“I plunged eagerly and passionately into the wilderness, as if in the hope of thus penetrating into the very heart of this Nature, powerful and maternal, there to blend with her living elements.” ~ Paul Gauguin
Everyday objects are repurposed, adapted into art pieces, and finally again a new dimension in Rakhee Shenoy’s art. In her solo show Presence of Absence’ held at Bangalore International Centre in September 2023, she has experimented with digitally printed canvases presented in layers, with collages, painting, sewing, gluing and embroidery by positioning them into visually appealing compositions. A wide range of colours and formulations; overall create visually appealing designs, patterns and images- the look and the mood.
The portrayal of sunlight filtering through leaves or the moodiness of fresh, drooping, tangled or wild flowers, allows one to connect with the beauty and serenity of the natural world. Still-life encompasses different shapes and sizes of vases, mugs and bowls decked up with flowers; picnic baskets loaded with bottles, breads and fruits; birds, bees, bugs and butterflies hovering over flowers adding energy and vitality in art piece, also capturing the textures, colours, and patterns of petals and wings up close. The doodling of leaves and stems overlapping the boldly painted areas; picture frames hanging on the walls; comfort of a cozy home with distant sofa with a cushion, shadows playing over the window and adjoining wall; nostalgic hits of box television, radio and typewriter; a meal of cheese, lettuce, eggs, noodles and chopsticks- all continue to be a part of overlaid alignments with vivacious and contrasting colours taking charge.
Art on ordinary items, vintage splinters, discarded items, or any routine object that inspires one, allows for unfettered creativity, by experimenting with altered materials, flairs, and leitmotifs to create unique artworks. The linear elements and pasting create depth within the floral arrangement. Creative possibilities of ‘fish’ fascinates Rakhee, and not to miss the ‘tactile qualities’ of textiles with the depth and dimension of mixed media elements.
It’s the versatile form of mixed media art that has resulted in cohesive and harmonious, visually arresting artworks, which are constructive, specific and well-pondered over. There is no single pivotal point in her artworks. The mood, colours and atmosphere of the painting, make eye travel all around and notice even the minutest of the details. The petals, leaves, and stems realistically rendered, contrast well with more of impressionistic approach in background.
Overall, the technique, precision and execution grant an appeal and resonance to the creations. Rakhee’s creative choices make her art stand class apart, where lines and brush strokes blend and get interlaced exquisitely with satin, cross, couching, blanket or even feather stitch.
Artist & Writer, Bangalore, Email: acart2009@gmail.com
Alka likes to ‘mix my magics.’She tries to merge boundaries of different mediums whether it is mixed media, digital, assemblage or installation. Her art is an amalgamation of images, textures and calligraphy that acts as a design in background. The act of bringing out ideas on paper, computer or canvas, is a psychological or emotional effort for her. She has made her name on ‘Art’-scape as a painter, poet, and researcher and formed her own signature. “I use mixed media to integrate sensations into coherent painterly forms, where one can see intensification, clarification and interpretation of experiences in various degrees. The brushwork is declaration of my personal freedom where mixed media supports me in creating visual variety. In a few words, it’s a correspondence between feeling, form and technique, where my painting continues to change and grow at every step.” Born and brought up in Punjab, Alka did BFA in Painting from College of Arts Chandigarh, and bagged her Master’s Degree and PhD from Banaras Hindu University, Varanasi. Alka has worked as an Asso Professor for almost fifteen years. And now she is settled in Bangalore and is a freelancer, involved in e-papers and content writing of demonstrations of renowned artists. She has carved her niche with her regular articles and write-ups on trends in art, artists, competitions and exhibitions in numerous art newspapers like Art amour, Art Observer, Delhi; Art Affairs, Belgaum and Royal Art Times, Gulbarga. Alka is an editor of a journal and member of editorial board of Anu Books Publication, Meerut. Her research papers, reviews and articles have been published in numerous reputed journals, magazines, catalogues and art newspapers too.
She has many National and International exhibitions, seminars and workshop too her credit. Her portfolio has been featured in International magazines. Besides all this, she has won many awards, naming a few like those by Indian Academy of Fine Arts, Amritsar, 2019, 2020; Honour for dedication and contribution in the field of art, Kausa Kala Trust, Amritsar, 2019; ICAC-International Creative art Centre, Mumbai, 2019 & 2020; Bindaas Artist group;; Indian Royal Academy of Art and Culture, Gulbarga; ALL VISUAL ARTS, www.allvisualarts.com; Gallery ARTOZ, Udaipur; IOAS Astrophilia, SriLanka; International studio art symposium, www.studioartsy.org and IWD Women Achievers’ award for achievement in the field of art 2020; Prathap Institute of painting, Hyderabad, 2020; Biennale IVOPA; Mellow Arts, Japan; Raphael award- Creators Collective Mumbai2022;The Art Platform, Germany; Graphics print in the invite of an exhibition Centro del grabado Valparaíso-Chile Convocatoria: Homenaje a Marco Molina2021; Sampurna award Bangia Kala Kendra 2022; She has been a member of many organizing committees, panel expert board of studies; guest faculty and content writer for e-lectures and Faculty Development programmes. She has been appointed Consultant for Jammu and Kashmir Centre for Creative Arts, Jammu too; Art critic, National Printmaking Camp by LKA in Bangalore 2022; JURY 63rd National Exhibition, LKA,Delhi 2023
Embark on a global journey filled with exhilarating experiences that will ignite your wanderlust. Our exploration takes us to captivating destinations around the world, where adventure, culture, and natural beauty converge to offer unforgettable moments. From the bustling streets of Asia to the serene landscapes of Europe, and the vibrant cultures of the Americas, there’s a wealth of diverse experiences waiting to be discovered. Join us as we delve into the essence of each destination, offering insights, tips, and inspiration for a fun-filled global escapade that will leave you with a profound appreciation for the incredible tapestry of our world.
Visit Pena Palace, Portugal
Embark on a global adventure that transcends borders and cultures, as we uncover exhilarating experiences in destinations around the world. One destination not to be missed is the enchanting Pena Palace in Sintra, Portugal. Dive into the world of architectural wonder and lush gardens. To enhance your visit, consider booking Pena Palace tickets online, ensuring a seamless entry and more time to explore this majestic palace. This is just the beginning of our journey to discover remarkable experiences worldwide, offering inspiration and insights to make your travels memorable and fun-filled. So, pack your bags and join us on this thrilling exploration.
Experience a Hot Air Balloon Ride in Dubai
Dubai, renowned for its opulence, invites you to embark on a one-of-a-kind adventure: a Hot Air Balloon Ride in Dubai. Glide gracefully above the mesmerizing golden dunes as the sun graces the horizon, enveloping the vast expanse in a warm, amber embrace. This serene journey through the Arabian desert is a sensory marvel, evoking profound tranquility and a sense of wonder. As you ascend in the hot air balloon, the world below transforms into a breathtaking vista of pristine sandscapes, undulating dunes, and the dramatic interplay of light and shadow. It’s an experience that etches itself into your memory, leaving an indelible mark of the captivating beauty and tranquility of Dubai’s desert landscape. A Hot Air Balloon Ride in Dubai is more than an adventure; it’s a journey into the heart of nature’s grandeur.
Hidden within the bustling city of Marrakech lies a tranquil oasis known as Jardin Majorelle. Designed by French painter Jacques Majorelle in the 1920s, this enchanting garden is a vivid display of cobalt blue buildings adorned with vibrant yellow accents. Amidst the exotic flora, you’ll discover cacti, bougainvillea, and lily-filled ponds. The garden also houses the Islamic Art Museum of Marrakech, featuring a remarkable collection of North African textiles, ceramics, and jewelry. Book your Jardin Majorelle tickets online and stroll through Jardin Majorelle which is like stepping into a living painting, a serene escape from the city’s hustle and bustle.
