We’ve all been there.You’re sitting around with nothing to do, feeling the weight of time as it drags on, and boredom creeps in.Whether it’s a rainy afternoon, a quiet weekend, or even just a few minutes of downtime, boredom can strike when you least expect it.But guess what?It doesn’t have to be that way!With just a little creativity, you can turn those dull moments into exciting opportunities for fun and relaxation.From simple activities to playful games, having fun has never been this easy!
Rediscover the Joy of a Good Book
Reading might seem like an obvious choice, but hear me out—when was the last time you truly lost yourself in a great story?Books have this magical way of transporting us to other worlds, helping us escape from reality for a while.If you haven’t had the chance to dive into a novel recently, this could be the perfect time to start.
Choose a book that sparks your interest.Whether it’s a thrilling mystery, a heartwarming romance, or even a gripping biography, the options are endless.And if you’re not sure where to start, try revisiting a childhood favorite.Nostalgia can work wonders for chasing away boredom.
Pro tip: Keep a list of books you’ve been meaning to read.Next time you’re feeling bored, you’ll have a go-to selection ready to dive into.
Play Fun Games on Your Phone or Tablet
Your phone or tablet isn’t just for scrolling through social media—there’s a whole world of games waiting to be explored.And yes, while those big, flashy games might grab your attention, sometimes the simplest games can be the most entertaining.Solitaire, for example, is a timeless classic that never gets old.
It’s the kind of game that doesn’t require a huge time commitment or brainpower, making it perfect for a quick break or a lazy afternoon.The best part?You can find different variations, like Spider Solitaire or Pyramid, to mix things up.You’d be surprised how satisfying it can be to clear the board in a quiet moment of triumph.
Get Creative with DIY Crafts
If you’re feeling a bit more hands-on, tapping into your creative side is a fantastic way to cure boredom.Crafting isn’t just for kids—there are plenty of DIY projects that are both fun and rewarding for adults too.Whether it’s knitting, painting, or even making your own jewelry, crafting allows you to create something tangible while also helping you focus and relax.
Don’t worry if you’re not a “crafty” person; this is about having fun, not creating a masterpiece.The simple act of making something with your hands can be incredibly satisfying, and who knows—you might just discover a new hobby!
Quick craft ideas:
Decorate a plain notebook– Turn a simple notebook into a personalized journal with stickers, washi tape, or doodles.
Make a vision board– Gather old magazines, cut out inspiring images, and glue them onto a poster board to visualize your goals.
Paint plant pots– Add some flair to your indoor plants by painting their pots with fun patterns or colors.
Get Moving with Some Exercise
When boredom strikes, why not get your body moving?Physical activity is one of the best ways to break up monotony, and it doesn’t have to involve an intense workout.Even just a quick stretch or a brisk walk around the block can do wonders for your mood.
If you’re in the mood for something more energetic, try out a fun online workout.There are so many options available, from dance classes to yoga flows, and you don’t need to spend hours doing it either—just enough to get your blood pumping and shake off that sluggish feeling.
Remember:Exercise isn’t just good for your body, it’s also a great way to clear your mind and boost your energy levels.
Learn Something New
Boredom is often a sign that your brain is craving some stimulation.So why not give it what it wants by learning something new?The internet is a treasure trove of information, and there are countless tutorials and courses available on just about any topic you can imagine.
Whether you’ve always wanted to learn how to cook, pick up a new language, or finally master the art of photography, now’s your chance.It doesn’t have to be complicated or time-consuming—start with small steps and see where it takes you.
New skills to try :
Cooking a new recipe– Experiment in the kitchen with an ingredient you’ve never used before.
Learn a new language– Even learning just a few phrases in a foreign language can be incredibly rewarding.
Pick up a musical instrument– Always wanted to learn guitar or piano?Now’s a great time to start practicing.
Indulge in a Bit of Nostalgia
Sometimes, the cure for boredom is as simple as revisiting something that used to make you happy.Whether it’s an old video game you used to love, a movie from your childhood, or even a favorite board game, tapping into nostalgia can be a powerful way to lift your spirits.
Set up a “throwback” day for yourself.Dust off that old gaming console, rewatch your favorite childhood show, or dig out a board game that’s been hiding in the back of your closet.It’s amazing how comforting those familiar experiences can be, and they’re often just the thing to shake off a case of the doldrums.
Boredom doesn’t stand a chance when you have so many fun options at your fingertips.The key is to find something that excites you, engages your mind, or simply brings you a bit of joy.So next time you find yourself stuck in a dull moment, remember—having fun really can be this easy!
Telangana, a state with an ancient culture, is famous for its magnificent textiles and beautiful handicrafts and home décor preserved through generations. Beyond being mere pieces of fabric, these textiles embody the very lives of artisans and craftsmen from a land where artistic workmanship is so highly valued that creativity is inherent in its makeup. It is through the tutelage of its artisans that the charismatic colors and mind-blowing designs have been brought to various forms of textiles from Telangana. Telangana’s weaving practices tell a cultural and historical story, showcasing the people’s passion, perseverance, and respect for the environment, thread by thread.
The Pochampally Ikat of Telangana holds an enviable place as a unique art form based on the tie-and-dye process. Skilled craftsmen, with meticulous attention to detail, carefully divide, knit, and dye the threads before weaving, creating fabric with various patterns and images that appear almost alive. These saris, crafted from artificial silk, are popular among customers for their bright colors, geometric patterns, and traditional craftsmanship passed down through generations.
The Pochampally Ikat is not just fabric; it represents heritage—both past and present. Together, they form a legacy of a people. Each yarn, traced back to its source, reflects the weaver’s strength and commitment as they expertly intertwine threads into splendid wonders. The process itself is a labor of love, undertaken with the utmost precision. Artisans tie the yarn to create desired patterns and painstakingly hand weave those patterns into the fabric. The innate artistry of Pochampally Ikat, with its vibrant colors and complex patterns, reflects the rich cultural tapestry of Telangana, where tradition and modernity are intertwined.
2. Gollabhama Sarees
Originating from the Siddipet district, these mesmerizing Gollabhama sarees feature stylish patterns and designs that reflect nature and the intrinsic harmony of all elements. These saris are made from fine threads depicting spectacular animal themes, birds, and floral patterns—stunning achievements by weavers who have mastered their craft over many generations. The use of natural dyes and ancient weaving techniques adds to their authenticity and beauty, making each sari uniquely special.
The Gollabhama outfits are not just attires; they embody the spirit of coexistence between man and nature in harmony. Every symbol holds meaning, with the showy peacock strutting as proudly as the glorious sight of flowers emerging from the fields. In their work, weavers apply a perceptive eye to detail and engage deeply with their craft, further enhancing the beauty of these saris. The vibrant colors, beautiful designs, and mastery of dyeing and weaving are evident in even the smallest details—a skill honed over centuries.
3. Narayanpet Handloom Sarees
Image – itokri.com
The handloom saris of the Narayanpet area are well-known for their rich designs, skillfully woven to produce vibrant colors that make the fabric seem to shout its hues. These saris are the products of skills inherited from previous generations, with each artisan bringing their personal touch to the traditional techniques passed down from their grandfathers. The motifs displayed on these saris are derived from folklore and mythology unique to the culture, where the art of storytelling and textiles merge seamlessly.
The artisans of Narayanpet achieve this by incorporating intricate patterns of peacocks, elephants, and flowers into the fabric, resulting in breathtaking art that can both adorn the body and enchant the soul. Each sari is a canvas that tells a thousand stories, with every thread binding the culture and preserving a heritage that will live on for generations. The intricate weaving, carried out using traditional looms and techniques, serves as a testament to the artisans’ dedication to maintaining cultural heritage.
The Gadwal sarees are a true testament to Telangana’s textile legacy, showcasing the indomitable spirit of the craftsmen who have preserved this craft for ages. Made from cotton weave and natural dyes, these saris possess an airy and earthy color that evokes a deep connection to the land from which they originate, and they are renowned for their uniqueness.
Gadwal sarees are adorned with exquisite patterns and designs, often featuring geometric shapes and symbols passed down through the ages. These symbols carry significant meanings, telling the stories of people’s lives, customs, values, and celebrations. The craftsmanship of these saris is astounding, as skilled weavers meticulously cut and pattern each stitch, reflecting the region’s rich cultural tapestry. The earthy colors and intricate designs of the Gadwal sarees are a visual representation of the artisans’ deep bond with their native land and their devotion to nature.
