Krishna For Today – An Interaction With Brush And Spirituality

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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 

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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. 

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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 

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“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.

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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 

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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. 

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“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. 

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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. 

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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.

Life of Krishna – Powerful Illustrations from the Bhagavata

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Image Courtesy – Prabhupadabooks.com

#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

Srimad-Bhagavatam

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

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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.

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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. 

Text behind the illustration

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Text behind the illustration -Image: Metmuseum.org

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!

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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. 

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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 then persuades him to move away to the ocean and assures that Garuda would not hurt him.

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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.

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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.

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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.

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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.

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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.
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 to the 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.
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.
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

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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.
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.

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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.

References –

  1. https://www.britannica.com/topic/Bhagavata-purana
  2. Nagar, Shantilal (2003) -Miniature paintings and sculptures on Krsna. New Delhi: BRPC(India) Ltd.
  3. https://prabhupadabooks.com/pdf/SB10.1.pdf
  4. https://en.wikipedia.org/wiki/Bhagavata_Purana

Why Families Love Hosting Au Pairs: A World of Benefits

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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 welcomed and 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.

Exploring the Most Expensive Paintings in India

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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

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.

Suggested Story: Imagining A World Without Art?

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

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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?

Suggested Story: Top Indian Artists That Every Indian Should Know

Most Expensive Paintings by Indian artists

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

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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.

Amrita Sher-Gill – Ladies Enclosure & Self Portrait

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Image Courtesy – DNA India

Price – INR 37.8 Crore & INR 17 Crore

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

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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

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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

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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

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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

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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

Most-Expensive-Paintings-in-India-by-M-F-Hussain
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

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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.

Festivals of Jharkhand: A Journey through Tribal Celebrations

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Image – Wikimedia

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.

Diversity of Jharkhand

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Image – Ramesh Lalwani/Flickr

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.

Suggested Story: Folk Dances of Jharkhand – True Essence of Folk Culture

1. Karam/Jawa

Festivals of Jharkhand, Karam Dance 
Image – Wikimedia

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.

2. Sarhul

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Image – Wikimedia

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

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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

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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

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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

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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

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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.

Suggested Story: Sohrai Painting – A Grand Folk Art form of Jharkhand with The GI Tag

8. Rohini

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.

9. Baha

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Image – Wikimedia

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

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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

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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.

Suggested Story: Traditional Food of Jharkhand – Simple and Wholesome

Takeaway

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!

Understanding CTA Filing: What You Need to Know

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In today’s complex regulatory environment, businesses and individuals must navigate myriad compliance requirements. One of these important obligations is CTA filing (Corporate Transparency Act filing). Designed to increase transparency and combat illicit activities, CTA filing is a critical process for certain entities operating in the United States. Whether you’re a business owner, a corporate officer, or a compliance professional, understanding the nuances of boir, CTA filing is essential. In this blog, we’ll break down what CTA filing is, who needs to file, and why it’s so important.

What is CTA Filing?

The Corporate Transparency Act (CTA) is a U.S. federal law that requires certain companies to report beneficial ownership information to the Financial Crimes Enforcement Network (FinCEN). The main objective of the CTA is to prevent money laundering, tax evasion, and other illegal activities by increasing transparency around who owns and controls companies in the United States.

CTA filing refers to submitting this beneficial ownership information to FinCEN. The information provided includes details about individuals who own or control 25% or more of a company or who exercise significant control over the company.

Why is CTA Filing Important?

CTA filing is crucial for several reasons:

  1. Combating Financial Crimes: The primary purpose of the CTA is to prevent illegal activities like money laundering, terrorism financing, and tax evasion. By requiring companies to disclose their true owners, authorities can better track and prevent these crimes.
  2. Regulatory Compliance: Failing to comply with CTA filing requirements can result in severe penalties, including fines and imprisonment. Ensuring that your company meets these obligations is essential for avoiding legal consequences.
  3. Enhancing Corporate Transparency: The CTA promotes transparency in corporate structures, making it more difficult for individuals to hide their identities behind complex ownership arrangements. This transparency benefits not only regulators but also other businesses and the public.
  4. Facilitating Due Diligence: For businesses involved in mergers, acquisitions, or partnerships, knowing the beneficial owners of a company can be crucial for risk assessment and decision-making. CTA filing provides a reliable source of ownership information.

