India which flourished in the 17th to 19th centuries stretching from Jammu to Garhwal, in the sub-Himalayan India, through Himachal Pradesh. Pahari painting, meaning a painting from the hilly regions (pahar means a mountain/hill in Hindi), is used for a form done in miniature formats, from Basohli, Mankot, Nurpur, Chamba, Kangra, Guler, Mandi and Garhwal.
Four-armed Gaṇesha
Four-armed Gaṇesha, Nurpur painting, circa 1810, Chandigarh Museum, India. Ganesha on a lotus pedestal. Image Source
A miniature of Nurpur school described by Martin-Dubost, Paul in Gaņeśa: The Enchanter of the Three Worlds’’ (1997) is as follows: “On a terrace leaning against a thick white bolster, Gaṇeśa is seated on a bed of pink lotus petals arranged on a low seat to the back of which is fixed a parasol. The elephant-faced god, with his body entirely red, is dressed in a yellow dhoti and a yellow scarf fringed with blue. Two white mice decorated with a pretty golden necklace salute Gaṇeśa by joining their tiny feet together. Gaṇeśa counts on his rosary in his lower right hand; his two upper hands brandish an axe and an elephant goad; his fourth hand holds the broken left tusk.” This miniature is at Chandigarh Museum, Chandigarh, India.
Ganesha on a Lotus Pedestal
Ganesha on a lotus pedestal, Guler painting, circa 1770-1805, Brooklyn Museum, U S A. Image Source
The god Ganesha is seated on a lotus pedestal on a marble terrace with trees on its sides and a grassland behind. Ganesha is painted a reddish-brown in this miniature painting from Guler. He is in ‘padmasana’ the lotus pose, wearing a white ‘dhoti’, a jewelled crown, long necklaces, armlets and bracelets. Ganesha has the crescent moon and a third eye, three of his four hands hold emblems – the elephant-goad, the axe, modak, a favourite sweet; the fourth hand is shown in the varada-mudra, a gesture of gifting. His vehicle mooshaka is not seen. The terrace is of white marble with latticed railing. The painting has a dark blue border surrounded by a flecked pink border which adds to the composition. This could be the work of famous artist Nainsukh of that time. This painting is at the Brooklyn Museum, New York, U S A.
Ganesha Ready to Throw His Lotus
Ganeshaready to throw his lotus, Basohli School, circa 1730, National Museum, New Delhi. Image: Wikimedia
A Basohli miniature painting described by Martin-Dubost, Paul in Gaņeśa: The Enchanter of the Three Worlds’’ (1997) isas follows: “Attired in an orange dhoti, his body is entirely red. On the three points of his tiny crown, budding lotuses have been fixed. Gaṇeśa holds in his two right hands the rosary and a cup filled with three modakas (a fourth substituted by the curving trunk is just about to be tasted). In his two left hands, Gaṇeśa holds a large lotus above and an axe below, with its handle leaning against his shoulder. In the Mudgalapurāṇa (VII, 70), in order to kill the demon of egotism (Mamāsura) who had attacked him, Gaṇeśa Vighnarāja throws his lotus at him. Unable to bear the fragrance of the divine flower, the demon surrenders to Gaṇeśa.” This amazing miniature is at the National Museum at New Delhi, India. It shows Mughal influence given the ‘mihrab’-like arch in the backdrop.
Indra Worships Ganesha
Indra worships Ganesha, from the Tehri-Garhwal series of the Gita- Govinda, circa. 1775–80, The Met, New York, U S A. Image Source
A very unique miniature showing Lord Indra, the king of the devas (god-like deities) and Svarga (heaven) in Hinduism. He is associated with the sky, lightning, weather, thunder, storms, rains, river flows, and war. He is bowing to Ganesha seated on a throne-seat under an ornate canopy.