Telangana textiles represent a rich heritage that upholds the art and memories of generations. From the intricate Ikat of Pochampally to the picturesque saris seen in Gollabhama, the weavers of Telangana are noted for their craftsmanship and creativity. These textiles are more than just merchandise; they are canvases of the rich culture of Telangana. Every thread carries history and promises an enchanting future that reminds us of the past.
The continuity of textile traditions maintains cultural heritage and tells stories that continue to grow. This is our heritage, and we are stewards bound to support the artisans who keep it alive. Wearing the traditional textiles of Telangana is an homage to the evolving cultural masterpiece that has developed over time, helping to preserve these resilient traditions.
The traditional textiles of Telangana represent cultural diversity and act as a vehicle of artistic expression in this era of globalization. Every stitch and every pattern speaks to our history—a testament to the strength of the human spirit and the power of the arts that bind us. The preservation of textile traditions serves as a remembrance of times past and an appreciation of uniqueness, ensuring a vibrant future for diverse communities.
Toys are an important part of childhood, as they educate the child on basic physiological, mental and emotional development. The activities and control that is required to understand and operate varying types of playthings, instil the sense of shape and colours, improved cognitive ability and flowers creativity in the child. However, toys may also pose as an important cultural asset. They tell stories of ancient lives and put into display the beliefs and traditions that exist among communities of people. They teach lessons and complete the mood and decor of a room. Consumers are attracted to traditional toys as they are a means to preserve the heritage and the craftsmen and artisans who depend upon their production for their livelihood.
With the change in lifestyle and flourish of western influence, however, many of the indigenous industries of India are gradually nearing extinction. National social organisations as well as worldwide agencies have stepped forward to extend their help for some cases.
Today, we explore a few of the traditional toys that are especially significant to their places of origin and are unique in their indigenous essence.
In the village of Kondapalli in Andhra Pradesh, over four centuries ago, the craft of making brilliant and expressive figurines and toy-sets originated. Made of soft wood known as Tella Poniki, these Kondapalli toys are created in the ‘Bommala Colony’. The deft artisans claim to be descendants of the blessed sage Muktharishi. The themes of these toys are derived from Indian mythology and epics and also depict rural life, animals, and birds; the Ambari elephants and the Dasavatharam set are especially significant. Each part of the set is carved out separately and then joined together with the help of a paste called ‘makku’, and the touches of final polish are added to enhance the details and mould the shape. With the strokes of thin, soft brushes, the dolls and figurines are painted in vibrant colours based on water or oil or vegetable dyes.
Using traditional tools and equipment like Kodal, Pitna, knives, and Kathi, the artisans of Asharikandi, a village in Assam’s Dhubri district, employ ancient artistic techniques to deftly craft figurines of deities, animals, birds, and also objects from ordinary life. These are primarily inspired by traditional beliefs and aesthetics and reflect on the history of the religious and social customs that are prevalent in the region. Clay, sand, straw and ‘kabish’ prepared from red clay, are some of the basic raw materials that are used to mould these toys. The figurine of the ‘Hatima putul’, a symbol of cultural significance, depicts a mother with elephant-like ears holding a child in her arms or her lap. With an elongated face, this style is used as a foundation for creating different postures and designs for various other terracotta dolls.
Channapatna Toys
Image – Pee vee via Flickr
The origin of these toys are traced back to the reign of Tipu Sultan, and are manufactured in the Channapatna town of Karnataka, India, which is rightly known as ‘Gombegala Ooru’ or the ‘Town of Toys’. Bavas Miyan is regarded as the father of the Channapatna toys because of his dedication and commitment to ensure better and efficient products for the local artisans. Ivory-wood was primarily used in the making of these toys that not only showcase exquisite artistry but are also durable and affordable. Since the years, the craft has evolved and now materials such as rubber, sycamore, sandalwood, teak and pine are also used. The wood of suitable quality is procured, seasoned to reduce the moisture content and then cut and carved in the desired shape and sizes. Vegetable dyes are used for colouring and the toy is polished to ensure finesse. Movable figures and sets like train engines, rocking horses and rabbits, and showpieces like pen stands, beads and candle stands are found adorning the shops and markets of Channapatna town.
A Thanjavur doll’s centre of gravity is fixated at its bottom-most point, such that a continuous oscillating movement is generated. Known as Thanjavur thalayatti bommai in the Tamil language (meaning “Thanjavur head-shaking doll”), these are bobblehead and roly-poly type of toys and are made of terracotta materials, marble, clay and wax. The figurines include those of traditional dancers like Bharatanatyam or Kathakali and the couple of king and queen which symbolise the royal dynasties that reigned in Thanjavur. The artisans use an ancient method where they craft these merry dolls without the use of tools or machines.
Chiselled out of seasoned wood and intricately painted with bright colours, the dolls of Natungram village in Burdwan, Kolkata, have rustic artistry that is original and unabashed by its lack of modern polish. The wave of Bhakti Movement that flourished in Bengal during the 15th and 16th centuries gave rise to the iconic pair of the Gour-Nitai dolls that represent Sri Chaitanya Mahaprabhu and his close disciple and friend, Nitai. The soldier dolls influenced by the royal kingdom of Burdwan, the figures of Lord Krishna in his many forms, often with Radha for company, and Gopinath, who is the guardian deity of the town of Agradwip, are also very popular. The famous pair of owls is worshipped by Bengalis as a way of receiving blessings from the goddess Lakshmi. Previously the dolls used to be painted with colours of red, green and yellow on a white base, as a religious practice. Now, with a change in lifestyle, its religious significance has lost and been replaced with an artistic appeal that makes use of varying styles and diverse palettes while retaining its traditional authenticity. They are now used as room décors and showpieces and are also dexterously incorporated onto furniture like stools, tables and cupboards.
Wooden Toys of Varanasi
Image – Itokri
The craftsmen predominantly use the wood of shisham or eucalyptus trees to carve out the toys according to their required shape and size. The toys, which are attractive playthings for children and cultural decors for tourists, have no joints in them and are made from the natural vein of the wood. Tools like lathe, chisel and hammers are used to carve the wood into shape, then the surface is smoothened and coloured to bring completion to the craft. These toys, often lacquered, are cast into shapes of religious articles such as deities, birds and animals, dancers and musicians.
Some 200 families of artisans reside in the Vilachery village of Tamil Nadu, and as the time of ‘Navratri’ and ‘Vinayaka Chaturthi’ approaches, they get busy making the clay and paper-mâché dolls to celebrate the festivals and propagate their small businesses. Although customers often vouch for paper-mâché dolls because of their lightweight, many purchase the clay models due to beliefs in an auspicious traditional practice. These theme-based ‘Golu’ dolls,which are arranged on display to tell a story during festivities, are inspired by figures of mythology, epics and folktales. Sun-dried, these dolls are painted by hand and finished within a few days.
For those who are inclined towards diverse art forms, India provides plenty of varieties—classical and modern. From state-of-the-art contemporary works to timeless crafts, the country’s artistic heritage is unbeaten in the annals of human history, providing a worthwhile experience for the modern enthusiasts of the arts.
India stands among the most powerful nations in the realm of art, much like the enrichment brought about by its numerous cultures and diversity within its countless creations. The traditional and modern forms of art blend here, with the influences flowing from the northern reaches to the southern shores and from the eastern coast to the western expanses of this great land.
From one region to another, different styles of art show up in utterly different forms, whether as a painting, a sculpture, textiles, or the grandeur of architecture in India.
The capital is full of vibrancy in its history and acts as a hub of modern and contemporary art in India. Here, one will find an ample dose of the historic and contemporary artistic experience.
National Gallery of Modern Art: The NGMA is among the largest modern art museums in the world and serves as an important cornerstone for the preservation and promotion of the artistic legacy of India. In its collection, one finds outstanding works starting from the mid-nineteenth century by famous Indian artists like Raja Ravi Varma, Rabindranath Tagore, Amrita Sher-Gil, and F.N. Souza, to those of contemporary artists.
Lodhi Art District: This is a very vibrant public art district in Lodhi Colony with walls adorned by over 50 striking murals, all made by skillful artists from around the world. These are works of art reflecting various social themes and making this area one of the very famous cultural landmarks.
India Habitat Centre: This place is one of the most important centre of culture, displaying numerous art and craft exhibitions and workshops with many programs. Inside the premises is the Crafts Museum, which is a treasure that reflects the traditional crafts of the country, encompassing the various segments in the form of textiles, pottery, and woodwork.