Climb Machu Picchu, Peru
Hidden amidst the Andes Mountains, Machu Picchu is an archaeological treasure of the Inca Empire. This ancient citadel, perched at nearly 8,000 feet above sea level, is renowned for its intricate stone architecture, terraced fields, and breathtaking views. A visit to Machu Picchu is a journey back in time, where you can explore the remnants of an advanced civilization while surrounded by stunning natural beauty.
Indulge in a whirlwind of virtual adventures at VR Park in Dubai. This high-tech amusement park offers an array of immersive experiences that will transport you to fantastical realms and challenge your senses. From heart-pounding virtual reality games to mind-bending simulations, VR Park promises an unforgettable journey into the world of cutting-edge technology and entertainment. Whether you’re an adrenaline junkie or simply seeking a unique and fun experience, VR Park in Dubai is a must-visit destination that will leave you with thrilling memories to cherish. Dive into the digital realm and let the excitement begin!
Visit Yayoi Kusama Museum – Tokyo, Japan
Embark on a whimsical artistic journey at the Yayoi Kusama Museum in Tokyo, Japan. This avant-garde museum showcases the mind-bending and visually captivating works of the renowned artist Yayoi Kusama. Immerse yourself in her world of infinite dots and kaleidoscopic patterns as you explore the museum’s mesmerizing exhibitions. With its surreal and immersive installations, this museum offers a unique and fun experience for art enthusiasts and curious minds alike. Don’t miss the chance to step into the extraordinary and vibrant universe of Yayoi Kusama in the heart of Tokyo.
Zipline at Mount Ulriken – Bergen, Norway
Experience the thrill of a lifetime by ziplining at Mount Ulriken in Bergen, Norway. This exhilarating adventure allows you to soar high above the stunning Norwegian landscape, providing breathtaking views of fjords and mountains. Whether you’re an adrenaline junkie or simply seeking a unique and fun experience, ziplining at Mount Ulriken is an absolute must-do. It’s not just an adventure; it’s a chance to connect with nature and feel the rush of excitement as you glide through the crisp mountain air. Get ready to make unforgettable memories against the backdrop of Norway’s picturesque beauty.
See artifacts at The Rijksmuseum
Immerse yourself in the rich tapestry of Dutch art and history by visiting The Rijksmuseum in Amsterdam, Netherlands. This renowned institution houses an unparalleled collection of masterpieces, showcasing the artistic and cultural heritage of the Netherlands. From Rembrandt’s iconic “Night Watch” to Vermeer’s “The Milkmaid,” you’ll encounter a treasure trove of world-class artifacts. The museum’s meticulously curated exhibitions provide a captivating journey through time, making it a must-visit destination for art enthusiasts and history buffs seeking a fun and enlightening experience in the heart of Amsterdam.
In the Cappadocia region, the remarkable geological formations forged over millions of years by lava, ashes, and nature are some of the most captivating on Earth. This area warmly embraces local and international visitors, drawing hundreds of thousands yearly.
In this post, let us know why people worldwide prefer to go for Cappadocia tours.
Cappadocia’s human history dates back to the Hittites, with numerous underground cities, like Derinkuyu, offering a mysterious glimpse into ancient life. A guided visit, lasting at least 2 hours, is recommended.
Hot Air Balloon Tour
Witnessing Cappadocia’s stunning geography from colourful hot air balloons amidst fairy chimneys and unique landscapes is a world-renowned, though somewhat costly, activity that promises unforgettable memories.
Stay at Rock Hotels
Staying in cave hotels is a must to immerse in Cappadocia’s ambiance. These unique accommodations, blending historical traces with modern amenities, offer travellers a diverse and friendly atmosphere.
Visit Many Historical and Ancient Cities
Cappadocia, a historic crossroads, hosts numerous ancient cities. Must-visit spots include:
Urgup
Goreme
Ortahisar
Uchisar
Avanos
The Goreme National Park is enchanted with its deep valleys, plateaus, churches, and pigeon nests. Other attractions include:
Ortahisar Castle
Paşabağı
Ihlara Valley
Avanos Ruins
Zelve Valley
Uchisar Castle
Cavusin Church.
Name the Fairy Chimneys
Cappadocia’s fairy chimneys and unique landforms ignite boundless imagination. Devrent Valley, known as the “Imagination Valley,” features rocks resembling various objects from every angle, including the beloved camel-shaped fairy chimney.
Cappadocia offers a delightful culinary experience featuring flavours from all over Anatolia. Tourist-friendly restaurants serve delicious homemade dishes, including the iconic “tasty kebab,” cooked for two hours and served with vegetable stir-fry in a clay pot. Visitors can also savour “sac tava,” kebabs, ravioli, and various types of pitas.
Taste Wines
Cappadocia, renowned for its tuffaceous soil, is a hub for producing top-quality Turkish wines. Its rich wine culture spans generations, offering a diverse selection of wines for various palates. Notable brands include Turasan and Kocabağ, with Kocabağ’s workshop near Güvercinlik Valley being a prime spot for hospitable wine tasting.
Enjoy the Romance and Fun
Urgup and Goreme offer a distinctive ambiance with concept rock hotels, live music, trendy cafes, and romantic dining. A diverse range of visitors adds to the unique atmosphere. Notable spots include Göreme Pasha Cafe, Saziye, and Pumpkin Göreme Restaurant and Art Gallery, known for their captivating decor, Jacuzzi-equipped rooms, and romantic settings.
Red River
The Red River, Turkey’s longest, shapes Cappadocia’s landscape, encompassing the entire region through Urgup, Avanos, and Gulsehir.
Adventurous Activities
Cappadocia offers exciting activities like ATV tours and Monster ride safaris, all included with the Cappadocia travel pass, ensuring a fantastic experience.
Horse Riding
Nicknamed the “Country of Beautiful Horses,” a winter horseback ride unveils valleys and fairy chimneys at their most enchanting, providing a chance to capture snowy landscapes in photos.
TheCappadocia tour from Istanbulis easily accessible via direct flights. Airports are easily accessible within a one-hour drive. This region offers a unique travel experience with boutique hotels, historic sites, underground cities, and stunning landscapes.
On Monday, in Riyadh, Saudi Arabia, the World Heritage Committee meeting was underway. A brief declaration- ‘The Draft Decision 45 COM 8B.38 is adopted’ made the chests of all Indians swell with joy. This declaration was the one that recognised Hoysala temples in three sites- Beluru, Halebidu and Somanthapur as a part of the world renown list of UNESCO world heritage sites. The declaration opens up the prospects of world-wide recognition and careful preservation to ensure the sites last for generations to witness their splendour.
The Process of World Heritage Site Tag
The quest to get these beautiful Hoysala architectural sites recognised began in 2014, when the government of Karnataka nominated these sites to a tentative list of UNESCO’s world heritage sites. This original shortlist contained a list of twenty temples, which was successively whittled down, first to eleven and then to just three- three of the temples which were most likely to satisfy UNESCO’s criteria for recognition. Later, in 2019, the Karnataka state government’s department of archaeology assigned the Bengaluru chapter of INTACH with the lofty job of preparing the nomination dossier for ‘the sacred ensembles of the Hoysalas’. It was INTACH that put in three years of hard work and whittled down the possible list of heritage sites to just three.