Who Needs to File Under the CTA?

Not all companies are required to file under the CTA. The filing requirement generally applies to:

  • Corporations and LLCs: Most domestic corporations and limited liability companies (LLCs) in the U.S. are required to file beneficial ownership information under the CTA.
  • Foreign Entities: Foreign companies registered to do business in the U.S. must also comply with CTA filing requirements.

Exemptions:

Certain entities are exempt from CTA filing, including:

  • Publicly Traded Companies: Companies listed on major U.S. stock exchanges are exempt, as they are already subject to strict reporting requirements.
  • Banks and Credit Unions: Financial institutions are exempt due to their existing regulatory obligations.
  • Insurance Companies: Regulated insurance companies are not required to file.
  • Large Operating Companies: Companies with more than 20 full-time employees, over $5 million in revenue, and a physical presence in the U.S. may be exempt.

Conclusion

CTA filing is an essential compliance requirement for many businesses operating in the U.S. By understanding the filing requirements and ensuring timely submission, companies can avoid significant penalties and contribute to enhancing corporate transparency. If you’re unsure about whether your company needs to file under the CTA or need help with the filing process, consulting a legal or compliance professional is a wise step to ensure full compliance and avoid potential legal repercussions.

10 People to Remember this Independence Day in India

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Indian Independence Day needs no introduction. The day is a poignant reminder of the struggles, triumphs, tribulations and determination of a nation as a whole. The freedom movement was a collective effort that witnessed the sacrifices and contributions of thousands of people. There were great leaders, heroic efforts and several unsung heroes. In many ways, the Indian Independence movement was one of its kind, for it was fuelled by people of different ages, class, castes, genders, philosophies, ranks, intelligence and valour. 

Who should we remember on Independence Day?

The freedom struggle that lasted for centuries, culminated into independence through the tireless efforts of thousands of freedom fighters. There were the stalwarts and revolutionaries who led massive movements and catapulted them with inspiring slogans and speeches. There were hundreds who contributed in myriad direct and indirect ways, in big and small ways. And then there were many more whose contributions, perhaps, have been forgotten today.

Suggested Story: Indian Independence – The Finest Example of Unity in Diversity

Mahatma Gandhi, Jawaharlal Nehru, B R Ambedkar, Bahadur Shastri, Bhagat Singh, Rani of Jhansi and many more are names that children know on their fingertips. They have etched their names in the annals of history with their tremendous vision and implementations. 

Yet, there are scores of individuals who have stood up with courage and determination and have been as instrumental in achieving independence. On the occasion of Independence Day let us try to bring to you ten people whose names may or may not be known, but who have in their unique and distinct way played an important role in the freedom struggle. 

Birsa Munda

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Image – Wikimedia

Brisa Munda is one of the earliest folk tribal Independence heroes. He led the tribal revolt against the British and is also credited with reviving traditional culture that had been relegated due to British influences. The British looked to change the tribal system to a feudal system. The Munda tribe called him the Father of Earth or Dharti Baba and his impact and legacy continues to live in folk songs and culture of Jharkhand, West Bengal, Odisha, Bihar and Madhya Pradesh. He was arrested in 1900 and died while in jail. 

Peer Ali Khan

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A freedom fighter who fought for Indian Independence in the late 1800s, Peer Ali Khan was one of the earliest revolutionaries who was given capital punishment by the British. He bound books, but also distributed pamphlets and messages to the freedom fighters of the 1857 revolution. However, he was arrested and publicly hanged along with 14 other fighters by William Tayler.  

Maatangini Haazra

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Image – Wikimedia

Maatangini Haazra was known as Gandhi Buri, or ‘old lady Gandhi’. She was a staunch follower of the Mahatma and participated in the Civil Disobedience Movement and the protest against the Salt Act. 

During the Quit Movement, she along with the other members of Congress, planned to take over police stations and government offices in the Medinipore district. In 1942, at 72 she marched with around six thousand protestors, most of whom were women, attempting to capture the Tamluk police station. She was shot multiple times by the British, however, she kept crying out ‘Vande Mataram’ every time she was shot. She moved forward with the tricolor in her hand until she breathed her last. She is thus, also referred to as the first martyr of the Quit India Movement. 