Mumbai serves as a pivotal force in India’s financial landscape, particularly in the realm of contemporary art; it hosts a number of prominent galleries and cultural festivals that claim their place beneath its iconic skyline.
The Jehangir Art Gallery: The gallery was established in 1952 and is one of the most venerable centers for contemporary art in the country. It is a great platform for young and established artists, therefore touching the very fiber of the country’s art.
Kala Ghoda Art Precinct: The cultural district houses a variety of art galleries, museums, and exuberant cultural spaces. The Kala Ghoda Arts Festival is held here every year, which is the country’s most important cultural event. Artists and visitors from all over the world assemble over here.
Chhatrapati Shivaji Maharaj Vastu Sangrahalaya: A museum that showcases a large artistic collection through the ages—from ancient sculptures to tiny miniatures, decorative arts, and tapestries reflective of rich texture in creativity. Indeed, its art collection covers over 2,000 years of Indian history.
Sassoon Dock Art Project: This project has used one of the oldest docks of Mumbai as one big canvas for contemporary artists to express themselves through murals. Works of art displayed here include themes of immigration, climate change, and life as a dock worker, merging art with social critique through murals and installations.
Kolkata, the city of joy, is the country’s cultural capital, housing institutes of artistic relevance, through uncountable museums, galleries, and a host of other cultural vibrantities.
The Indian Museum: Museum was established in 1814 and is one of the oldest museums in India. You will gain the rare opportunity to marvel at a wide spectrum of ancient sculptures, Mughal paintings, and other exclusive exhibits. The gallery is a home to art, drawing you into rare revelry about the long passage of India’s abounding heritage.
Victoria Memorial Hall: This great marble building is a museum and also an art gallery. It houses miscellaneous works of India and Britain done in the period of colonialism. The works also include oil paintings, water colors, and lithographs.
The Academy of Fine Arts: This is one of the oldest art academies in the country, with its inception dating back to 1933. It hosts various exhibitions, theater performances, and workshops at any given point in time. Accordingly, it has evolved into one of the most happening cultural centers in Kolkata.
Kumartuli: Located in the north part of town, Kumartuli is one of the traditional quarters for potters. It is primarily inhabited by idol-making practitioners whose principal raw material is clay. It overflows with craftsmen making preliminary arrangements on the eve of the Durga Puja festival. Indeed, this area offers a fascinating glimpse into the life of local people and the complicated process of bringing an idol to life.
Pune
Known as the cultural capital of Maharashtra, Pune has been a pulsing addition of the community of artisans and artists who participate in other than city artisans and art lovers.
The Raja Dinkar Kelkar Museum: This place has an amazing collection of real Indian art: over twenty thousand objects of the times, paintings, sculptures, musical instruments, and textile artifacts. The artifacts inside these walls reflect the great heritage and glory of India.
Darpan Art Gallery: One of the most outshining art galleries in Pune is the Darpan Art Gallery, wherein several exhibitions of works by established artists and freshers are featured. Paintings, sculptures, and installations are some forms of modern art that find a place in the exhibits of this gallery.
Pune Biennale: The Pune Biennale is a significant event that brings together the art world every two years. It gathers artists, curators, and audiences, turning the city into a vibrant hub of contemporary art. During this time, the city hosts exhibitions, performances, shows, and local workshops.
Varanasi is popularly known as Banaras and is almost considered the cradle of Indian culture and arts, as it is one of the most ancient city of the world.
Banaras Hindu University Museum: Situated in the campus of Banaras Hindu University, the Banaras Hindu University Museum or Bhhart Kala Bhavan is a treasure of invaluable scriptures, paintings, objects, and images that relate hundreds of years ago. It is a must-visit for all those who want to relive their affection for the country’s rich tradition of fine arts and history.
Traditional Weaving Workshops:Banarasi silk, renowned for its exquisite beauty, often showcases intricate handwork and stunning designs. In Varanasi, one can visit the weaving workshops where artisans create such remarkable cloth.
Local Artisan Studios: The numerous traditional craftsmanship varieties available in Varanasi have local artisans practicing similar works, with pottery, toymaking, and painting being some of the most popular. Here, tourists can visit various studios with insights into the trades of these artisans, making purchases in relations to the more beautiful and high-quality handcrafted products of these studios.
The capital city of Tamil Nadu, Chennai, is a hub of science and culture that vibrates with life through rich traditions in dance, music, visual arts, and crafts.
Government Museum: one of the oldest museums in the country, inaugurated in 1851. It hosts a large number of exquisite ancient bronzes and other attractions of immense interest, which include a good general collection of ancient artifacts, photographs, and manuscripts.
Cholamandal Artists’ Village: Locally, it is known as the Madras Artists’ Village, which was established in the year 1966. This village, being categorized as the village for all artists, engages in creation and exhibition of the most modern Indian art. This creation would be defined as that handed over to sculpture and painting.
DakshinaChitra: is a vibrant place that could be well described as a live-history museum, where the conventions of art attracted by architectural culture are depicted in South India. It has traditional houses of various parts of India, art, and live performances, which provides immersion into the rich cultural heritage of the region
Jaipur, known as the “Pink City,” is a vibrant city with a deep creative heritage. It’s a treasure of modern art, architecture, and traditional crafts. With its rich artistic history, flourishing crafts industry, and contemporary art projects, Jaipur is a must-see for art lovers. Whether you’re exploring traditional crafts, enjoying a theatrical performance, or visiting an art gallery, Jaipur offers a diverse experience that celebrates both traditional and modern artistic expressions.
Albert Hall Museum: This is the oldest museum of Rajasthan. The art collections here are really fantabulous. Through this collection of paintings, sculptures, runs of decorative arts of various centuries, one can feel the art history of India.
Jawahar Kala Kendra: A living cultural center focusing on the promotion of arts and culture in the state of Rajasthan and is a substantial venue for many happenings within this dimension. The building houses several galleries, theaters, and workshops along with extensive rhythmical art functions that occur around the year.
City Palace: One of the historical royal palace buildings in Jaipur, this palace today has been transformed into a museum displaying interestingly large art work related to thrones, textiles, and other royalty-related items. The City Palace Museum is credited with miniature paintings, royal attires, and historical manuscripts. –
Hathi Gaon: It is a village where the traditional crafts and artwork based out of elephants are depicted. Your visit may be paid to the local workshops, and the unique handicrafts can be taken back from the royal elephant creations.
Bangalore, or Bengaluru more popularly, is touted as the fastest-emerging cultural hub amongst Indian cities, loved for their unique blend of traditional and modern art.
The Karnataka Chitrakala Parishath: The premier college of arts in Bangalore City, known especially for the group of museums in it that exhibit modern and folk art by Indian artists. The important thing is that it is the location for the grand traditional street festival, Chitra Santhe, which attracts millions of visitors annually.
National Gallery of Modern Art (Bengaluru): One of the wings of NGMA, Delhi, working as yet another platform for contemporary Indian art, hosting master artists along with some of the juniors who have carved out their own niche.
Venkatappa Art Gallery: This place belongs to the Karnataka Chitrakala Parishath and is named after the great artist K. Venkatappa. It exhibits his great works, along with some contemporary art.
It is a unique city where traditional and contemporary art blur wonderfully together.
Calico Museum of Textiles: While the museum reflects only one aspect of the history and art of Indian textiles, it houses world-renowned collections of most types of Indian fabrics and rare examples of weaving, embroidery, and dyeing techniques.
Lalbhai Dalpatbhai Museum: There is a 6th-century Indian sculpture along with manuscripts and paintings. It helps give an insight into the history of art and culture in India. One of the features of
The National Institute of Design: The NID Gallery, where students’ and faculty’s creations can be seen, with much pride, showing a colorful vision of contemporary designs and art from all over the world.
The rich flavor, the heavy texture of this rich cultural tradition, has been harnessed from the fine artistic history of India, leaving behind a legacy that started millennia ago. Its traditional arts are at the very heart of the nation; this heritage is preserved while contemporary creativity develops—a delicate balance that places India as an art destination on the world map. Art is bursting from every corner in India today—not only from the vibrantly technopolis of the metropolitan city centers with their latest galleries but also from the oldest of traditional craft centers.
The phrase “Ganga Jamuni Tehzeeb” denotes the process of assimilation of the heterodox culture that emerged in northern India with reference to local scenarios pertaining to the Ganges and Yamuna belt. This synthesis of cultures was gradually developed over several generations due to the encounters of various groups of people, especially the Hindus and Muslims. The term used itself is a metaphor and Ganga is the Hindu culture and Jamuni the Muslim culture is the meaning of ‘Jamuni’ derives from Yamuna’. These two rivers together depict the fusion of the two and other such activities and beliefs that make up the interacting way of life that is discriminating, embracing of the two cultures as well as the spiritual practices.