The Hoysalas were a Kannadiga dynasty between the tenth and fourteenth century CE, ruling parts of nearly all of the Southern states today, including almost the entirety of Karnataka, parts of Andhra Pradesh, Telangana and Tamil Nadu. The Hoysalas, one of the most prominent Kannadiga dynasties in history, emerged as a prominent power after the first king, Vishnuvardhana defeated the great Cholas. Later on, his grandson defeated the Chalukyas, freeing them from their centuries old yoke of domination. After establishing a sovereign kingdom, Vishnuvardhana expanded their territories and consolidated their rule. The dynasty’s capital was initially located in Belur and later shifted to Halebidu, both of which became centres of artistic excellence under Hoysala patronage.
The Hoysalas faced numerous conflicts with neighbouring powers, including the Chalukyas and the Yadavas. They also faced invasions from the Delhi Sultanate in the 14th century, which ultimately led to their decline and the disintegration of their empire.
The dynasty fostered a vibrant literary and cultural environment. The court of the Hoysala kings attracted scholars, poets, and artists, leading to the development of Kannada literature. The prominent poet Harihara, who authored the famous “Gadugina Bharata,” flourished during this period. They were also patrons of other forms of artistic expression, including architecture, and left behind magnificent temples of great cultural and artistic significance. The Chennakesava temple at Belur, the Kesava temple at Somnathpur and the Hoysaleswara temple at Halebidu, are three of the many magnificent symbols of architecture that the Hoysalas have left behind.
The Chennakesava temple in Belur was commissioned by Vishnuvardhana, one of the great builders of the Hoysala dynasty in 1117 AD. The main temple was completed quickly, but the temple complex was expanded for over a century. The temple is of great architectural significance and is known for its mix of North Indian Nagara style and south Indian Karnata style architecture. The main temple is built on a platform meant for circumambulation of the temple, during which the temple’s spectacular sculptures are fully on display. The profuse, intricate sculptures can be viewed in their full splendour in the large sculptural gallery that the temple hosts.
The temple complex also hosts many individual temples dedicated to different deities, built in the same style. These include the Viranaranya temple, the Lakshmi temple and the Andal temple in addition to the two sthambhas or pillars within the temple complex. All of these temples are covered in intricate, precious sculptures, some incorporating elements like delicate meshes, resembling filigree, sculpted out of stone.
The Hoysaleswara Temple, Halebidu
The Hoysaleswara temple in Halebidu is primarily dedicated to Lord Shiva, with separate main temples each for ‘Hoysaleswara’ and ‘Shantaleshwara’(his queen, Shantala Devi). Its construction began in the eleventh century AD, and continued for three hundred years. The Hoysaleshwara temple is one of the lesser preserved of Hoysala temples because it was destroyed and fell into ruins after it was sacked by the Delhi sultanate under Alauddin Khilji.
The sanctum sanctorum of the two main temples house Shiva Lingas. To the east of the main temples are two shrines dedicated to Nandi, the devout vahana of Shiva. The walls of the temple contain a number of ornate friezes depicting multiple themes including episodes from the Ramayana, Mahabharata, the Bhagavat purana. They also incorporate multiple themes including horses, birds, lions, plants and a variety of other humans and beasts. According to Shadakshari Shettar, a renown Indian scholar and professor on Indian history and art forms, not one of the many lions in a two hundred metre stretch are the same- such is the attention to detail. There is delicate filigree-like work carved in stone, ornately carved amongst multiple elements in the temple.
The Kesava Temple, Somnathpura
The Kesava temple at Somnathpura is also a great example of Hoysala architecture.It was built in the thirteenth century by Somanatha Dhandanayaka, a general of the Hoysala king, Narasimha III. Similar to the Chennakesava temple in Belur, the Kesava temple is characterised by its ornate sculptural friezes around the path of circumambulation, depicting the stories of the Ramayana, the Mahabharata and the Bhagavat Purana. The Garbhagriha tower walls are covered in carvings of multiple Hindu Gods, including Tandava Ganesha, Dancing Saraswati, Keshava, Venugopala, Janardana, Krishna, Vishnu, Indra, Varuna, Yama, Vasudeva, Yoganarayana, the dashavataras, dancing Lakshmi in various forms, Brahma with and without beard, Harihara (half Shiva, half Vishnu), Surya, Durga as Mahishasuramardini and dancing Vishnu. Every small section of the temple is an artistic marvel displaying the prowess of artisans at the time.
Takeaways
UNESCO has, previously, come under fire before because World Heritage sites were, and still are, primarily concentrated in Europe. The future however, looks bright because India is opening up avenues for tourism and showcasing its architectural and artistic prowess, pushing for World Heritage site status for many other monuments of great significance. This is the beginning of a new chapter, when many beautiful Indian monuments showcasing our rich culture and heritage are recognised and admired worldwide.
Dance can be viewed as a simple collection of body movements coupled with music. However, dance is much more than that. It is a form of storytelling. Whether it’s ballet or Kathakali or flamenco, each dance form tells a story, from mythological tales to portraying ideals man should strive for. Dance is a unique form of storytelling, engaging many of our senses to engage, amaze and evoke. Folk dance is one such variant of dance styles that includes informal dance forms amongst certain communities presenting their stories. They depict stories of the communities that perform them in simple and lively manners. The dance of Tappeta Gullu from Andhra Pradesh is one such dance style.
Origins of Tappeta Gullu
Tappeta Gullu has its origins amongst local traditions and religions. In the ancient times, cattle herds performed folk dances to appease and please Gangamma, the local Goddess for fertility. The Goddess is believed by the local people to be the sister of Lord Venkateshwara. Gangamma, according to local tradition, is said to have come to the earth to end the rule of a demon king, under whom the earth suffered drought and suffering. After the Goddess overthrew him, the sky produced rain and the people became prosperous. This is why People turn to her in hopes of healthy children, rains and plentiful crops in the Southern states of Andhra Pradesh, Telangana and Karnataka.
Etymology of Tappeta Gullu
The word ‘Tapetta’ is the name of the drum that the dancers wear on their chest while dancing. ‘Gullu’ means alarm or announcement, in a manner. Hence, Tapetta gullu means ‘drum announcement’, an announcement of the festival celebrating Gangamma.
Tappeta Gullu Performances Today
The dance is performed by the Yadavas or Golla community today during the Gangamma jatara or Gangamma fest, a festival with music, dance, fairs and feasts in the state of Andhra Pradesh and Telangana dedicated to Goddess Gangamma during the Jyeshta masam. Tapetta Gullu is at the core of the festival, being one of the oldest traditions in the festival.
Golla Community
The dance is performed by the Golla community, the Telugu community of cowherds, sheep herds and goat herds. They are a part of the Yadava clan, and claim relations to Lord Krishna, who was said to be a Yadava himself. However, the Gollas worship all Hindu Gods.
Tappeta Gullu Performance
The performance itself is almost ritualistic. Before the dance, a man holding a beautifully decorated pot of water goes around the village. This pot of water represents Gangamma, and the ritual of taking the pot around is symbolic. It means her presence blesses the entire village. Then starts the dance itself. There is either a dedicated vocalist, or the dancers themselves sing the songs sometimes. The dancers are only men, dressed in vibrant, colourful clothing, with matching loincloths and headscarves. They wear the traditional drum or the Tappeta around their neck, and beat the drums in synchronised perfection. They also wear heavy anklets around their ankles, which add to the depth of the music. However, this also means that the dancers have to be perfectly synchronised in their movements, for a delayed or premature movement would disturb the perfect beat of the anklets singing together in rhythm. The artists also perform elaborate stunts and somersaults as a part of the dance, enthralling the audience. It is said that entire villages used to gather around to witness the spectacle of Tappeta Gullu.