Aruna Asif Ali

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Image – Wikimedia

Aruna Asif Ali was a publisher, activist and educator. She married Asif Ali after which she became a part of the Indian National Congress. She was arrested multiple times and in 1932 in Tihar Jail she went on a hunger strike protesting against the poor treatment of political prisoners. In 1942 she hoisted the Congress flag at Gowalia Tank Maidan in Mumbai commencing the Quit India Movement. The police fired at the maidan and Aruna was referred to as the Queen of the 1942 Movement. She was also the editor along with Ram Manohar Lohia of Inquilab, a magazine run by the Congress Party.

Post-Independence she joined the Communist Party of India and in 1958 was elected mayor of Delhi. She passed away at the age of 87 and was awarded the Bharat Ratna after her death. 

Khudiram Bose

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Image – Wikimedia

Khudiram Bose was only 18 years when he was hanged to death. Born in Habibpur in West Bengal, Khudiram Bose was a part of the Anushilan Samiti. A revolutionary group, he along with Prafulla Chaki planned a bomb attack on Douglas H Kingsford. Kingsford was the magistrate of Calcutta and was known for his discriminatory and stern attitude towards freedom fighters. 

Khudiram Bose in 1908 attacked the carriage that was supposedly carrying Kingsford. He threw the bomb at the carriage, however, Kingsford was not traveling in the same carriage and escaped. Prafulla Chaki committed suicide, but Khudiram Bose was arrested. He was led to the Muzaffarpur police station and was sentenced to death after a trial. According to reports, he was smiling when he was hanged, and large crowds threw flowers and garlands at his body. 

Bal Gangadhar Tilak

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Image – Wikimedia

Popularly known as Lokmanya, Bal Gangadhar Tilak coined and fought for total Swaraj. ‘Swaraj is my birthright, and I shall have it’, was one of his most famous slogans. He was arrested several times and joined the INC in 1890. His publication Kesari was an important mouthpiece for publishing stories and articles of freedom fighters and the oppressions by the British. However, he was considered as a radical fighter and did not agree with the moderate views of the INC. He founded the All India Home Rule League and focussed on it. Though his views on religion and caste are debatable, his zeal and work towards total independence cannot be ignored. 

Bhikaji Cama

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Image – Wikimedia

Bhikaji Cama was born in Mumbai and was involved in social work. However, she got plague and was shifted to Britain in 1902 for medical reasons. After a couple of years when she was about to leave for India she met Shymji Krishna Varma who was known to be a supporter of the Indian freedom struggle. Cama became the secretary of the British Committee of the Indian National Congress. She was asked to sign a statement saying she wouldn’t get involved in national activism if she wanted to return to India. She refused to sign the document and was relocated to Paris. Here she began publishing literature that supported the Indian national movement. She unfurled the Indian flag in Stuttgart, Germany and continued to do exemplary work even in exile. She remained in Europe till 1935, but after a massive paralysis stroke she was moved to India, where she passed away in nine months. 

Chandra Shekhar Azad

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Image – Wikimedia

Chandra Shekhar Sitaram Tiwari joined the HRA or Hindustan Republican Association where he met Ram Prasad Bismil. He was a part of the Kakori train robberies and the shooting of John Saunders to avenge the death of Lala Lajpath Rai. Along with Bhagat Singh and other members of the revolutionary group he planned various activities, including the assassination of James A Scot, the Superintendent of Police. 

Azad was wanted by the British and it was in 1931 that someone tipped the police about his presence at Alfred Park. After cross firing, Azad had only one bullet left with which he shot himself. 

Kanaklata Barua

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Kanaklata Barua is fondly known as Birbala. She was an AISF leader and from a young age joined the Mrityu Bahini, a group from Assam. In 1942 the group decided to hoist the National Flag at a police station. The police warned the activists and openly fired at them when they did not stop. Barua held the tricolor and was shot dead. The flag was then taken over by Mukunda Kakoti who was also shot dead. Barua was only 17 years old at this time. To honor her, the Indian Coast Guard named the (FPV) or First Patrol Vessel as ICGS Kanak Lata Barua. 