The origins of the Ganga Jamuni Tehzeeb is attributed to the Medieval time when Muslim intruders as well as settlers including Turks, Afghans and Mughals had entered India. The factors that helped to sustain such syncretic culture are the Delhi Sultanate period (1206-1526) and Mughals empire (1526-1857). Out of the invaders’, the Mughals had the most profound effect on the cultural development of northern Indian society because they encouraged tolerance of all religions and supported the arts.
Jalaluddin Muhammad Akbar with Mariam Zamani Begum, commonly known as Jodha Bai – Wikimedia
To keep the two cultures together, during Akbar’s rule (1556-1605) efforts were intentionally made to intermingle Hindu and Muslim. The policy of Sulh-i-Kul initiated by Akbar, means the state of universal peace that aimed at reaching tolerant relations with different religious groups. He married second and third Hindu princesses, had Hindu bureaucrats in his ruling circle and supported Hindu temples, feasts and other Hindu customs along with Muslim tenets and practices. During this era, the then developing civilization combined both aesthetics from the former tradition along aspects from the oriental tradition in music, arts, buildings, writings, and even food.
Language and Literature
Truly, one of the most distinct forms of Ganga Jamuni Tehzeeb is observed in the emergence and evolution of the Urdu language. Urdu that emerged as a military and trading language in the Mughal outposts is a quite simplified language deriving from Persian and Arabic with elements from local Indian tongues. It emerged as one of the prolific tools of literary versatility that painted the spirit of Hindu and Muslim civilization. Ghazi, Mir Taqi Mir, Amir Khusru, Mirza Ghalib and Bahadur Shah Zafar were start poets who used to write from both the traditions.
The field of music and dance was also enriched with a splendid amalgamation under Ganga Jamuni Tehzeeb. One manifestation of this is Hindustani classical music and they are influenced by Vedic chants from India as well as Persian and music from central Asia. Musical instruments such as the sitar, tabla and the sarod were created from this interaction. This type of music came to be patronized through establishing gharanas or the schools of music such as the Lucknow and Delhi gharanas that nurtured the cultural fusion. Kathak, another classical dance form of India, also shows the syncretism between Hindu narrative traditions with Persian dances which gradually became one of the most characteristic features of the north Indian civilization.
Art and Architecture
Mughals are indeed clear examples of matching Islamic and Hindu architectural design in originality. The Taj Mahal and Fatehpur Sikri as well as the Red Fort are the finest examples of this style the architecture of which involved the use of such items as domes and minarets as well as indian patterns and carving. This architectural synthesis carried in the art of painting and specifically mina work incorporating Persian workmanship in miniature painting done with Indian style and aesthetics.
Festivals and Traditions
Lucknow, Uttar Pradesh, India – The emperor Jahangir celebrating the Festival of Holi with the ladies of the zenana – Google Art Project. Image, picryl.com
Celebrations observed in the regions of Ganga Jamuni Tehzeeb highlight many elements of both Hindu and Muslim cultures. For example, the festival of lights such as Holi and Diwali which is celebrated in places namely Lucknow and Varanasi particularly the Muslims also become partakers of the events. Likewise the Hindu families celebrate Eid to illustrate the strong bond of their lives and celebrations as intermingled with each other.
Another aspect characteristic to this culture is the syncretic rituals performed by the believers. In some parts of Baly, particularly the rural areas, saints as well as other spiritual elderly are humored irrespective of the faith. Many Sufi shrines – for example, the dargah of Khwaja Moinuddin Chisti in Ajmer are visited by people of both religions, therefore, illustrating the common religious culture.
The effects of the Ganga Jamuni Tehzeeb are well observed on the socio-political structure of the northern region of India. This undergoing syncretism was particularly viewed as a major hurdle to the colonial British policy of divide and rule. In southern part of India that was how the British used to set Hakims against Tipu and Hindus against Muslims just to continue with their wrong policies. Nevertheless, the administrators’ endeavors ensured the perpetuation of common cultural bonding and unity identity known as Ganga Jamuni Tehzeeb among Indians.
During the time of Tipu Sultan rule, his royal elephant lost it’s sight and the king became worrisome about the incident. His minister Dewan Purnaiah advised him to sent the beast to Nanjundeshwara Swamy temple and performant 48 day ritual, where the elephant’s eye was cured by bathing it’s eye with Theertha (holy water) from the temple. As a token of gratitude Tipu gifted an emerald green Shivlinga to the temple and called Lord Shiva “Hakim Nanjunda”.
During the post-Independent era, this synthesis had an important role to play in laying down the secular structure of the Indian nation. When no political leadership was willing to speak for the cause of Muslims, when even Muslims had ceased to acknowledges each other, leaders of the kaliteli such as Mahatma Gandhi and Jawaharlal Nehru appealed to the tenets of Ganga Jamuni Tehzeeb for promoting peace and communal amity. Thus, Gandhi’s philosophy of sarva dharma sambhava and Nehruvian vision of the modern Indian state informed by a pluralist underpinning were inspired by this stream of a cultural legacy.
Contemporary Relevance
Courtesy – Rekta/YT
Thus, the theme of Ganga Jamuni Tehzeeb symbolizes duality that has become the feature of contemporary Indian society. On one hand, growing conflicts between religious communities along with enhancing Political divide put at risk the integration expressed by this cultural mergence. This shows that religious tolerance and religious harmony remains sensitive in a multi-ethnic society as shown by incidences of religious based violence in the society.
However, there are many social undertakings and causes founded to work towards the cause of continuing the ethos of the Ganga Jamuni Tehzeeb. This syncretism is still being commemorated through the cultural festivals, literary events and artistic performances. For this reason, institutions and individuals who have positive relations between the different religious factions in the community get inspiration from this tenet to support interfaith reconciliation.
Speaking about the contemporary taste in Islamicate cities such as Lucknow, Varanasi or Hyderabad it is possible to state that the legacy of Ganga Jamuni Tehzeeb is alive there and exists in the practices of the inhabitants of these cities. Peculiarities of the culinary, language and social practices in these regions are considered to be living examples of the relevance of this type of the culture.
Conclusion
It shows the pluralism and harmony of Indian society in the eighteenth century which is far relevant for today which needs Ganga Jamuni Tehzeeb to survive. The instances of cultural interaction that started with Hindu and Muslim synthesis have influenced cultural, social and political development in northern India. It has created a special memory that can be called cumulative, based on the values of tolerance, artistic search, and religious harmony.
Thus, in the composite Indian/state of modernity, as it were, Ganga Jamuni Tehzeeb remains the unerring ethical litmus to endure modernity’s and/or contemporary communalism’s anarchy or, to put it in ruder terms, its savagery. That is why, accepting this syncretic tradition as one of the approaches to modern culture, contemporary society will be able to open new ways of understanding and uniting into a common future. The inherent values of Ganga Jamuni Tehzeeb can therefore be seen to optimistically influence today’s search for the fundamental unity in varieties, by reminding society of the benefits of embracing its diverse characteristics.
Krishna, with His infinite leelas and names, resonates with everyone in a way only known to them. One can imagine Krishna in their own way – just like His namesakes, he is ideal and different to each one. Chennai-based artist Keshav Venkataraghavan, the founder of Krishna For Today (KFT), affirms the aforementioned statement.
About Keshav Venkataraghavan
Artist – Keshav Venkataraghavan
Art is central to Keshav Venkataraghavan; it has always been paramount to his life. In fact, he started drawing even before he learnt the alphabet. Keshav was a cartoonist at the Hindu newspaper for over 3 decades since 1987. Despite no particular formal training, he continued his independent learning while juggling his job. He drew from infancy; he learnt from several sources including books, novels, magazines and even Google now! That is how he describes his journey from library to the internet.
Keshav’s conversations are articulate and eloquent, pretty similar to the tints of color pouring on his canvas. The fervour with which he speaks is like poetry to ears. When asked about why he chose Krishna as a subject, he recalls the words of his father’s Guru, “Draw Krishna.” – this became a complete mantra by itself and instrumental in the journey of Krishna For Today. It was his homecoming and simultaneous universal finding. In 2002, he finally decided to arrive at his home.
He is an ardent learner, a lover of tradition and an observer of modernity. His study surpasses the religion, the dogmatic aspects and the geographical arena.