Themes of Tappeta Gullu
The themes in Tapetta Gullu revolve around Hindu mythology, with songs praising the greatness of Lord Vishnu, his forms, and Gangamma thalli. The themes also include episodes from the Ramayana, the Mahabharata and other Hindu texts. During the Gangamma Jatara, however, the dance mostly focuses on Goddess Gangamma and the story of her dispelling evil and dispensing prosperity on earth.
Cultural Significance of Tappeta Gullu
The significance of Tappeta Gullu is monumental. It is not just a source of entertainment, but it is also a reflection of the rich cultures and traditions of Andhra Pradesh. Everything from the costumes, the drums, the songs, the beat and the dance itself is representative of the history of the art forms of Andhra Pradesh. It also represents the enduring faith of the people in the traditional religions and traditions of the region. The dance is a scintillating performance and brings together people of all communities who witness the spectacle.
Present State of Tappeta Gullu
The present state of this dance form is not ideal. The dance form is a part of traditional folk cultures, which are on the decline these days. According to a Tappeta Gullu teacher, Appa Rao, of the Debbagudivalasa village in the Vizianagaram district of Andhra Pradesh, there is an increasing tendency to look down upon the folk cultures due to intrinsic inferiority complexes. This is why traditional forms of entertainment are declining today, and this is the same fate that is enveloping Tappeta Gullu. However, of late, there has been a resurgence in the celebration of our traditional practices, sometimes even in popular culture. Tapetta Gullu was featured in the hit Telugu film Rangasthalam, stirring renewed interest in the dance form in the Telugu states.
The artists and dancers who remain today are determined to preserve the dance form despite all challenges. The future of Tappeta Gullu is bright.
Conclusion
Tapetta Gullu is a vibrant folk dance form that represents the culture and traditions of not just Andhra Pradesh, but also India. It is important that we take pride in the vibrant traditional practices of our country to truly retain the essence of India.
Advait, a young sculptor smoothly moves brush on one of his idols in the days leading to the installation.
Cultural practices change as humankind evolves. As technological disruptions shape human society and rapid environmental changes leave clear footprints, the effects become apparent on cultures and traditions. It is art that captures these shifts and changes.
Symbolisms prevalent in Indian culture are followed in different contexts. Amongst these, elephant symbolism is quite significant. Falling in mid-monsoon, the festivities involving the installation of Lord Ganesha testifies this. The event is as much about home-welcoming a god, as it is about venting artistic creativity – though that the art often conveys itself implicitly.
The universal existence of the festival is differentiated by the unique artistic depictions characterized by regional influences, as sculptors use the opportunity to feature contemporary issues.
Red soil idol sculpting is difficult, as sculptors have to follow a series of complex processes. It needs a critical eye to distinguish these idols from PoP idols that are still sold despite bans.
However, sculptors have to work against unforeseen challenges. For instance, for the past two years, the dark cloud of the recurrent pandemic continues to hover, as artists continue to operate in the constant fear of regulations and impositions. While the curbs hold right in the current circumstances, sculptors are having a tough time; at least those who eke out on seasonal artistry.
Sculptors using traditional approaches face competition from Plaster of Paris (PoP) idols. “PoP idols pose a threat not just to traditional sculpting but also to nature,” says Advait Bopche – a young artist from Yavatmal, a town in Central India known for its red soil sculpting. Advait is one of those artists who have been theming their idols to raise awareness on hygiene and sanitation, especially in the wake of the pandemic.
Brought into existence during the political freedom struggle, the festival of Ganeshutsav today stands at the crossroad of devotion, worship, festivities, and ecology and conservation. And nothing is more pleasant than artists themselves trying to adopt eco-friendly ways.
Having traversed more than 100 years of journey, Ganeshutsav has steadily acquired a household character. The emergence of Ganapati as a lineage deity has led to an increasing number of families wanting to have the elephant god installed at their homes. This in turn has increased opportunities and scope for sculptors to earn and showcase their creativity.
Bastar Ganesha sits amidst the lofty peaks, telling tales from the past. – Source: patrika.com
Earning household character, however, hasn’t least affected community worship, as group celebrations take place with the same fervour. The concept of Raja has steadily spread from metropolitans to even small towns. Mammoth idols, majestic and splendid appearance characterize these Rajas. An onlooker is sure to get awe-struck, like the one who hears the tale of Bastar Ganesh.
Located in the lush green valleys of Dantewada district in Chattisgarh, Bastar Ganesh sits as a magnificent idol at a height of 13000 feet. Installed around one thousand years ago by Chindak Nagvanshis, the idol has been a witness to changing social relationships, as some anti-social elements tried to destroy it a few years ago. However, it was successfully restored to its original place, where it sits today. Deeply revered by indigenous tribal communities, Bastar Ganesh is a historical symbol of India’s rich art heritage.
Art lovers, devotees and authorities came together to re-built Bastar Ganesh from fallen pieces, and likewise, environmentalists and artists must collaborate to evolve eco-friendly Ganeshautsav celebrations.
Artificial ponds have arisen as a great option to give an eco-friendly end to the festival. Source: asianage.com
Environmentalists want water resources to be prevented from contamination. They are keen on protecting marine life and freshwater resources. And sculpting, too, is important, for it channelizes art economics.
Initiatives like artificial pond creation for idol immersion indicate increasing awareness towards protecting and sustaining natural water resources. Some even make small individual ponds at their homes to bid farewell to the deity. But maybe environmentalists and artists have to join hands to find a rational solution for large idols.
At a time when the earth is reeling under the impacts of climate change, worship, art and conservation cannot exist and operate individually. The amicable coexistence of these three elements – as is the need of the day – only holds the sustainable answer.
The dances of Karnataka reflect the state’s rich cultural diversity, encompassing both folk and classical genres that hold popularity in various regions. While many indigenous communities in Karnataka have preserved and nurtured their unique folk dance traditions, the state also boasts a vibrant presence of Indian classical dances. Karnataka’s rural areas serve as repositories of lively folk dances and dance-dramas. One such example is the Dollu Kunitha dance, characterized by its religious essence and connection to the worship of Lord Beereshwara. On the other hand, Yakshagana stands out as a folk theater where performers bring to life epic and mythological stories. Here are a few intriguing folk dances from Karnataka that bring in the vibrancy of regional extravaganza.
Suggested Video: A Visual Journey Through Folk Dances of Karnataka
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Dollu Kunitha is a popular traditional folk dance in Karnataka, known for its high-energy performances during important festivals and celebrations across the state. This traditional dance is closely associated with the worship of Sree Beeralingeshwara, a form of Lord Shiva, and has its origins in the rituals of the Kuruba Gowda community in North Karnataka. The term “Dollu” refers to the drum, symbolically linked to Lord Shiva, who is renowned for his fierce dance, the “bhairava tandava,” performed when he is enraged. Legend has it that Shiva created a drum using the skins of demons he had vanquished. The Kuruba people, devoted followers of Shiva, commemorate the defeat of demons by drumming.
Dollu Kunitha is performed by a group of ten to twelve drummers, and the troupe may consist of both men and women. Due to its high-intensity and loud performance, Dollu Kunitha always captures attention. The drum dance is typically executed in a circular or semi-circular formation, with drummers rhythmically beating their drums while singing and dancing to the music.