Tanguturi Prakasam

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Image – Wikimedia

Tanguturi Prakasam was the Prime Minister of the Madras Presidency who then went on to become the first CM of Andhra Pradesh. He was known as the Andra Kesari or Lion of Andhra. A barrister and jurist by profession, he went to England to learn law. He was located at the Madras High Court after completing the course. He was a follower of Gandhi and started attending sessions of the Congress Party. He was the editor of Swarajya, a publication that he ran in English, Tamil and Telugu. He travelled across the country and participated in several movements, including the non-cooperation movement and protests against the Simon Commission. 

Suggested Story: Role of Women in the Independence Movement of India

The Independence Movement was a mosaic of multiple prowess that came together from all sides and corners to create an unparalleled and unmatched force. A force that had its own shares of ups and downs, but which in the end achieved what it set out to conquer.

Culture of Mysuru: A City Profile of the Cultural Capital of Karnataka

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Introduction

The city of Mysuru was the capital of the yesteryear imperial kingdom of Mysore, spanning large swathes of the state of Karnataka today. The city has witnessed great political intrigue, war, and power struggles- enough to rival web series on royalty today. However, this stage for political power struggles now stands as a sleepy, peaceful city; appearing in the papers mostly because of its greenery and high cleanliness ratings, a drastic contrast to its dramatic past. How Mysuru come to be the city that it is today? What is the cultural essence of the city today- the ‘vibe’- of Mysuru? Read on to find out!

Mysuru Historical Background

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Image – getarchive.net

The history of Mysuru is inextricable with that of the Wodeyar dynasty, which has witnessed the rise and fall of imperial Mysuru. 

The origins of the kingdom of Mysuru are mired in legend.  It was said to have been founded by two brothers, Yaduraya and Krishnaraya, who were said to have been descendants of Lord Krishna’s sunken kingdom of Dwaraka. When there was a power vacuum in the region due to the death of the local ruler,  Yaduraya married the local princess and became the founder of the famed Wodeyar(Lord in Kannada) dynasty. 

The rise of the Wodeyars was overshadowed by the growth of the great Vijayanagara empire, under whom they ruled as vassals. However, as the great empire faced defeat and decline, especially after the historic loss at the Battle of Talikota in 1565, the vassal rulers across the empire began to assert their authority in their respective domains. This was true of Mysuru as well.  

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Mysore kingdoms 1625 – Picryl.com

When the great empire fell, the Wodeyars, like many others, grabbed their chance- conquering the surrounding areas and consolidating their power. Gradually, Mysuru became a force to reckon with, though it was juggled between several powers as European colonists became key political players in the heartlands of India. Towards the latter half of the eighteenth century, the kingdom was facing great political turmoil, while being juggled between the ‘nawabs’ of Mysuru(Haider Ali and Tipu Sultan), the Wodeyars and the Europeans. Eventually, it continued to be ruled by the Wodeyars, albeit as vassals, in all practicality, in a subsidiary alliance with the British. 

After independence, the Wodeyar king became the rajapramukh(governor, in all practical sense) of the Mysore state and then the Madras state. However, since 1971, their royal status and its privileges have been abolished, officially. Nevertheless, the Wodeyars continue to live on in their treasured city.

Festivals Celebrated in Mysuru

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Image – Ruchitha M

Mysuru has many unique cultural celebrations of its own- Mysuru Dasara being the grandest and most popular festival. It is a ten day festival of triumph of good over evil, and is celebrated in the signature Wodeyar style. It involves such elements as ceremonial processions, folk songs and dances, and other related activities with cultural connotations. The Jumbo Savari is the most interesting part of the festival where several elephants adorned with gold and jewellery roam through the city attracting tourists from across the globe.

Another important festival is Ugadi, the Kannada New Year. Annual festival fairs like the Vairamudi Festival at the Cheluvanarayana Swamy Temple in Melkote also serve as occasions for people from across the region to gather and celebrate.

Mysuru Cuisine

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The cuisine of Mysuru is as colourful as the culture of this region. The city is famous for its diverse selection of vegetarian food. Many culinary masterpieces originate from the secrets of the kitchens of the Wodeyars, each with their own delightful origin stories. These include the much-loved Mysore Pak, a fudgy, melt-in the mouth sweet dish made of gram flour, sugar, and ghee, the Mysore Masala Dosa, known for its distinct spicy potato filling, and the Bisi Bele Bath, a spicy and flavourful rice and lentil dish. Meals are traditionally served in banana leaves, much like other southern regions.