His inspiration
“Which artist(s) inspires you?”
“Every artist, all artists – they radiate a different energy and there is plenty to learn from everyone.”
He studies, learns and reproduces from a variety of sources, such as the Vishnudharmottara Purana, the epics of Kalidasa, Valmiki, Vyasa, and from Itihas. In India, the Bengal School of Art, the Baroda School, Kangra School, Tanjore Art, Nathdwara School of Painting, Pattachitra Painting and artists such as Ganesh Pyne and Rabindranath Tagore have been sourcing his artistic research. These schools and artists sketch a stylised version of epics that went through a mass of work. Besides the Oriental school, he has been examining the Occidental School, ranging from the Italian Renaissance (with a special emphasis on Raffaello), Impressionists like Pablo Picasso, Leonardo da Vinci, Michelangelo, as well as Egyptian art.
He stresses on the difference between the idealism of the Eastern school and the academic realism of the Western school. Concurrently, he tries to lay more emphasis on the Eastern school where he finds ample scope for refinement and experimentation, within the aesthetically pleasing and lyrical paintings of theirs. His arrival at Indian art is, thus, symbolic.
His style of painting
When questioned about how he would define his art and paintings, he chose not to answer. For him, when art gets stuck into a particular rut, it does not grow. So, once there is familiarity with a particular style, it is better to get out of it and look for fresher ideas. To be able to paint Krishna, change, evolution and adaptation must co-exist as Krishna is born everyday in a new and different light.
KFT, through the brush of Keshav, symbolises a continuation of the same Krishna which existed 5000 years ago. The process of involving the new generation is neither a conscious nor a deliberate one but ever existing.
“How can one craft Him new despite his ever existing avatars, his hundred temples and over a thousand scriptures? He, who is Divine, has a modern form, without ever compromising on His conventional elements. There is a laxman rekha even in art which should be adhered to. While the younger generation has a compassion for western art, I have the heartiest desires to decipher a Krishna that they can resonate with.”
Teachings of the Grand Mâitre
Many passionate artists often take a tour to his home, encompassing long journeys just to get a glimpse of the Krishna of today. However, Keshav does not provide formal teaching. What he can do is welcome you with your individual artistic capabilities and allow you all the time for experimentation. ‘No size fits all’ is his motto.
His art master B A Reddy never touched an art board – he respected varied interests, strengths as well as weaknesses. He even adopted a village nearby and named it ‘Sanskruthi’ where he taught students. Most of his students are settled across the world practicing. Hence Keshav permits them to draw how they wish to, by valuing character and in the process, develop their own artistic taste.
Krishna as a part of his individual growth
When you study Krishna’s leelas in the Bhagavata and in the Vedas, you come across underlying symbolism. They convey an idea(s) that is not literal but metaphorical. After several reads and after every read, you decipher a new meaning, completely independent of the previous one. The immeasurable depth is what takes you back and forth, time after time.
New ideas are born, new connections are made with the Divine and with yourself. The infinite is discovered – the more you learn, it develops and shapes you. Quoting from the Vedas “Ananda ithi brahm”, he says Ananda (Krishna) is the truth and the source of infinite happiness without any scriptural sanctions.
Physical prints now available!
KFT prints are now available pan India as well as internationally. It is profuse how non-Indians are equally admirable of Krishna’s existence and travel across several seas to see his work. An instance is of a Polish couple who came to take a glimpse of his paintings because for them, it was an interaction with Krishna in its most pure forms. Please visit krishnafortoday.com to get your favourite Krishna artwork.
#Did you know that the Bhagavata Purana one of the Mahapuranas of Hinduism is sometimes called the “Fifth Veda”? The word ‘purana ‘means “ancient or old”, and ‘maha’ means large or great. It is a genre of Indian literature. It talks about a wide range of important myths, interesting legends and traditional lore. They are in Sanskrit, and some regional languages, and are texts named after major Hindu deities such as Lord Vishnu, Lord Shiva and the Devi. The ‘Puranas’ is a genre of literature found in both Hinduism and Jainism. The Bhagavata Purana is known simply as The Bhagavata and also as Srimad Bhagavatam. Scholars estimate the date of origin of the Bhagavata Purana to be between 800–1000 C.E. It is composed in Sanskrit and attributed to Vyasadeva who has also composed the Mahabharata, one of India’s great epics, the other being the Ramayana by Sage Valmiki.
The Bhagavata
The Bhagavata promotes bhakti (devotion) towards Lord Vishnu and also Lord Krishna, the eighth avatar of Vishnu. Different Gods have dominated in Hinduism in different times but Lord Krishna’s appeal is timeless. Krishna, is one of the most widely revered and most popular of all Indian divinities, worshipped as a supreme god. Krishna became the focus of numerous bhakti (devotion) cults, which have over the centuries produced an awesome wealth of religious poetry, music, and painting. The basic sources of Krishna’s mythology are the epic Mahabharata, the Harivamsa, and the Puranas, particularly skandas X and XI of the Bhagavata-purana which is totally made up of XII skandas or books/cantos with 18000 verses. The first canto has 19 chapters and opens with an invocation to Lord Krishna, the Srimad Bhagatavam, been compiled by Vyasadeva is believed to be a way to reach the divine. According to Sri Prabhupada, after composing the Bhagavatam, Vyasa taught it to his son Sukadeva Goswami who later spoke to Maharaja Parikshit in an assembly of sages on the bank of the river Ganga. The Bhagavata has been translated into different languages and illustrated very well over time and is continued by modern day artists, especially the Radha-Krishna lore, defeating of demons among others.
‘’Only those who render unreserved, uninterrupted, favourable service unto the lotus feet of Lord Krishna, who carries the wheel of the chariot in his hand, can know the creator of the universe in His full glory, power, and transcendence’’.— Canto 1, Chapter 3, Verse 38 of the Bhagavata Purana – a translation by Sri Prabhupada.
Krishna in Mahabharata
Krishna in Mahabharata
It may be mentioned here that Krishna is also the charioteer of Arjuna in the epic battle in Mahabharata, wherein his teachings on the war field at Kurukshetra, which are solemn advice given to a morally perplexed Arjuna as described in the text called the Bhagavadgita. The episode of revealing his ‘vishwaroopa’ or ‘viraatroopa’ (a great form with multiple features) to Arjuna, the Pandava, happens in the battlefield. Arjuna along with the other Pandavas are in conflict with their cousins the Kauravas, which is the main plot of the epic Mahabharata. ‘Vishwaroopa’ is considered the supreme form of Vishnu, where the whole universe is described as being within him.
A Human Avatara of Lord Vishnu
The Bhagavata Purana, deals with different subjects like cosmology, astronomy, genealogy, geography, legend, music, dance, yoga and culture. The story deals with the forces of evil having won a war with the devas (gods), who are the good forces and evil asuras (demons) who now rule and dominate the universe. Lord Krishna, an avatar of Lord Vishnu of the Hindu trinity, first makes peace with the demons, then brings them into combat and manages to defeats them, and restores peace and hope in the universe. It is an expression of victory of good over evil. Bhagavata captures some of the events of his exemplary life. The skandas of the Bhagavata Purana which deal with the life of Krishna includes his feats and many other noteworthy incidents which are often told as separate stories.
The birth of Krishna, his childhood and youth at Gokul-Vrindavan, attempts on Krishna’s life made by his wicked uncle Kamsa, the childhood pranks he played on his foster mother Yashoda, the Yamalurjana episode, the elimination of demons like Vatsasura, Bakasura, Aghasura, Dhenukasura, Pralamba, Keshi, Kuvalayapidha and Canura, the Kaliyamardana episode, the rescue of cows and cowherds from a devastating fire, killing of Kamsa, Krishna mesmerizing life around by playing on his flute, receiving education from Sandipani, the Govardhan Giri feat, dalliances with Radha and other gopis, or cowherd maidens, the Raas-leela, conflict with Jarasandha, his movement to Dwarka, kidnap and marriage to Rukmini, befriending the Pandavas, the Sudama episode, episode of kidnap of Subhadra who marries Arjuna, being an important part of the Kurukshetra war as Arjuna’s charioteer, make up his life. The Bhagavata-purana translations has resulted in a huge body of vernacular literature in India as already mentioned. There are also sculpted carvings in stone and on temple walls and illustrations in miniature paintings by Central Indian, Rajasthani and Pahari painters of the 17th and 18th centuries about Krishna’s life. The episodes are being re-drawn and painted in the modern times as well in different formats.