Performing Dollu Kunitha demands significant energy and endurance to carry and dance with the heavy drum for extended periods. Initially, only well-built men participated in this dance, but now, smaller and lighter drums are available, making it accessible to a broader range of individuals. Villagers and spectators often join the Dollu Kunitha troupe in the dance, creating an atmosphere of joy and celebration.
Veeragaase is a well-known folk dance that symbolically represents the courage and valor of God ‘Veerabhadra.’ This dance is typically performed during Hindu festivals in the months of Shravana and Karthika. It is a dynamic and intense dance deeply rooted in Hindu mythology, characterized by vigorous and energetic movements.
The dancers adorn themselves in distinctive attire, including white turban-like headgear, kaavi-colored dhotis, Rudrakshamala necklaces, Nagabharanas ornaments, and a wooden plaque featuring the image of Lord Veerabhadra on their chests. They also apply Vibhooti on their foreheads, ears, and eyebrows. Accompanied by the beat of Karadi and chamel drums, the performers engage in a martial dance, wielding an unsheathed sword in their right hand and holding a wooden plaque depicting Veerabhadra in their left. The dance group typically consists of two, four, or six members. Within the group, a lead vocalist narrates the epic tale of “Daksha yajna,” while one of the dancers carries a large ornamental pole called Nandikolu, crowned with an orange flag. Traditional percussion instruments like sambal and dimmu provide melodious accompaniment to the performance.
Veeragaase is a captivating dance that vividly portrays the courageous spirit of Veerabhadra and holds a significant place in Hindu festival celebrations, particularly during the months of Shravana and Karthika.
The worship of spirits is represented by Bhootha Aradhane. This event is an excellent blend of common beliefs, spectacular displays, and ritualistic magic aimed at warding off evil spirits.
Karnataka Bhootha Aradhane is highly visual. It involves a parade that requires significant effort in transporting idols. Traditional idols are painted to depict bhootas or demons, symbolizing their presence. A unique and eerie ambiance is created through the procession. Drums and fireworks accompany the procession, with large crowds pulling the idols to a raised platform where the final rituals of the procession take place.
Variations of serpent worship rituals among Hindus are present in all parts of India, including Nagamandala in Karnataka. This lengthy ceremony lasts throughout the night and involves the ritualistic appeasement of the serpent, particularly in the southern regions of Karnataka. The Nagamandala snake in Karnataka is commonly regarded as a symbol of fertility and life-force.
Male dancers, known as Vaidyas, typically perform Nagamandala in Karnataka. They dress up as Nagakannikas, representing female snakes, and dance over an intricate pattern that symbolizes the serpent’s spirit, serving as the focal point of their worship during the dance. The architecture of Nagamandala is itself an impressive feat, featuring a sophisticated natural color pattern. At some point during the ritual, a Brahmin becomes possessed, signifying the presence of the snake among the worshippers. The serpent’s image is based on traditional and symbolic patterns.
“Yakshagana” is a dramatic composition that is performed in front of rural audiences by trained and amateur actors. It combines elements of dance and drama. The phrase “Yakshagana” literally means “heavenly music.” This dance drama often takes place throughout the night, particularly during winter harvest festivals, captivating the audience with its enchanting songs and vibrant performances.
Yakshagana performances are comprehensive theatrical productions that encompass music, dance, and dramatic elements. The epics of Ramayana, Mahabharata, and the Puranas have a significant influence on the primarily rural audience. The Yakshagana performance typically begins with a Puja (ritual) to Lord Ganesha’s divinity, followed by the introduction of ‘Kodangis’ as comic characters. A narrator delivers the story in a song-like fashion, accompanied by musicians playing traditional instruments such as chandelions, a maddale, and a tala, usually performed by a team of three musicians. The performers act out the narrative in synchronization with the music.
Goravara kunita is a traditional dance dedicated to the worship of Lord Shiva, renowned in both Mysore and North Karnataka. It is a cultural practice that exhibits minor regional differences but remains popular throughout the state. In Karnataka, groups of 10 to 11 men, primarily from the Gorava community, perform Gorava Kunitha. These Goravas are known for their strong devotion to Lord Shiva, making the dance a significant part of their religious and cultural expression.
7. Togalu Gombeyaata
Togalu Gombeyaata is a unique form of shadow puppetry that is exclusive to Karnataka. This age-old art tradition remains vibrant in rural areas of the state, employing leather puppets to narrate stories and depict themes inspired by epic and mythological tales.
8. Joodu Haligi
The Joodu Haligi features a pair of percussion instruments, one of which is the Haligi. Crafted from buffalo skin, this circular drum is played using a small stick. What distinguishes this dance form is the remarkable energy and expressive emotions conveyed by two or three performers. This notable dance is typically performed during the Mysore Dasara festival, rooted in Hindu mythology and observed during the Hindu months of Shravana and Karthika.
9. Krishna Parijatha
Krishna Parijatha is a traditional folk theatre form from Karnataka that is sometimes considered a hybrid of Yakshagana and Byalatta, and at other times, a regional variation of Yakshagana. It has been described as a blend of Yakshagana and Byalatta, as well as a localized version of Yakshagana. While its open-air performances align it with Byalatta, the use of a single narrator, similar to the ‘Bhagavat’ in Yakshagana, leans more towards the latter. Krishna Parijatha is well-known in Northern Karnataka and is a recognized folk religious theatre style with performances ranging from village squares to outdoor marketplaces.
In Karnataka, Krishna Parijatha incorporates traditional themes from Hindu mythology’s extensive repertoire. Stories from the Ramayana and Mahabharata are frequently featured in Karnataka’s Krishna Parijatha performances. Makeup is commonly applied, and music and dance are intricately woven into the presentation. Both prose and poetry are employed to convey timeless principles. These captivating folk performances typically unfold during the night, led by a single narrator, often assisted by a clown or Vidushaka.
The story is conveyed through the dance form ‘Veerabhadra,’ the divine being (a minor God) born from Rudra’s (Lord Shiva’s) fury, intended to teach his father-in-law Daksha a lesson. This tale unfolds after Dakshayani (Sati), Shiva’s consort, immolates herself in the yagna fire, prompting Rudra’s intervention to disrupt Daksha’s Yagna (fire sacrifice). Bhadrakali, his companion or consort, also emerges from Devi’s anger. Veerabhadra is tasked with going to the yagna site and thwarting the ritual. Consequently, the dance depicts this confrontational scenario. Dancers adorn traditional full-color attire and sport long white hair with facial sculptures on their heads. They sway back and forth, wielding a blade in one hand.
11. Komb-aat (Komb Dance)
Komb-aat is a form of devotional dance frequently observed in temples, traditionally executed by Kodava men. This dance involves the use of deer horns, symbolizing the horns of the Krishna Mruga, a spotted deer in Kodava mythology. The performance is accompanied by rhythmic melodies produced through wind instruments and drums.
Kamsale, also known as Beesu Kamsale, represents an expressive dance form deeply rooted in Kannada culture, seamlessly blending artistic grace with martial prowess. Primarily flourishing in districts such as Mysore, Nanjagud, Kollegal, and Bangalore in Karnataka, Kamsale holds profound religious significance. It serves as a narrative of the divine magnificence of Lord Mahadeswara Shiva, with its practitioners vowing lifelong devotion to the deity. This art form is meticulously passed down through a well-preserved tradition, ensuring the continuity of its heritage from mentor to disciple.