Mysuru Arts and Crafts

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Goddess Saraswati, Mysore painting, 19th century. National Gallery of Modern Art, New Delhi. Image – Wikimedia

Mysore is known for its art and craft works almost all of which are traditional and inherited from one generation to the other. The Mysore school of painting is one of forms of classical painting of South India, recognisable from the usage of muted, gentle colours, golden leaves and fine and delicate strokes in their portrayal of themes from Hindu mythology. 

The sandalwood of Karnataka is popular across the world for its intoxicating aroma.  The luxuriant heartwood is utilised in a number of ways- taking the form of oil, carvings or powder, according to one’s fancy. Mysore is also famous for the iconic Mysuru silk sarees produced in and around the city, famous for their smooth, crepe-like texture and flow.

Music and Dance of Mysuru

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A concert in progress at the Mysore Palace, Wikimedia

Music and dance are an inseparable part of the culture of Mysuru. The city has been an important centre for classical music, especially Carnatic music. The Wodeyars were great patrons of all forms of performative arts, as a result of which the city grew to be a powerhouse of the same, and remains one even today. The city has produced several prominent musicians like Veene Sheshanna, Mysore Vasudevachar and Mysore Chowdiah. Kacheris and music festivals are a part of the cultural fabric of the city, attracting performers and music lovers from all around the country and the world.

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Bharatanatyam and Kathak are also the most popular classical dance forms in the city- a result of the complex and diverse history of the city. The dance forms are performed during festive seasons and other cultural programmes. Local folk dances of the state, the most notable of these being Dollu Kunitha and Kamsale, are an important part of temple celebrations.

Religion in Mysuru

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Image – Sriram Jagannathan/Flickr

The city of Mysuru has witnessed many imperial efforts, spearheaded by people belonging to different religious and cultural backgrounds. However, the region, with thousands of years of Hindu heritage, has remained dominantly Hindu in its spirit. The city houses a Hindu majority, comprising about seventy-percent of the population, alongside a Muslim minority of around twenty-five percent, and very small Christian and Jain populations. People of all religious backgrounds live together harmoniously in the city.

Languages in Mysuru

The city of Mysuru hosts native speakers of a wide range of languages, owing to both its rich history and ever-evolving present. Kannada, spoken by sixty percent of the population, is the most spoken language in the city, followed by Urdu, spoken by the large Muslim minority- a mark of the city’s brief times under Islamic rule. The long-term presence of several major government industries and services, alongside the recent emergence of the IT industry in and around Mysuru has resulted in a very diverse linguistic demographic, with native speakers of Telugu, Hindi, Malayalam, Marathi and Tamil speckled across the city.

Literature in Mysuru

Literature in Mysore

The classical artistic leaning of the culture of Mysuru has helped produce a number of writers and poets from the region. Famous literary personalities from Mysore are Kuvempu, the first Kannadiga to be awarded the Jnanpith Award and R. K Narayan, whose Malgudi tales have revelled many generations across India.

The University of Mysore has also contributed tremendously to the  fields of local literature as well as education. Originally, the university, though just an institute of higher learning, has become a literary and cultural hub- with regular literature festivals and programmes now a regular feature in the University. 

The numerous libraries as well as bookstores that are spread throughout the city subtly continue fostering the literary and cultural traditions of the city- housing several works on the history and culture of the city apart from the usual features. 

Architecture of Mysuru

Architecture of Mysuru
Durbar Hall, Amba Vilas Palace, MysuruWikimedia

The Architectural landscape of Mysuru is a diverse blend of buildings built in European, Indo-Islamic, as well as traditional Indian styles, as a visual reminder of its varied history. 

The Amba Vilas palace, the grand attraction of Mysuru, and the former residence of the Wadiyars, is the epitome of the Indo-Saracenic style- with the unmistakably Islamic cusped arches, and bulbous domes- almost a deceptive facade- beyond which distinctly South Indian colonnaded court yards, and walls sculpted with iconography of the Hindu pantheon in the Indian style greet the eyes. 

There are many historic buildings built in the several distinctly European styles- including the famous Krishnarajendra hospital, the St Philomena church and the Lalith Mahal palace- built in the Greco-Roman, neo-Gothic and classical European styles respectively- standing as witnesses to the city’s tumultuous past with the Europeans.