“We meditate on that super power, we invoke the single tusked boon giver, Ganesh”…Ganesh Gayatri mantra from the ‘Ganapati Atharvashirsha Upanishad’
There is a floral and verdant backdrop to the composition. Ganesha wears a crown; all his emblems and his vehicle mooshaka is not seen, he holds a rosary in his front right and a modaka, his favourite sweet-dish in his front left hand and one in his trunk. This rare miniature from Tehri-Garhwal is at The Met, New York, U.S A.
Ganesha’s Bath
Ganesha’s bath, Kangra miniature painting, 18th century, Allahabad Museum, U.P, india. Image Source
This miniature painting from the Kangra School depicts a scenario happening on Mount Kailash, the abode of Shiva and Parvati. Ganesha, who is depicted red, is being bathed by his parents; Shiva is pouring the water while Parvati is bathing him. There are mountains in the background though they are in a green space with a flowering tree. Goddess Parvati is dressed in finery along with pearl jewellery and mahawar, a red lac dye on her hands. Shiva is shown with a garland of skulls holding a ‘kamandal’ like vessel from which he is pouring the water. This beautiful miniature capturing a domestic scene is from the Allahabad Museum, Prayagraj, India.
Simha Ganesha
Simha Ganesha, Kashmir (most probably Basohli), 18th century, British Library, London, U K. Image: Wikimedia
This miniature painting is one of 12 miniatures from a manuscript of Hindu rituals and devotional tracts written in the Sanskrit language, in Sarada script with 74 pages and kept in the British Library at London, U.K. In this composition Ganesha is sitting on a lotus throne carried by tigers, which is a very rare depiction in paintings. He is holding his emblems and has a snake around his neck. The composition shows Mughal influence with arches having ewers and flagons in the backdrop; also, an arch and some ‘parchinkari’ or pietra dura kind of inlay work design. The floral scroll adds beauty to the composition of Ganesha who is traversing a grassy floral landscape with his vehicle mooshaka.Simha Ganesha has many forms. He maybe seated on a tiger and also display another lion, emblems could include a twig from the kalpavriksha, the musical instrument veena, a lotus flower, a floral bouquet and a pot of gems in his hands. He may have a mixed face of a lion and elephant. This form symbolizes courage and strength to the devotees.
Ganesh Panchayatana
Ganesha centric panchayatana, Kangra, circa 1800, The Walters Art Museum, U S A. Image: Wikimedia
This Kangra composition resembles an Indian ruler’s court with Ganesha as the main judge. But actually, it is a format of Ganesha panchayatana.Panchayatana puja has been attributed to Adi Shankara, the 8th century Hindu saint, but there is evidence that it might have been there before his birth. The form has Ganesha in the centre with Lord Shiva at top left, Durga or Adi Shakti at top right, Lord Vishnu at bottom left, and God Surya at the bottom right. The five gods represent five elements, ether, fire, air, earth and water. Lord Ganesha corresponds to water.
In this composition there is a portable canopy held above the gods and a rich carpet is below. All are sitting on lotus thrones. The gods are seen with their emblems. This miniature is with Walters Art Museum, Maryland, U S A.
Vishnu with Lakshmi and Ganesha
Vishnu with Lakshmi and Ganesha, Chamba, Himachal Pradesh, circa 1725, LACMA, U S A. Image: Wikimedia
This drawing from Chamba shows Ganesha and Lord Vishnu and Goddess Lakshmi. It was meant to be filled with colour but is an unfinished composition. However, the drawing is very clear and we can see the emblems of the gods depicted. They are seated on lotus thrones with bolsters. This Pahari drawing is from the L A C M A, Los Angeles, U.S.A.
The Pahari School, an important miniature school of India comprising of artworks from princely states of Kangra, Guler, Nurpur, Basohli, Mankot, Nurpur, Chamba, Mandi and Garhwal on various subjects have also focused on Lord Ganesha, an iconic godhead in India and some other places of the world.
References –
Thomas, P./Epics, myths and legends of India, Bombay: D. B. Taraporewala and Sons.