13. Pata Kunitha
Pata Kunitha is a well-loved traditional dance genre in Karnataka, particularly cherished by the residents of the Mysore district. Similar to other Kunithas or ceremonial dance-dramas, Pata Kunitha carries a predominantly religious essence. This spiritual dance is exclusively performed by men, featuring the use of long bamboo poles known as “pata,” adorned with colorful ribbons. Interestingly, there is minimal verbal commentary, with the main focus placed on the rhythm and the skill of the dancers. This captivating display of vibrant enthusiasm enjoys widespread popularity, transcending religious boundaries and appealing to individuals from diverse faiths.
14. Bolak-aat (Bolak Dance)
Bolak-aat is an open-air performance that showcases Kodava men dressed entirely in black attire, illuminated by the warm glow of an oil lantern. This traditional dance involves the dancers holding yak fur, referred to as “chavari,” in one hand and the Kodava short sword, known as “odi kathi,” in the other. The rhythmic accompaniment is provided by the dudi, an hourglass-shaped drum. Bolak-aat is customarily performed to commemorate significant events and festive celebrations.
15. Ummatt-aat
Kodava women, adorned in traditional Kodava attire, including jewelry and the distinctive kumkuma on their foreheads, partake in the ummatt-aat dance. This circular dance is carried out to the sway of a rhythmic beat, with the dancers holding brass cymbals. At the center stands a woman holding a jug of water, symbolizing the Mother of Kaveri. This dance is a heartfelt tribute to the sacred Kaveri River, revered by the Kodava community.
Puja Kunitha is a ceremonial dance dedicated to the worship of Goddess Shakti in all her manifestations, particularly prevalent in the regions of Bangalore and Mandya.
This dance is a captivating spectacle often featured in religious festivals, processions, and fairs celebrating Goddess Shakti. What sets it apart is its emphasis on the visual aspect of the performance rather than relying on auditory narration.
A distinctive feature of Puja Kunitha is the artistic use of bamboo poles, creatively adorned, which the dancers sway in harmony with the music. Additionally, the performers carry Shakti statues atop large wooden structures on their heads.
This dance form is a vibrant expression of devotion and artistry, closely tied to the worship of Goddess Shakti in these regions.
17. Kangadilo Kunitha
Kangadilo kunitha is a traditional Tulu dance genre rooted in Karnataka. This dance form is predominantly performed by men, and their attire is adorned with coconut palm tender leaves and garlands of flowers. The musical accompaniment includes drums and flutes, creating a rhythmic atmosphere. Typically, a group of five to seven dancers executes coordinated movements, led by a primary performer, often an elder with white hair and a white mustache.
Karnataka’s dances not only showcase artistic expressions but also embody the rich cultural heritage of the state. Karnataka is renowned for its diverse languages, arts, crafts, and cultural festivals. Therefore, if you’re planning a trip to Karnataka, make sure to include Karnataka dance performances in your itinerary to experience the essence of its cultural past.
“Emerging and Talented Artists Showcase their Abstract Works at Gallery Pradarshak”
Gallery Pradarshak, a prominent art space in Mumbai, is hosting a group exhibition of abstract paintings from 1st to 16th September 2023. The exhibition, titled “A New Tomorrow II”, features the works of 13 emerging and talented artists who explore the diverse and dynamic aspects of abstraction.
Artwork by Venus Sanghvi
Abstract art is a visual language of expressions through forms, colours, lines, shapes and more. It is a non-representational medium that depicts a sense of independence and depth, and invites the viewers to interact with the intangible. The artists in this exhibition showcase their individual styles and perspectives, influenced by their personal experiences, emotions, and inspirations.
Artwork by Anupam Banarase
Some of the artists draw inspiration from the natural elements, such as Dipa Das, who uses geometric compositions and subtle colours to create a third dimensional illusion of the Panchabhuta – the five elements of Earth, Water, Fire, Air and Space. Aniket Deshmukh, on the other hand, explores the secrets of the human psyche and the cosmos through his abstracts.
Artwork by Shruti chawan
Other artists express their identity and journey through their abstracts, such as Karishma Wadhwa, who paints cityscapes inspired by her travels around the world. Shruti Chawan conveys her impressions of stories, feelings and sensations through her paintings.
Other talented artists participating in the exhibition include: Anupam Banarase, Sachin Pakhale, Venus Sanghvi, Smita Srivastav, Smita Marathe, Anand Mali, Ambereen Dharamsey, Siddhesh Rane and Anuja Paturkar.
The exhibition is centred around the idea of new beginnings, transformation and optimism. It is a continuation of Gallery Pradarshak’s efforts to promote emerging and talented artists and to foster a culture of art appreciation among the public.
Gallery Pradarshak Details
The exhibition is open for viewing from 11 am to 7 pm on all days except Sundays and public holidays at Gallery Pradarshak, Khar West, Mumbai. For more information, visit the gallery’s website www.gallerypradarshak.com or follow them on Instagram @galleryoradarshak
#Didyouknow that Varanasi is believed to be a timeless place? It has been in existence from a time immemorial. It gets its name from the rivers Varuna and Asi, tributaries that flow into the river Ganga at Varanasi. There are many legends surrounding it. There is one legend which says that Goddess Parvati got tired of staying on Mount Kailash and so Lord Shiva founded a city for her which is Varanasi!
Lord Shiva and Parvati on Mount Kailasa, Jaipur, Rajasthan School, circa 1800, British Museum, London. Source: Wikimedia
Varanasi: A religious and cultural city along the Ganges
Varanasi, also called Benaras, a city in Uttar Pradesh, India is full of temples, on the left bank of the river Ganga, and considered by Hindus as their holiest city. Also known as Kashi and the ‘City of Light’. The city is also believed to be a huge ‘yantra’ as well, with the temples placed strategically. The Ganges in Varanasi is believed to have the power to wash away the sins of mortals, and one who dies on the land of Varanasi attains ‘Mukti’ or salvation and escapes the cycle of birth and re-birth. There are many ghats along the Ganges in Varanasi which lead down to the holy river. Technically a ‘ghat’ is defined as ‘a broad flight of steps leading down to a river’. These are steps built for the devotees who go down for a dip. There are over 80 ghats in Varanasi. Some are the Dashashwamedh Ghat, Shivala Ghat, Assi Ghat, Tulsi Ghat, Hanuman Ghat, Ahilyabai Ghat, Tathagath Ghat, Lalita Ghat and Manikarnika Ghat.
Varanasi has an interesting storyline. Mark Twain has said – “Benaras is older than history, older than tradition, older even than legend and looks twice as old as all of them put together”. It is shaped like a half crescent, but not much is known about its ancient boundaries but some Buddhist accounts mention it to be twelve ‘yojanas’. Varanasi is mentioned in the epic Mahabharata. Puranas mention different dimensions but it appears to have been a large space. The history of Varanasi prior to the advent of the Aryans is not very clear. In the 8th century, Adi Shankara established the worship of Shiva as an official sect of Varanasi. Tulsidas wrote his Awadhi language epic, the Ramcharitmanas, a Bhakti movement rendition of the original Sanskrit Ramayana, in Varanasi. Sant Kabir and Guru Ravidas, prominent figures of the Bhakti movement were born in Varanasi.