Conclusion

The city of Mysuru has borne witness to a number of historic events in the past, and the sleepy city now stands at the cusp of an industrial and cultural revolution, as Karnataka transforms into an industrial hub. The wave of globalisation and modernisation has brought the IT industry, and with it, the hopes and dreams of young men and women across the country into this classical culture capital. How this would transform the city’s religious, cultural and economic landscape can only be speculated.

Vibrant Batto Bai Dolls: A Madhya Pradesh Art

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Image Courtesy – Indostatecraft.com

Introduction

The center of India is Madhya Pradesh, a state with a wonderful blend of cultural heritage and traditions and provisions that bring forth new ways of art and creativity. Around the variegated forms of folk art that are well preserved in this region, Batto Bai dolls are iconic artistic symbols of craftsmanship and the rich cultural background. Derived from the dusty soil of Madhya Pradesh, the region of these dolls is not merely toys; they are the manifestation of custom, story-telling, and artistic greatness as well. In this exploration, we follow the life journey of Batto Bai doll, beginning with the study of the doll’s birth, followed by the examination of the doll’s craftsmanship, investigating the doll’s cultural roles, and finally, highlighting what these dolls imply vis-à-vis the rich heritage of Madhya Pradesh.

Origins of Batto Bai Dolls

Origins-of-Batto-Bai-Dolls
Image Courtesy – Sampadaa.in

The ancient tradition of making Batto Bai dolls comes from the popular craft culture in the village life of Madhya Pradesh. “Batto Bai ” is an evocative name; “Batto” implying a wooden doll and the latter, “Bai”, being similar to “bai”, the local endearing day to day language. These data have been recorded by experienced artisans for years, with the techniques passed down from master to apprentice within families and societies.

Suggested Story: A Journey Through Tradition: The Art of Jhabua Dolls

Materials selection for Batto Bai doll making depicts the conservation and endurance of artisans in the region. Demerits are the negative points associated with marketing mix variables.  An advertising campaign with an extended exposure time is likely to have high recall.  For generating frequent activation, a brand may have to deal with high media budgets to repeat their spot many times. The lumber used is sourced primarily from a per surrounding neighborhood to the degree that it is sometimes even cut from forest that have been well-managed, thus promoting harmony between the crafts and nature.

Craftsmanship of Batto Bai Dolls

Craftsmanship-of-Batto-Bai-Dolls
Image Courtesy – Shades of Rural India

The skill and labor involved in creation of Batto Bai dolls is a painstakingly slow process which demands a lot of work, proficiency and talent. A campaign has started since then, and organizers have put in place screening of wood quality and suitability. Having been selected, the timber undergoes the transformation into the desired shapes and forms by utilizing primitive hand tools such as chisels, knives, and gouges. The artisans insert a special feature to give each doll a unique mannerism.  It could be a woman who is transporting water pots, or a musician playing the local instrument; or an animal like an elephant or a horse itself. Created a facade of rural living in Madhya Pradesh with their excellent precision in carving of faces, clothing, and accessories.

Finally, after the sculpting process, the dolls get through the most delicate phase of their work-painting. Plant-based, mineral or insects- colored dyes are extracted to create the subtle, and extravagant, color that makes the dolls alive. The artisans make use of the old-style way of painting.  Sometimes, they paint carefully the design and patterns by employing paint brushes made of natural fibers. Each stroke with the brush is a significance of what’s going on in the head of the craftsman, and of his precision and carefulness, that are ultimately leading to figures which are not only visually stunning but also rich in symbolism.

Cultural Significance of Batto Bai Dolls

Cultural Significance of Batto Bai Dolls
Image Courtesy – Venkatesh Narasimhan

The Batto Bai Dolls retain a lot of solemnity in the traditional weave of Madhya Pradesh, telling the stories of a fading world in every gramme they constitute. Each doll has its own narrative, be it an illustration of routine life, manifestation of fables or legends, or a figurine symbolizing festive events. Such a story is a source of inheritance which is passed down from generations deepening the roots of oral traditions of this region and hence the heritage of Madhya Pradesh longs for these lifetimes.

Besides the character of the storyteller, Batto Bai dolls provided religious and ritualical importance. On special occasions like religious services, festivals, and rituals, they are a symbolic function by which they are used to obtain blessings and chase away ghosts. These dolls are considered as precious and they are provided with deep spiritual connection which make the sculptures and its makers one.