Let us delve into this ancient text and discover some powerful illustrations from dispersed pages of the Bhagavata Purana, some with and some without text.
Nanda and Vasudeva embracing, circa 1520-60, Image: The Met, New York
The illustration Nanda and Vasudeva embracing shows the bonding between the two men as Nanda has adopted child Krishna to save his uncle Kamsa from killing him as it is predicted that Krishna will be the cause of Kamsa’s end.
In the illustration Yashoda binds Krishna’s hands, it is shown that his foster mother Yashoda is tying his hands as he is a prankster and people have been complaining about the same. She is punishing him for his naughty ways. The rope has been given to Yashoda by other women, most probably he has stolen butter along with his other cowherd friends from their homes!
Yashoda binds Krishna’s hands, from Gujarat, circa 1640-50, The Met, New York. Image: Wikimedia
The painting Krishna as a student shows Krishna as blue-skinned, seated next to Balarama, both studying and wearing peacock-feather headgear, in front of their teacher Sandipani. Two other students appear on the left. And are studying along with them.
Krishna and Balarama studying, circa 1525-1550, from Uttar Pradesh, University of Michigan, Museum of Art, U S A. Image – Wikimedia
In the painting Krishna expels the serpent Kaliya, he is shown overpowering the serpent Kaliya who has been poisoning a lake; part of the Yamuna and scaring away people. Krishna along with his cowherd friends decide to tackle the serpent so that it goes back to ocean where it came from. Kaliya is actually escaping from Garuda, the enemy of snakes. Kaliya’s royal residence is depicted at the lower right. People disturbed by the snake can be seen as well. In order to make the part of the rivet usable, Krishna tackles the serpent king by dancing on his multiple heads. Krishna thenpersuadeshim to move away to the ocean and assures that Garuda would not hurt him.
Krishna expels the serpent-demon Kaliya, from Mewar, circa 1710, Cleveland Museum of Art. U S A. Image: Wikimedia
Once there was heavy rain at Vrindavan. This was due to God Indra being very angry. Krishna had convinced the people of Braj (Gokul and Vrindavan are a part of the area of Braj) to not give the annual offering to Indra, king of the gods. This enraged Indra and he flooded the village with heavy storm and rainfall, as he is the God of Rain. Krishna, shown with four arms, lifted nearby Mount Govardhan, and the villagers and animals take shelter beneath. The painting depicts heavy rainfall, and in the upper left, Indra is depicted with two attendants, and his white elephant mount, Airavata.
Krishna lifts Mount Govardhana, painting from Malwa, circa 1686, Cleveland Museum of Art, U S A. Image: Wikimedia
When Krishna was living in Gokul-Vrindavan, his Uncle Kamsa sent a demon-horse to finish him by the name Keshi. The horse neighed like the thundering of clouds and people were in panic. But Krishna with the help of Balarama faced the horse and challenged it like a roaring lion and eventually defeated him. The painting Krishna and Balarama battling the horse-demon Keshi relates to this episode.
Krishna and Balarama battling the horse-demon Keshi, North India, late 18th-early 19th century. Image Source
The illustration Sakhi brings a message from Radha to Krishna shows the days of dalliance with Radha and other gopis in Vrindavan, here a sakhi, who used to be friend and intermediary is shown bringing a message from Krishna’s beloved Radha. The sakhi is shown with Radha in one frame and with Krishna in another. A water body with lotuses and Radha’s pavilion add beauty to this painting which is done very thoughtfully.
Sakhi brings a message from Radha to Krishna: A leaf from the dispersed ‘palam’ Bhagavata Purana Delhi-Agra, circa 1520-40. Image Courtesy:Orientalartauctions.com
Krishna used to tease and make fun of the gopis, in this folio from a Bhagavata (along with text) Krishna steals the gopis’ clothing: he is shown to be stealing the clothes of the gopis as they are taking bath in the river. This episode has been painted by many artists.
Krishna steals the gopis’ clothing, Mewar, Rajasthan, circa 1620-30, The Met Museum New York. Image: Wikimedia
Krishna defeated many demons who were creating havoc and giving trouble, Kamsa. In order to restore peace and defeat the demon Krishna faced many battles. The painting Krishna battles the armies of a demon-king Naraka depicts one such feat. The demon-king, most probably Naraka and his consort are seen in the palace interior of their fortified city of Pragjyotisha, watching over a raging battle. Krishna and his consort Satyabhama are entering sitting on Lord Vishnu’s mount the eagle-man, Garuda.
Krishna battles the armies of demon-king Naraka, from Delhi – Agra region, circa 1540, The Met, New York. Image – Metmuseum.org
The Akrura episode – Kamsa, ruled as the king of the Yadus, based in his capital at Mathura. He had a cousin named Akrura. As Kamsa is prophesied to be killed by his nephew, Krishna, he was waiting for the first chance to eliminate him. He ordered Akrura to bring Krishna and Balarama in his chariot to Mathura to the Dhanuryaga festival, where he planned to have them killed. Kamsa informed Akrura that following the death of his nephews, he wished to seize all the possessions of the cowherds, and rule in concert with him. Akrura was excited at the prospect of meeting Krishna, as he was a devotee of Vishnu; Krishna being his avatar. He came to Gokul and saw Krishna and Balarama with cows. He was confused if they would trust him as he was related to Kamsa. However, the opposite took place.
He was however treated very well and he then told them about the mistreatment of Vasudeva, Devaki, and Ugrasena under the tyranny of Kamsa, and the reason why he had come. The brothers agreed to accompany Akrura to Mathura the following day, much to the anguish of the gopis. Akura had a mystic vision of Krishna, when he stopped to bathe in a river. On reaching Mathura, he informed them that they would have to walk the royal road from that point forward, and he proceeded ahead alone in his chariot. The paintings Krishna brings the messenger Akrura inside Nanda’s house, Akrura drives Krishna and Balarama to Mathura and Akrura’s mystic vision of Krishna as Vishnu and Balarama as Adishesha relate tothe Akrura episode.
Krishna brings the messenger Akrura
Krishna brings the messenger Akrura inside Nanda’s house: maybe Delhi-Agra, between circa 1620 and 1630, The Met, New York. Image: Wikimedia
Akrura drives Krishna and Balarama to Mathura
Akrura drives Krishna and Balarama to Mathura, circa, 1560–70, from Delhi-Agra, 16th century, Cleveland Museum of Art, U S A. Image:Clevelandart.org
Akrura’s mystic vision of Krishna as Vishnu and Balarama as Adishesha
Akrura’s mystic vision of Krishna as Vishnu and Balarama as Adishesha, from Basohli, Jammu and Kashmir, circa 1760-65, Philadelphia Museum of Art, U S A. Image: Wikimedia
It had been decided that a suitor could marry Rukmini after a swayamvar; in which the bride chooses her groom from a group of suitable men. In the painting, A Brahmin gives Krishna the message of Rukmini’s swayamvar, Krishna receives the message or invitation for the competition to Rukmini’s swayamvar.
A Brahmin gives Krishna the message of Rukmini’s swayamvar, Malwa painting, circa 1640, Cleveland Museum of Art, U S A. Image: Wikimedia
In the painting Krishna welcomes Sudama, the depiction is of Krishna receiving his poor friend, Sudama at his resplendent palace at Dwaraka. Sudama was a poor man but earned rich rewards from Krishna because of his devotion and simplicity.
Krishna welcomes Sudama, Pahari painting, 17th century, The Freer Gallery of Art, U S A. Image: Wikimedia
Thus, the Bhagavata Purana has been well illustrated about Krishna’s life in manuscripts especially of the X and XI skanda, for people to visually understand and recall the episodes connected with his life easily in order to understand and to further revere this favourite God in Hinduism.
Finding the right balance between work, family, and everything in between is a challenge many families face.Enter the au pair.For those who may not be familiar with the concept, an au pair is a young person from another country who lives with a host family and provides childcare.Think of it as an exchange that brings cultures closer while also helping with the day-to-day.
But why are families so keen on welcoming au pairs into their homes?
An Extra Set of Helping Hands
One of the most obvious benefits of hosting an au pair is the extra help around the house.With the hectic schedules that modern life brings, having someone dedicated to helping with childcare can feel like a lifesaver.
Flexibility– Au pairs often provide more flexible childcare than a typical nanny or daycare.Need someone in the morning before school and later in the afternoon?An au pair can do that.Weekend date night?They’ve got you covered.