India has a very rich culture and tradition and it portrays it through its amazing art and craft. In India, Every region and state is linked with a particular art form like the Madhubani painting in Bihar to the Pithora painting in Gujarat, the Warli painting in Maharashtra, the Kalamkari painting in Andhra Pradesh, and Telangana to the Gond art in Madhya Pradesh. There are many folk art forms of India which have been internationally recognized and highly praised. We express our feelings, emotions, thoughts and admire our surroundings, nature, flora, and fauna, and respect our deities and mythology through these art forms. Let’s take a look at some of the types of Indian paintings:
The Madhubani paintings or Mithila paintings originated in the Madhubani village of Bihar and are mostly created by women. This type of Indian painting uses many tools like fingers, twigs, brushes, nib-pens, matchsticks, and natural colors. These are done on walls, floors of holy places, canvases, etc. These brightly colored Madhubani paintings are characterized by their geometrical patterns and are widely practiced in the Madhubani district in Bihar. Originally, these paintings were done on mud walls and soil ground or floors. Now, they are also done on canvases, cloth, and handmade paper. It is one of the most celebrated and popular styles of folk painting in India.
The themes of Madhubani paintings are mostly scenes from nature like sun, moon, tulsi plants and scenes from mythology and Hindu deities like Krishna, Rama, Shiva, Durga, Lakshmi, Saraswati, etc. They also include Ardhanarishvara, court scenes, social events, and wedding scenes. The origin of this art form dates back to the Ramayana period when Raja Janak (Sita’s father) requested the villagers to decorate the whole village on the occasion of Prince Rama’s and Sita’s wedding. Many Madhubani artists received several awards such as the National award and Padma Shri making the art form famous and recognized.
This type of Indian folk painting is practiced in the state of Rajasthan, India. Phad painting is a religious scroll painting style and traditionally done on a long piece of cloth or canvas which is known as Phad. Phads depict the folk deities of Rajasthan, mainly Pabuji and Devnarayan. The Bhopas, priest-singers of the folk deities in Rajasthan carry and perform in front of a Phad using it as a portable temple. It is a narrative scroll painting tradition on which stories of their deities and heroes like Prithviraj Chauhan are painted in mostly red, yellow, and orange colors.
Phad paintings depict battlefields, adventures, romance, etc. These paintings are very detailed and artists manage to accommodate many stories at once using every inch of the canvas. The Joshi community extensively practiced the Phad art form and later Shree Lal Joshi, a world-renowned Phad artist, and Padma Shree as well as Shilpguru award winner, who preserved and modernized this style, opened a school ‘Chitrashala’ for everyone to learn and practice the art form.
This form of tribal art belongs to one of the major tribes, the Warlis, in Maharashtra. It has been practiced for over 2500 years. It mostly depicts the daily activities of the local people such as farming, dancing, praying, hunting, sowing, etc., and the elements of nature. These paintings focus on showing social and daily life. They are closely connected to nature rather than showing mythological characters and deities.
Warli paintings are traditionally done on the mud walls of huts using twigs with rice paste. These paintings are characterized by white-colored, simple geometric designs and patterns like triangles, squares, and circles. Mountains and pointed trees are represented by a triangle, human inventions by square. The sun and moon are represented by the circle. The circular patterns also represent their belief that death is just another start. The central motif of a Warli painting is their Mother Goddess, Palaghat, who is their symbol of fertility. A marriage cannot take place without the sacred Warli paintings that represent Palaghat. These paintings are now also done on canvas, paper, and cloth and have become very popular. Jivya Soma Mashe, a renowned Indian artist and a
legendary Warli artist made the art form popular. He was awarded the Padma Shri in 2011 for his contribution towards Warli painting.
Derived from the words “Kalam” meaning pen and “Kari” meaning craftsmanship, the Kalamkari art form is practiced by many families and people in Andhra Pradesh and some villages in Tamil Nadu. Kalamkari usually depicts scenes from epics like Ramayana and Mahabharata, musical instruments, animals, Buddha and Buddhist art, flowers, and Hindu symbols like swastika. Kalamkari is an organic hand-printing or block-printing Indian folk art form which has been practiced for over 3000 years. The painting is done using a Kalam or a bamboo reed on fabric and natural and earthy colors and vegetable dyes are used like indigo, green, rust, black, and mustard. It is generally done on cotton fabric and it involves a twenty-three steps process. The Kalamkari art form is widely used on sarees and ethnic wear and is very popular.