Challenges and Revival Efforts

Challenges-and-Revival-Efforts-for-Batto-Bai-Dolls
Image Courtesy – Venkatesh Narasimhan

Because of their cultural and economic eminence, batto bais are not an exemption to modern era’s disadvantages, though. The factors of quick urbanization, growing consumer demands, and competition with factory produced goods render local crafts including doll-making vulnerable. The impact of the COVID-19 pandemic in the mindset of the consumers is another important aspect of fair trade which becomes the cause of additional challenges.  This pandemic has further aggravated these challenges as it not just affected the system of supply chains but it also led to the decrease of the market opportunities for artisans.

As a result of these problems, different organizations and initiatives have come into effect to be able to enhance the life and preserve the dolls. NGOs, government departments, and other local initiatives team up offering their assistance to the artisans with training materials and markets, so that they can keep on doing their craft and techniques of living.

Conclusion

In the end, the Batto Bai doll is not merely an eye-catching artwork-it is the embodiment of tradition, stories and cultural values. The Australian women dolls take inspiration from the bucolic farming villages of Madhya Pradesh.  Their appearance gives a light to the multifaceted culture of the place and the dexterity of the artisans. Careful construction and high quality, Batto Bai dolls immerse you with every detail of agricultural life in MP, symbolizing its art and creativity all over the world.

But in the end, the resiliency and the resourcefulness, in the person of the artisans who make them, are the prime factors that enable the dolls to stand today despite all the daunting challenges posed by the modern times. With these measures, the Madhya Pradesh dolls will be assured of sustaining their artistic craft and cultural significance.  These gorgeous dolls will remain a symbol of their beautiful heritage for the next generations. While we rejoice the past glory of Batto Bai dolls, we also see that keeping traditional crafts alive and ensuring the artisans are supported can be a very meaningful part of the preservation of the past.

A Journey Through the Official Languages of India

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Introduction

Humans employ an ordered system of communication called language, which is made up of words, sounds, and grammar. It makes it possible to communicate ideas, feelings, and knowledge. Displacement (talking about things not present), productivity (infinite sentence development from finite rules), inconsistency (no inherent connection between words and their meanings), oral tradition (passed down through generations), and duality of patterning (sounds forming meaningful units) are the characteristics of language, which can be spoken, written, or signed. It supports thinking, identity expression, social engagement, interaction, and behavior control. Let’s see some official languages of India to know more about India.

Suggested Read: Oldest Indian Languages That Survived For Ages

English Language in India

During British colonial control, which lasted from the 18th century until 1947, English was brought to India. English evolved into the official language of the judiciary, education, and administration throughout this time.
Hindi and English were designated as the official languages of India upon its independence in 1947. Hindi was supposed to progressively take the place of English, but because of linguistic variety in India and opposition from states that do not speak Hindi, English continued to be the official language. Both Hindi and English are acknowledged by the Indian Constitution as the official languages of the national government. In higher education, the legal field, and government, English is widely used. Hindi and English may both still be used for official reasons according to the Official Languages Act of 1963. Particularly in places where Hindi is not the official language, English is utilized in legislative sessions, the courts, and communications between the federal government and state governments. In the multilingual nation, it acts as a connecting language. In many Indian schools, colleges, and universities, English is the language of instruction. It’s frequently regarded as essential to social mobility and improved professional prospects. English language proficiency is highly regarded in many professional domains.

In India, English is the language of choice for corporate settings, technology, and business. English is the primary language used for international business communication in the nation’s booming outsourcing and IT sectors.
Indian media, entertainment, and literature have all been impacted by English. Numerous Indian authors, like Salman Rushdie and Arundhati Roy, have received praise from all around the world for their English-language writings.
English is a vital language for business, education, and administration in India because of its colonial past and current significance in international communication.

Furthermore, Hindi, which is written in the Devanagari script, is the official language of the central government, whereas English is frequently used for official and administrative reasons at the national level.

Official languages of India

In accordance with the Eighth Schedule of the Indian Constitution, there are 22 official languages in India. Assamese, Bengali, Bodo, Dogri, Gujarati, Hindi, Kannada, Kashmiri, Konkani, Maithili, Malayalam, Manipuri, Marathi, Nepali, Odia, Punjabi, Sanskrit, Santali, Sindhi, Tamil, Telugu, and Urdu are among them. Hindi, which is written in the Devanagari script, is the official language of the central government; English is also used for official and administrative reasons at the national level.