Personalized Care– Unlike daycare, where children are one of many, au pairs offer more focused, individualized care.Whether it’s helping with homework, taking the kids to activities, or just being a buddy, your children get that personal attention.
Household Help– Many au pairs are happy to pitch in with light household duties related to the kids.From tidying up play areas to preparing simple meals, it’s those little things that add up to making life easier for busy parents.
Cultural Exchange:Expanding Horizons
Hosting an au pair isn’t just about childcare; it’s a cultural exchange.You’re inviting someone from another country into your home, which can be a rich and rewarding experience for the entire family.
Language Learning– If you’ve ever thought about introducing your children to a second language, hosting an au pair can be an excellent way to do it naturally.Hearing and speaking another language daily?That’s a game changer for language acquisition.
Cultural Awareness– Au pairs bring with them traditions, customs, and perspectives that can broaden your family’s worldview.This kind of cultural immersion can be incredibly enriching for children, helping them develop a sense of global awareness early on.
New Experiences– From trying new foods to celebrating holidays you might not have known about, having an au pair in the home is an adventure in itself.It’s like adding new chapters to your family’s story, full of unique experiences that wouldn’t happen otherwise.
Cost-Effective Childcare
For many families, the financial aspect of childcare is a major consideration.Hosting an au pair is often more cost-effective than hiring a full-time nanny or enrolling multiple children in daycare.While there are associated costs like agency fees and room and board, many families find that hosting an au pair offers better value for the personalized care and flexible schedule they receive in return.
Affordable Option
If you have multiple children, the cost of traditional childcare can skyrocket.An au pair typically charges a fixed weekly stipend, regardless of how many kids need care, making it a more budget-friendly option for larger families.
Value Beyond Childcare
The value of hosting an au pair extends beyond just childcare.The cultural exchange and personal connection that develops within your family make it more than just a transaction – it’s an experience that enriches both the family and the au pair’s life.
Building Lifelong Connections
One of the most beautiful parts of hosting an au pair is the bond that often forms between the au pair and the family.Many families who have hosted au pairs speak of the lifelong connections they’ve built.The au pair becomes more than just a caregiver; they become a part of the family.
Imagine having someone across the globe who feels like family.Many au pairs and their host families stay in touch long after the au pair’s time in the home has ended.Family visits, wedding invitations, or simply regular check-ins – these relationships can last a lifetime.
This bond can be particularly meaningful for children.They grow up with an understanding that their family extends beyond just the people they live with; it’s also about the connections they’ve made with their au pair, who may live on the other side of the world.
Creating a Home Away From Home
For the au pair, being part of your family is more than just a job.It’s about feeling welcomedand supported in a new country.As a host family, you have the opportunity to make a significant impact on a young person’s life by giving them a home away from home.
Hosting an au pair is a chance to share your own culture, routines, and family traditions while learning about someone else’s. It’s a two-way street where both the family and the au pair grow and learn from each other, by knowing their respective family traditions: holiday traditions, importance, and respect.
The Long-Term Impact
Hosting an au pair offers benefits that go beyond the day-to-day.It shapes your children’s understanding of the world, gives them a sense of connection with different cultures, and shows them the importance of building relationships with people from diverse backgrounds.These experiences leave a lasting impact that extends into adulthood.
The decision to host an au pair is about more than just solving a childcare puzzle.It’s about creating an environment where your children can thrive, learning from someone who brings new perspectives into your home.It’s about opening up your family to the world and forming connections that cross borders and cultures.
Finding the Right Fit
There you have it – a glimpse into why families love hosting au pairs.The benefits are clear, from the practical help with childcare to the rich cultural exchange that brings the world a little closer to home.Hosting an au pair isn’t just a convenience; it’s an opportunity to enrich your family’s life in ways you might not expect.
Art is a universal subject. Even those who may not understand the finer nuances and technicalities of a painting can still appreciate its creativity. The flow of colours, the angles of the lines, the patterns, and designs are all intrinsic parts of a painting. However, the most important of all is the purpose that it serves and the story that it tells. Hence, art lovers see life and emotion in paintings. It is no surprise that incredible paintings are often auctioned and bought for prices as high as millions of dollars.
We often hear of paintings by Leonardo da Vinci and Vincent van Gogh being sold for huge sums of money. However, Indian painters are not far behind. With exceptional talent and a unique perception, many Indian painters have been recognized worldwide for their remarkable paintings. And their paintings have fetched fitting prices in countries all over the world. In this article, we explore the most expensive painting in India; just read on.
Purpose of Art
When an artist creates their work, the price of the piece is usually not the main focus. Artists are creative beings who express their thoughts and ideas on canvas through sketches and paints. However, some paintings are recognized by the world as the extraordinary work of a genius. Art auctions are one of the best ways to accurately evaluate and value a painting in terms of money.
Today, art auctions are held both online and offline, yet the major auction houses remain renowned for their expertise in understanding paintings. In India, numerous art auctions, auction houses, and galleries specialize in selling modern and contemporary paintings.
The Great Indian Artists
There have been, and continue to be, several legendary Indian artists who have carved a niche for themselves in the world of art and painting. Many Indian paintings are auctioned in various countries by different auction houses worldwide. So, which is the most expensive painting by an Indian artist?
In recent times, paintings by Indian artists have made headlines due to the impressive price tags attached to them. Here are some of the most expensive works from renowned Indian artists.
VS Gaitonde – Untitled Painting
Image Courtesy – Mutualart
Price – INR 42 Crore, February 24, 2022, Mumbai
V. S. Gaitonde’s untitled painting holds the record for being the most expensive painting by an Indian artist. Vasudeo S. Gaitonde was often described as a genius, yet he lived a relatively quiet life and was considered a recluse. He boldly pursued abstract painting at a time when it was not widely recognized or understood. This particular piece, painted in 1969, bears his signature in Hindi at the bottom.
Unlike many other popular Indian artists, V. S. Gaitonde did not achieve widespread fame during his lifetime. However, posthumously, many of his paintings have sold for crores. His untitled 1969 painting was auctioned for INR 42 crores by Pundole in Mumbai on February 24.
Ladies Enclosure became the second most expensive painting sold by an Indian artist. Created in 1938, it was auctioned by Saffronart in 2021, fetching INR 37.8 crores. This makes it one of the highest-selling paintings by a woman painter.
Another of her works, Self-Portrait, was sold in 2015 at Sotheby’s in New York. Amrita Sher-Gill painted Ladies Enclosure during her teenage years. After studying art in Paris, she returned to India in 1934. Once back, her paintings often focused on women, particularly those in village settings
Tyeb Mehta – Kali and Untitled & Figure on Rickshaw
Image Courtesy – Tallengestore
Price – INR 25.4 Crore & INR 41.97 Crore
Tyeb Mehta wore many hats—he was a painter, filmmaker, and sculptor. Kali is one of his most famous paintings, sold online at Saffronart’s Milestone Auction in 2018. The painting depicts Goddess Kali with a red, gouged mouth, symbolizing the eternal struggle between good and evil.
In addition to Kali, another untitled painting depicting a man on a rickshaw was sold at Christie’s auction in London in 2011. Tyeb’s deep empathy for the poor and underprivileged is vividly expressed in this work.
Much of his work was influenced by the post-Independence era, particularly the violence and turmoil of that time. Several of Tyeb Mehta’s other paintings have also entered the million-dollar club, including Mahisasura and another untitled piece depicting a falling bull.
Francis Newton Souza – Birth
Image Courtesy – DNA India
Price – 28 Crore
Birth was sold in 2015 at Christie’s auction in New York. Painted in 1955, this work is considered an important piece of art and was one of the earliest paintings Francis Newton Souza created after moving to London from India. The painting depicts the pain a mother endures while delivering a newborn, with an open window showcasing the London landscape.
Francis Newton Souza, born in Goa, often centered his works around themes of nudity, religion, and other subjects.
Raja Ravi Varma – Radha in The Moonlight
Image Courtesy – Pundoles
Price – 20 Crore
Mixing European and Indian styles, Raja Ravi Varma was one of the most popular Indian painters, renowned for depicting mythological figures. By making lithographs of his paintings accessible and affordable, he truly brought art to the masses. Radha in The Moonlight was sold in 2016 at the Pundole auction. This painting, created on oil canvas in 1890, depicts Radha as a fine representation of feminine qualities and virtues.