This art form is Indian folk and tribal art. They are practiced by the people of the Gond community in Madhya Pradesh. The word “Gond” has been derived from the Dravidian expression Kond meaning the green mountain. This art form has been practiced for over 1400 years. They usually depict flora and fauna, people’s daily lives, deities, festivals, and celebrations. They recreate mythological stories, nature, important occasions, and rituals. These are bold, bright, and vibrant paintings with very intricate work and rich detailing.
The Gond tribe is one of the oldest and the largest tribes in the country. Jangarh Singh Shyam, a Gond art legend and flagbearer of Gond art, made the art form so popular. He was the person who revived the art form and took it to new heights. He was also the first Gond artist to use canvas and paper for his work. He exhibited his painting internationally in museums thus making the art form internationally recognized and famous. Originally, the colors used in Gond art are derived from natural resources like cow dung, plant sap, charcoal, colored soil, mud, flowers, leaves, etc. But nowadays, artists use synthetic colors such as acrylic colors, watercolors, oil paints, etc. Some internationally acclaimed and celebrated artists who have contributed to this art form are Jangarh Singh Shyam, Bhajju Shyam, Venkat Shyam, and Durga Bai Vyam.
Patachitra or Pattachitra is a traditional, cloth scroll painting art form from the state of Odisha and West Bengal. The art form mainly depicts mythological and religious themes, epic, Hindu deities, etc. Thia Badhia – a depiction of the temple of Lord Jagannath, Krishna Lila – an enactment of Lord Jagannath as Lord Krishna displays his powers as a child, Dasabatara Patti – the ten incarnations of Lord Vishnu and Panchamukhi – Lord Ganesh’s depiction as a five-headed deity are some of the popular themes that are represented by the Patachitra art form. The word ‘Patachitra’ is derived from patta meaning cloth and Chitra meaning picture. The colors used are natural and vibrant like white, yellow, and red, and black with bold and strong outlines and decorative borders. The art form is being practiced for over 3000 years and the artists behind this art form are known as Mohapatras. One of the most renowned Patachitra artists was Raghunath Mohapatra, who was also awarded some of India’s highest civilian awards.
Tanjore or Thanjavur painting is an ancient Indian folk art form that originated in the town of Thanjavur in South India. It is a traditional South Indian painting style and it dates back to 1600 AD. These paintings are known for their use of gold foil which gives the painting a surreal look, the colorful panel painting done on a wood plank and a deity being the main theme of the painting, their use of semi-precious stones and vibrant colors. The main themes of the Tanjore paintings are Hindu deities, saints, scenes from Hindu Puranas, Sthala-Puranas and mythological, etc. These are panel paintings done on a wooden plank which is why they are also known as “palagai Padam” meaning “picture on a wooden plank”. An amazing fact about Tanjore paintings is that the shine of the gold leaves which are used in these paintings last forever. Tanjore paintings are extremely beautiful and graceful.
Cheriyal Scroll Painting style is a modified version of Nakashi art that originated in Telangana. Painted in a narrative format, these 40-45 feet scrolls mainly depict stories from Indian mythology, Puranas, and the Epics. These Cheriyal Scrolls are made on hand-woven khadi fabric. The canvas or the fabric is treated with a specially prepared solution and many coats are applied to it so that the canvas becomes stiff and it absorbs color increasing the lifespan of the painting. The colors used are made by the artists from natural sources and the brushes are made using the hair of squirrels tied to a stick. Some common themes of Cheriyal paintings are Krishna Leela, Ramayana, Mahabharata, Shiva Puranam,
and Markandeya Puranam. The art form is now practiced by only a few remaining families in the Cheriyal village in Telangana.