Varanasi holds significance in Buddhism and Jainism too. Lord Buddha preached his first sermon at Sarnath near Varanasi. Varanasi is believed to be the birthplace of Parsvanatha, the twenty-third Tirthankara. The city is associated with learning, devotion to Gods, arts and crafts, textile tradition for a long time. The Benares Sanskrit College, was founded during East India Company rule in 1791. Later education in Benares was greatly influenced by the rise of Indian nationalism in the late 19th-century. Annie Besant founded the Central Hindu College in 1898. In 1916, she and Madan Mohan Malviya founded the Banaras Hindu University, India’s first modern residential university. Kashi Vidyapith was established in 1921, as a response to Mahatma Gandhi’s Non-cooperation movement. Many exponents of dance and music have come from Varanasi. Indian philosophers, poets, writers, and musicians have been associated with the city. This is where the Benares gharana form of Hindustani classical music was evolved. In the 20th-century the Hindi-Urdu writer Prem Chand, Pandit Ravi Shankar, the renowned Sitar maestro and Ustad Bismillah Khan, the famous Shehnai player who got a Bharat Ratna are all sons of the city. Benares became a princely state in 1911 with Ramnagar as its capital. The religious head, Kashi Naresh, had his headquarters at the Ramnagar Fort since the 18th century, also a repository of the history of the kings of Varanasi, to the east of Varanasi, across the Ganges. Annie Besant, philanthropist founded the Central Hindu College, which later led to the founding of Banaras Hindu University in 1916. Varanasi became part of the Indian Union in 1947, and part of Uttar Pradesh after Indian independence. Vibhuti Narayan Singh ceded his territory into the United Provinces in 1949. Besides the ghats, Varanasi is also well known for its crafts, fine silks and gold and silver brocades and there is a high demand for the same. In addition, Varanasi has fascinated artists from yore and artworks are constantly being made till the present times in the 21st century.
Part of the city of Benaras, William Hodges, drawing, 1781, Yale Center for British Art, U S A. Image: Wikimedia
Ghats of Varanasi – Gift from the gods and royals
The ghats are either mentioned in legend or there is a history in real life wherein we know a royal person has built it. The ethos of the city of Varanasi has physical, metaphysical, spiritual, mythological and even supernatural elements in it. Let us see the origins of a few ghats which will prove the same. Assi Ghat an important ghat of Varanasi whose references are found in Matsya-purana, agni purana, kurma purana, padma purana and kashi khanda. It is believed that Goddess Durga after slaying demon Shumbha- Nishumbha had thrown her sword which resulted in flowing of a big stream known as the Asi River. Ganga Mahal Ghat is named after a palatial building made by Maharaja of Banaras, which has excellent carvings depicting the Rajput and local architectural grandeur of 16th century. The Tulsi Ghat is named after the great poet Tulsidas (1547-1622 A.D.) who wrote Ramcharitmanas. Earlier it was known as Lolark Ghat. In 1941, Baldeo Das Birala made reinforcements to this Ghat associated with the bath to beget sons and ensure their long life and bath to get rid of leprosy. The Mata Anandamai Ghat was known earlier as ‘lmalia Ghat’. in 1944, Mata Anandamai bought this area from British. She made reinforcements to run a Ashrama which performs religious activities. Jain Ghat: Before 1931 Jain ghat was the part of Vaccharaja Ghat. Later Jain community made reinforcements and named it as Jain Ghat. On the southern end, Jain communities take bath and perform their regular activities. Shivala ghat was an important ghat in early times. In mid 19th century, It was converted into a small ghat. But now, there is a huge building constructed by Nepal’s King Sanjay Vikram Shah (19th century) and a Shiva Temple and one Brahmendra Math established by Kashiraj. Only some pilgrims and local people take bath here. Hanuman ghat – Sant Tulsidas has established a Hanuman Temple here during 18th century. A.D. which made it famous as Hanuman ghat. The ancient name of this ghat was Ramesvaram Ghat which is believed to be established by Lord Ram himself. At present it is inside boundary of ‘Juna Akhada’. Many ascetics live in the temples. Karnataka ghat: This ghat was built by the Princely State of Mysore in circa 1910. There is a shrine of Ruru ( the Dog) Bhairava, one of the 8th Bhairavas protecting the city from 8th direction. VijayanagaramGhat: This was improved in circa 1890 by the Vijayanagaram State of South India. At the top of it is Svami Karapatri Ashram. Close by to this building are the shrines of Nilakantha and Nispapesvara. This is the site of Haramapapa Tirtha. At the top exists the temple of Kedaresvara, the patron deity of the southern sacred segment. Kedar Ghat – The attached shrines and sacred sites include – Tarakesvara, Gauri Kunda and Vitanka Narsimha. In late sixteenth century Kumarasvami, a devotee of Dattatreya had made a monastery attached to the Kedaresvara, temple. Caowki Ghat: This ghat is famous for the huge pipala or peepal (Ficus religiosa) tree at the top of the steps which shelters a great array of stone figures of snakes, the nagas. Near this tree is the shrine of Rukmangesvara, and at some distance lies Naga Kupa or ‘Snake Well’. On the occasion of Naga Panchami, during month of Shravan (July–August), these shrines are especially worshipped. This ghat was built in circa 1790. Munsi Ghat: The ghat was built by Sridhara Narayana Munsi a finance minister in the State of Darbhanga, in 1912, as an extended part of Darbhanga Ghat. After his death in 1924 this portion of the ghat was named after him. Ahilyabai Ghat : At the place of an old site of Kevelyagiri Ghat, in circa 1778, queen Ahilyabai Holkar of Indore reinforced this as a stronger ghat. She was also responsible for re-building the Visvesvara temle in 1777 as it exists now. There are other ghats like Chausatthi Ghat, Rana mahala Ghat, Sitala Ghat among many others, each one with its own significance. Let us now look separately at one of the most popular ghats – the Dashashwamedh Ghat.
Dashashwamedh Ghat, Benaras, aquatint by Thomas Daniell, 1796. Image: Wwellcomecollection.org
Dashashwamedh Ghat is a main ghat in Varanasi. It is located close to the famous Vishwanath Temple. There are two legends associated with the ghat: one says that Lord Brahma created it to welcome Lord Shiva, another believes, Brahma had sacrificed ten horses during Dasa-Ashwamedh yagna. The present ghat was built by Peshwa Balaji Baji Rao in the year 1748. A few decades later, Ahilyabai Holkar, the Queen of Indore, rebuilt it in the year 1774. Presented here are the images of this important ‘ghat’ through the 18th century to the present times; where the Ganga Aarti is done during sunset daily and also the yearly ‘Dev Deepavali’ is celebrated 15 days after Deepavali when hundreds of diyas (earthen lamps) are set afloat on the river. It is believed that the gods come to take a dip in the river during this time. Artworks and images of this ghat are well liked and being made in the modern times as well.
Thomas Daniell RA (1749 – 1840) was an English landscape painter who painted some Orientalist themes. Accompanied by his nephew William Daniell, he spent seven years in India, published series of aquatints of India. His artwork on the Dashwashamedh Ghat is a serene version of the ghat, few people on the steps of the ghat and a budgerow sailing on the river.
Dashashwamedh Ghat, Benares, lithograph, by James Prinsep, 1834, British Library, London. Image: Wikimedia
James Prinsep, FRS (20 August 1799 – 22 April 1840) was an English scholar, orientalist and antiquary. He was an assay master at the mint in Benares/Varanasi and had an avid interest in architecture of Benares; he painted a series of watercolours of monuments and lithographs on Benares which were sent to London in 1829 and published between 1830 and 1834 as Benares Illustrated – in a series of drawings. The lithograph here captures the hustle-bustle of the ghat given the boats and the people depicted.
Dashashwamedh Ghat, by Edwin Lord weeks, oil on canvas, 1883-85, Brooklyn Museum, U S A. Image: Wikimedia
Edwin Lord Weeks (1849 – 1903) was an American artist, famous for his vibrant and eye-catching Orientalist works. He travelled to South America (1869), Egypt and Persia (1870), Morocco (between 1872 and 1878), and India (1882–83). The painting here seems to be Dashashwamedh Ghat. The oil painting depicts the Ganges, pilgrims and the temples under a sky with floating clouds busy in the ghat.