Syed Haider Raza – Saurashtra and La Terre
Image Courtesy – Archerindia
Price – 16.42 Crore & 37.3 Crore
Saurashtra was sold in 2010 at a Christie’s auction in London. Painted by Syed Haider Raza in 1983, the work captures the colorful beauty of coastal Gujarat. Through geometric designs and the intrinsic beauty of natural landscapes and spiritualism, Raza presents Saurashtra as a synthesis of his diverse experiences. This painting was created during a period when Raza was influenced by the art of Paris and Abstract Expressionism, while also incorporating elements of Indian heritage.
Another painting, La Terre, was sold at Christie’s auction in New York in 2008. This abstract work is a riot of colors.
Akbar Padamsee – Greek Landscape
Image Courtesy – greekreporter
Price – 19.19 Crore
Greek Landscape depicts the clutter of buildings and city space. Through masterful strokes and various shades of grey, the painting evokes the sensation of viewing an urban cityscape from a window. This painting was sold in 2016 at an auction organized by Saffronart.
Padamsee was well known for his work with oil canvas, as well as digital prints and photography.
M F Hussain – Battle of Ganga and Jamuna
Image Courtesy – Artnet
Price – 12 Crore
M. F. Husain needs no introduction; he was one of the most recognized Indian painters in recent times. The Battle of Ganga and Jamuna, painted in 1972, was sold at Christie’s auction in 2008. Inspired by mythology, the painting depicts the battle between good and evil. It is part of a series based on the Mahabharata, expressing the struggle between virtue and immorality through colors and canvas.
Arpita Singh – Wish Dreams
Image Courtesy – Artnet
Price – 9.6 Crore
Wish Dreams, an abstract figurative painting, was sold in 2010 at a Saffronart auction. Arpita took three years to complete this work, which remains one of her most significant creations. The painting consists of 16 canvas panels and is reminiscent of Kantha and Buddhist Thangka paintings. It features women alongside everyday objects such as cars, guns, and planes, showcasing the dreams and wishes of women in society.
Contemporary artists today also see their works appreciated and sold at high prices. Anish Kapoor’s untitled work sold for $1.5 million at Sotheby’s auction in Doha in 2009. Atul Dodiya’s paintings are often valued similarly to those of Francis Newton Souza and Tyeb Mehta; for instance, his Lodging in Somnath was sold for $465,818 in 1989. Bharti Kher’s The Skin Speaks a Language Not Its Own fetched $1.5 million. Other modern contemporary painters, including Raqib Shaw, Jitish Kallat, Ravinder Reddy, Subodh Gupta, and Shilpa Gupta, have also achieved significant sales.
Takeaway
Finally, Indian artists have made a significant mark on the global artistic map. There is no doubt that Indian paintings are highly sought after by major auction houses around the world. Their works are purchased both internationally and domestically. Thus, Indian artists have transcended boundaries with paintings that resonate across space and time.
Jharkhand, tucked away quietly in central India, known for its lush green forests and natural beauty. These vibrant forests host a vast number of tribes known for their vibrant culture, traditions and handicrafts. The festivals of Jharkhand present the diversity of Jharkhand at its best, displaying the traditions of diverse tribes at their most joyful.
Jharkhand is a linguistically and ethnically diverse state. It houses thirty-two tribes and is at the crossroads of many linguistic paths. The state’s population speak more than fifteen different languages. The state of Jharkhand is truly one of the most diverse in India.
Festivals of Jharkhand
Jharkhand’s many different tribes celebrate festivals celebrating their traditions and culture. There are also many festivals common to the entirety of Jharkhand’s populace.
This is a harvest and fertility festival that is celebrated by many peoples throughout Jharkhand. In this festival, the people of certain tribes worship the Karam Devta. During the festival, people decorate and worship the branches of the Karam tree. Young, unmarried girls also fast and pray to the devta. This festival is celebrated by the Sadan (Khortha, Nagpuri, Kurmali-speaking ethnic group) and the tribal (Munda, Bhumij, and Oraon) people of Jharkhand.
Sarhul is a spring festival celebrated in the village of Sarna in Jharkhand. This festival is believed to be the marriage ceremony of the earth and the sun. Surukh, Khaman and several communities celebrate it in the belief that the Gods would protect them. The festival is celebrated for three days till Chaitra Purnima. The Pahan or the priest overlooks the celebrations of Sarhul for a village. The priest ties a new, white cotton dhoti on the day of the Sarhul Pooja and oversees it for a village. In the Pooja, the Gods, known as Singobonga or Dharmesh or other names based on tribal affiliation, are offered a sacrifice of rooster, liquor, flowers, fruit and vermillion. The locals also perform dances around the Sal tree, while holding its flowers.
3. Jitiya
Jitiya is a widely celebrated festival in Central-Eastern India and Nepal. However, while Jitiya is usually celebrated for three days in the month of Ashvin from the seventh day to the ninth, it is celebrated for eight days in Jharkhand and is a very important festival. The festival mainly involves mothers fasting and performing various rituals for the well-being of their children. The way Jitiia is celebrated varies regionally, but in Jharkhand, the women fast for eight days and offer food to the elements and animals like jackals and vultures. On the eighth day, they sow a Jitia(sacred fig) plant in their courtyard. The last day is characterised by a lot of merry singing, dancing and storytelling, following which they immerse the jitia branches in water the next morning and garland their children.
4. Tusu Parab
Image – Prity Mahato/YT
Tusu Parab is a harvest festival celebrated mostly in the Southeastern regions of Jharkhand, in the Bundu, Tumar and Raidhi regions. It is celebrated in the winters, mostly by unmarried girls, who sing and dance beautiful folk songs together while making and offering a beautiful bamboo frame to water bodies. The simple beauty of the festival represents Jharkhand’s own.
5. Nawakhani
Image – Rucksack Guy/YT
Nawakhani is a festival of feasting celebrated by the Sadan and Kurukh people of Jharkhand. A new batch of rice, freshly harvested, is tried for the first time in this festival. A small sacrifice of chickens is made to the sun and a feast is made out of it. A variety of rice dishes, from Tapan, a fermented rice drink, to Chuda or rice flakes are made and consumed in the feast, alongside bread too.
6. Hal Punhya
Image – Abhishek Kumar Mahato/YT
Hal Punhya is celebrated by farmers in winters on the first day of the Magh month to commemorate the beginning of the ploughing of the fields. They plough and circumambulate the fields two and a half times in the morning and later celebrate with singing, dancing and feasting throughout the day.
7. Sohrai/Bandana
Image – Congo One/YT
Sohrai is a regional festival widely celebrated in central India. It is a cattle festival celebrated by many tribes, including the Santals, Sadans, Kudmi and Oroans. It is celebrated on the Amavasya after Diwali in the Kartika masa, and is primarily a festival celebrating gratitude toward cattle and livestock. People fast throughout the day, cleaning and decorating homes and cattle sheds. Then, cattle are worshipped and a sacrifice of black chicken and tapan is offered in the evening. A feast is made and the entire family comes together in feasting and merry.
Rohini is an important, but small festival celebrated in Jharkhand on the occasion of sowing the seeds for the season. It is a celebration of few quiet rituals with no singing and dancing.
Baha or Baa Parab is a festival celebrated by the Santal, Munda and Bo tribes of Jharkhand.The tribe comes together to pray to Jaher Ara, the presiding deity for the festival by offering a pot full of Sal flowers and leaves. The village priest or naikey goes from door to door with this pot to bless everyone. The household then welcomes the priest by washing his feet and offering a feast. Following this, the entire community comes together for a day of feasting, singing, dancing and archery practice.
10. Jani Shikar
The festival of Jani Shikhar is celebrated by the womenfolk of the Kurukh community every twelve years, by wearing men’s attire and going for a long day’s hunt. This festival commemorates the valiant spirit of the Kurukh women who had driven away Muslim invaders while their men were drunk on the festival of Sarhul. The women had gone to war dressed as men and drove the invaders away, in each of the twelve attempts in twelve years.
11. Bhagta Parab
Image – santosh kumar/YT
Bhagta Parab is celebrated in the spring-summer time in the Tamar region of Jharkhand. The festival is to pay homage to Budha Baba and is one of the most visually astounding festivals of the state. In the morning, people fast, pray and pay homage to the local priest. In the evening, the spectacular celebrations begin with performances of the energetic Chhau dance. Gory visuals can also be seen as individuals pierce their bodies with hooks and hang up to forty feet up in the air and dance as an act of devotion.
The festivals of Jharkhand represent the rich culture and diversity of the state. A trip to Jharkhand during its many festivals would be an amazing experience as one gets to experience the finest of the state’s culture in a day!