Kalamezhuthu is a traditional Indian and ritualistic art form practiced in temples and holy groves of Kerala. It is practiced as an offering for the blessings of gods and deities like Kali, Ayyappan, Bhadrakali, serpent god, etc. The illustrations of these deities are made on the floor using natural pigments and powders. Usually, five types of colored powders are used, white – rice flour, black – charcoal powder, yellow – turmeric powder, green – powdered green leaves, and red – a mixture of turmeric powder and lime. The artist draws using bare hands and the picture is first started from the center, developing outwards. Once the ‘Kalam’, which denotes the drawings or paintings made on the floor, is ready, the artist sings some ritual songs along with some instruments to worship the deity as a tradition. The ‘Kalam’ is started at a fixed time but is immediately erased once the rituals associated with it are over. Kalamezhuthu is a unique art form and the artists who practice it are
normally members of a community such as Kurups, Theeyadi Nambiars, and Theyyampadi Nambiars.
Mandana art form is decorative, tribal, and one of the oldest forms of Indian art. It is drawn on the walls and floors of houses in Rajasthan and Madhya Pradesh as a way to protect their home and fireplace. Mandanas are made to welcome gods and also on a festive occasion. The women of the Meena community in Rajasthan and Madhya Pradesh are the first Mandana artists. The Mandana paintings are very simple yet eye-catching. These paintings are made using a piece of cotton, twigs, a bunch of squirrel hair, and a simple brush made from a date stick. The base is prepared using cow dung mixed with rati (local clay), water, and red ochre. For making the motif, lime, brick, and chalk powder are used. Some basic designs of Mandana paintings are peacocks, tigers, floral, women working, Lord Ganesha, geometrical shapes, jaali, and Vedic yagna. The art form is dying and needs to find people who can keep it alive and help it regain its old popularity.
The Rajput paintings, also known as Rajasthani paintings, originated and flourished in the Rajputana royal courts in the state of Rajasthan around the 17th and 18th centuries. The main illustrations are the Hindu epics, Mahabharata and Ramayana, and scenes from Hindu mythology. The paintings are done with very minute details and bold colors. The colors used are extracted from minerals, plant sources, clams and shells, vegetables, and even from precious stones. Pure gold and silver were also used. The preparation of these colors took weeks and months and the brushes used are made from the hair of squirrels and are very fine. These Rajput paintings were mostly done on the walls of palaces, inner chambers of the forts, and Havelis. The Rajput paintings are of two styles: the Rajasthani style where the paintings are related to the Rajput courts in Rajasthan, and the Pahari style where the paintings are related to the Rajput courts of the Himalayan foothills.
12. Chittara Painting
This Indian folk art form is practiced by the women of the Deewaru community in the Sagar district in Karnataka. The Chittara paintings are intricate wall paintings done using natural resources like rice paste and yellow seeds. The paintings are done on the walls and floors of their red-mud-coated village homes. These Chittara paintings generally depict the daily lives of tribal people, birds, and animals, flowers used for pooja, ceremonies, deities, socio-economic activities, toys that children play with, etc. The art form is now practiced by around five families in Karnataka and is on the verge of being extinct. The community that practices the art form makes its colors. They derive the colors from natural sources like rocks and stones, minerals, trees and vegetables, roasted rice, and the fine jute brush they use to paint are known as ‘Pundi’. The four main colors they use are white, red, black, and yellow. This traditional art form includes geometrical patterns and intricate designs and is generally drawn on auspicious occasions and ceremonies like marriage, housewarming, and festivals. There are 97 motifs among which some are named ‘Ele’, ‘Nili’, ‘Nili Kocchu’, ‘Basinga Nili’, and ‘Kalasa’. The Chittara painting is now also done on a range of artifacts and hand-made rice paper.