Dashaswamedh Ghat, Benaras, from the book ‘The Land of Temples’ Or ‘Sketches from Our Indian Empire’ by Mary Hield, 1882, British Library, London. Image: Wikimedia
The image from a book shows the temple steeples, buildings, trees and the pilgrims going about the ghat, also a budgerow boat used during the time.
Dashaswamedh Ghat, Benaras, from the book ‘The Land of Temples’ Or ‘Sketches from Our Indian Empire’ by Mary Hield, 1882, British Library, London.
Raphael Tuck & Sons was a business started by Raphael Tuck and his wife in London in October 1866, selling pictures and greeting cards, and later selling postcards, which was a very successful venture. The image here is a postcard of the Dashashwamedh Ghat, Benares from 1905.During the late 1890s and early 1900s. picture postcards were very popular. These are now called as ‘paper jewels’ by some scholars.
At the Dashashwamedh Ghat, the ‘Ganga Aarti’ a ritual of prayer to the Ganga River is held daily at dusk at Varanasi. Ganga is worshipped as a Goddess. Bhajans are sung and the ‘deepams’ or lamps are moved up and down by priests in synchrony. It is a wonderful sight. Special aartis are held on Tuesdays and on religious festivals. The enchanting ‘Ganga Aarti’ starts after sunset and goes on for 45 minutes. It is very popular and is watched by hundreds of devotees and onlookers. The Aarti is done to be grateful to the almighty god for giving us the five elements (water, air, earth, sky/ether and fire) and connecting to divinity with the outgoing smoke. During ‘Dev Deepavali’ when Gods are said to take a dip in the river Ganga, many lamps are floated on the river. This happens on Kartik Purnima every year, a very auspicious day in the Hindu calender, 15 days after Diwali. A painting of the Ganga Aarti by Paramesh Paul, born 1970, a freelance artist from Mumbai, is showcased here. Paramesh Paul was born in West Bengal. He has made artistic images of Durga and other gods and goddesses. He also paints towns in India like Banaras, Haridwar, Rishikesh, Nabadwip Dham and other important religious places. Others artists have also painted on Varanasi including M.F Husain.
Ganga aarti, Dashaswamedha Ghat, painting by Paramesh Paul, 21st century. Image Courtesy: Studio3india.com
We can understand how an eternal city is a muse for artists eternally with more and more artworks being created which can be seen online and also acquired to call it one’s own, by purchase either in original or if prints are sold, also taken as a souvenir by tourists who are much fascinated by Varanasi.
References and image attribution
Pandeya, Uma (1980) Varanasi, New Delhi: Macmillan Company of India Ltd. (Hindi book)
The autumn season in India marks the arrival of festivities. Navratri, Diwali, Durga Puja and Dussehra are coming soon. And undoubtedly, people across the country are gearing up for the festive season. However, though there are loads of plans to be made, one of the main preparations for any festivity is managing the wardrobe! And the conventional perception that only women are concerned about how they dress up, is surely changing as men and designers are upping their fashion games. So, what are the trending styles for men to try this festive season? What clothing, accessories, shades and hues should they pick in order to look absolutely stunning? Let’s find out!
Festival Vibes
Classic outfits, such as the kurta pajama continue to remain the go-to style clothing for men during the festive season. However, latest trends also feature a wide range of designer menswear, fusion and experimental clothing. Similarly, both bright colors and pastel shades are also increasingly being preferred by the men folk. The look doesn’t have to necessarily be only in blacks or whites, but introducing different shades adds a dash of exuberance and vibrancy that fits in perfectly with the celebrations. Also, since it’s the festive season that we are talking about, ethnic clothing looks both appropriate and stylish. Having said that, combining modern and traditional styles together often results in amazingly dapper appearances.
Here is taking a deep dive into the top 5 trending styles for men to try this festive season!
1. Short Kurtas
Short kurtas are the latest fashion trends that are a great mix of tradition and western wear. It is usually till hip or mid-thigh length and looks wonderfully casual, as well as, chic. A blend of the shirt and kurta, the short kurta comes in different colors and prints and can be both short or long sleeved tops. Besides, one of the greatest conveniences of the short kurta is that it can be paired with dhoti, pajamas, salwar, churidars or even denims and trousers. To notch up the look, you can wear Kolhapuri chappals or mojaris/juttis.
Also, the pattern and prints on the kurta can help in giving a trendy look. Why not try a tie-dyed kurta, Mandala prints, floral prints, small prints or pastel hues?
2. Jackets
Wearing a jacket is one of the easiest and surest ways to boost your fashion and style this festive season. And do not worry, there is a varied range of men jackets to choose from. Nehru jacket, Banarasi jacket, velvet jacket, Bundi jacket – you can try any of these with guaranteed results! The choice of the color and type of jacket hugely depends on what you plan to wear under it. The Bundi jacket along with the Nehru jacket are probably the safest bets to place for they look adorable on everything. Besides, even if you go for lighter shades of kurta pajamas, a vibrant jacket atop is all you need to lift the festive mood. On the other hand, if you prefer quiet elegance, then a black or off-white jacket is perfect.
3. Bandhgala
The Bandhgala though a jacket is a classy addition to your clothing for the festive season. Also known as the Jodhpuri suit, it is an excellent example of Indo-western wear. The Bandhgala can be simple or exquisite when embroidered or embossed with buttons. It is also one of the most versatile outfits as it can be worn on both formal and informal occasions. Pair the bandhgala with trousers or churidars, it will look debonair either way. Also, you can design the bandhgala as a single collared piece or as a jacketed outfit that can be worn on a shirt. Additionally, scarves or cravats with the bandhgala look suave and sophisticated.
4. Full Kurta Set
If mix matching is not your forte, then sticking to a singular ethnic look is a great way to dress for this festive season. This could include a simple two-piece kurta pajama set or a three-piece set that includes a jacket. But the entire get up is of a single color or print, or of similar shades for a sober and uniform look. The kurta and pajama can be styled in different ways using buttons, embroidery, patterns, cuts etc. Though this look may seem old-fashioned and too traditional, all we can say is that old is gold! The most basic ethnic styles actually look the best for the festive season.
Also, not just the long kurtas, but even the bottoms can be styled with traditional designs. Try the Jodhpuri pants, dhoti, different varieties of salwars, churidars or palazzo pajamas to go with the long kurtas.
5. Appropriate Accessories – Stoles, Leather chappals, bags and more
Adding a shawl or stole to your look instantly produces a stylish effect. The stole goes well with ethnic attires, but also looks good on modern and westernized clothing, such as jeans or trousers, shirts and short kurtas. The stole can be a simple designed accessory or one can also opt for embellished, stoned or embroidered shawls.
Footwear is another important dress accessory that adds to the overall appearance. Leather chappals, mojaris, jutis go perfectly with ethnic wear. And they also sync well with jeans or trousers. Similarly, wearing a turban or head gear also can look respectful and stylish at the same time.
Finally, carrying a casual or stylish bag across the shoulder also adds a unique fashion element.
Comfort and style
Dressing up stylishly for the festive season is an integral part of the celebrations. However, comfort always precedes giving way to fashion trends. And hence, this festive season, prioritize your comfort, for if you do so, styling will follow seamlessly. Experiment and explore your fashion sense, but also have fun and confidence with your attires and dressing experiences.