This tribal art form from the state of Odisha is a type of mural painting and is visually very similar to the Warli paintings. The Saura paintings are also known as ikons and are practiced by one of the most popular and ancient tribes of the country, the Saura tribe. These paintings are religiously important for them. These simple yet intricate drawings and paintings on the walls of village homes are dedicated to the main deity of the Sauras, Idital. Some common motifs are the sun, the moon, the tree of life, people, horses, and elephants. The base of these Saura paintings is prepared from red or yellow ochre and brushes used are created from tender bamboo shoots. Natural colors are used which are extracted from rice, white stone, hued earth, mixtures of tamarind seed, flower and leaf extracts, and finally, vermilion. The figures in Saura paintings are less angular, more elongated, and larger, the human body is shown by two sharp triangles and there is no physical difference between male and female shapes. Every Saura painting begins with a ‘fishnet’ approach and a border is drawn first after which the patterns, designs, and figures are drawn at the center. Nowadays, the art form is practiced on new mediums like canvas and paper and one can find Saura paintings on notebook covers, paintings, clothes, mobile covers, and sarees as well.
This is another tribal art form practiced by the second largest tribal community in India, the Bhils. The Bhils reside in Madhya Pradesh, Gujarat, Rajasthan, and Maharashtra and are highly superstitious people. Art is very important to them and the rich textures of their paintings connect their life to nature. The Bhil paintings are traditionally done on the clay walls of their village homes and neem sticks, twigs, and natural colors are used to do so. The bright and vibrant colors are extracted from turmeric, flour, vegetables, oil, and leaves. These Bhil paintings depict the everyday life of this tribe and they usually contain large shapes covered with uniform dots in numerous patterns and colors. These dots and patterns on a Bhil painting generally represent something that the artist wants like ancestors or deities. Some common depictions include nature, flora and fauna, Bhil deities, births and deaths, rituals, and festivals. Nowadays, this art form is practiced on a canvas
and acrylic paints are used instead of natural dyes.
The Mysore painting has evolved in the Mysore city of Karnataka and employs thin gold leaves, similar to Tanjore Paintings. Hindu gods, deities and scenes from Hindu mythology form the most common themes of these paintings. A number of steps in the production of a Mysore painting are involved. The first phase involves the artist making an initial drawing of the picture on the base, with cartridge paper collected on a wooden basis. Afterwards, they make a paste, known as ‘gesso paste,’ of Zinc oxide and Arabic gum. The paste is utilised to produce a somewhat elevated carving appearance on those sections of the paint that require enhancements. The gold foil will then be attached to the surface. With the help of watercolours, the remaining painting is prepared. Once the paint is entirely dried, thin paper is used to cover and smoothly wiped with a soft stone. Artists employed colours of vegetables and minerals composed of diverse plant and mineral pigments and flowers. Brushes of various materials including squirrel, camel and goat’s hair were constructed and used. Grass blades have occasionally also been employed for drawing on sharp lines. Onlookers of this art style are often fascinated by its grace, beauty and complexity.
Tikuli is a rare and one-of-a-kind piece of hand painting that dates back over 800 years and originated in Patna. The Mughals lavished patronage on this form and recognised its underlying significance to a great extent. Outside of Bihar, there is no work that compares to tikuli art. It is a difficult technique that necessitates a high level of skill. Tikuli is the local term for bindis, which are essentially colourful dots worn by women as accessories between their brows. Patna and Harihans are well-known for their Tikuli speciality assembly. Tikuli’s main markets are Banaras, Patna, and Kolkata. It entails dissolving glass, blowing it into a flimsy sheet, creating and including a pattern in characteristic hues, and then decorating it with gold thwart and gems. Tikulis were primarily enhanced by Queens and Elite ladies of the past. Gems were set on gold leaves according to the status of the ladies in the general public, and these delightful high-quality Bindis were a happy possession of ladies in India.
Takeaway
India’s great cultural diversity is vividly reflected in its vibrant art and craftsmanship. Different types of painting from different regions, each symbolising the tradition, customs and philosophies is transmitted from one generation to the next. Each one of these paintings is unique in beauty and style despite the shared themes of mythology and nature. These art forms, all fashioned out of natural dyes and colours, will transport you back in time and give you awe and appreciation for their rustic appeal.