Along with Hindi and English, there are other scheduled languages of India

According to the Indian Constitution’s Eighth Schedule, 22 languages are recognized as official in India. These dialects are:

1. Hindi

The Indo-Aryan language of Hindi is mainly spoken in India. Hindi is a member of the Indo-European language family’s Indo-Aryan branch.
In India, it is the language that is most often spoken, especially in the north and center of the nation. It is used as a lingua franca for communication and is spoken in many Indian states. The Devanagari script, also used for Sanskrit, Marathi, Nepali, and a few other languages, is used to write Hindi. Hindi literature has a long history and includes both contemporary prose and poetry as well as epics and classical poetry. Poets like Tulsidas, Kabir, and Surdas as well as contemporary authors like Premchand and Harivansh Rai Bachchan are notable individuals. The Hindi language and culture are essential components of Indian culture, including dance styles like Kathak, music like Bollywood, festivals like Diwali and Holi, and customs all over the nation. The Indian Constitution’s Eighth Schedule lists Hindi as one of the official languages and as the official language of the country’s central administration. At the national level, it is utilized in literature, journalism, education, and government administration.
Hindi is an essential language for bridging India’s many linguistic and cultural groups and acts as a unifying factor for the nation’s diversified society.

2. Assamese

One of India’s official languages, Assamese is mostly spoken in the northeastern regions of Assam. It is a member of the Indo-European language family’s Indo-Aryan branch. mostly spoken in northeastern India, in the states of Assam, Arunachal Pradesh, Nagaland, and Meghalaya. Written in the Brahmi script’s ancestor, the Assamese script. With a rich literary history that dates back to the 13th century, Assamese literature has been greatly influenced by the works of renowned poets and writers. The Assamese language and culture are deeply entwined, impacting the region’s artistic, musical, dancing, and religious practices.
acknowledged as an official language by the Indian Constitution’s Eighth Schedule, which makes it easier for people to utilize it in the media, administration, education, and literary works. Different dialects of Assamese are spoken in different parts of the country, reflecting differences in vocabulary and pronunciation. Millions of people in northeastern India communicate in Assamese, which is vital to the preservation and advancement of the Assamese people’s cultural identity.

3. Bengali

Bengali, sometimes referred to as Bangla, is the official language of West Bengal and Tripura as well as one of India’s official languages. mostly spoken in sections of Assam and Jharkhand, as well as in the Indian states of West Bengal and Tripura. Bangladesh also recognizes it as its official language. Written in the Bengali alphabet, which is comparable to the Hindi-language Devanagari script and is derived from the Brahmi script. With contributions from poets, writers, and philosophers like Rabindranath Tagore, Kazi Nazrul Islam, and Bankim Chandra Chattopadhyay, Bengali has a rich literary history that spans more than a millennium. Bengali literature, music (particularly Rabindra Sangeet), art, and festivals like Durga Puja and Poila Boishakh are all greatly influenced by the language and culture of Bengal.The Indian Constitution’s Eighth Schedule recognizes it as an official language, guaranteeing its usage in the government, media, education, and literary arts. Different dialects of Bengali are spoken in different parts of the country, and they differ in vocabulary, pronunciation, and occasionally grammar. A major cultural and historical force in Bangladesh and India, Bengali language contributes to the rich diversity of South Asian languages and cultures.

4. Bodo

The Bodo people are an ethnic group that mainly resides in the Bodoland Territorial Region (BTR) in Assam, India, as well as some areas of nearby states. They speak the Bodo language. Bodo is a member of the Sino-Tibetan language family’s Tibeto-Burman branch. The Bodoland Territorial Region (BTR) of Assam and its surrounding regions in states like West Bengal, Meghalaya, and Nagaland are where it is primarily spoken. The Devanagari script, which is also used to write Hindi and Marathi, is used to write the Bodo language. The Bodo people have a rich cultural history that includes festivals like Bwisagu, music, and traditional dances like Bagumumba. The Eighth Schedule of the Indian Constitution, which identifies the languages the government is dedicated to advancing and nurturing, recognizes Bodo as one of the official languages of Assam. Bodo is spoken in various regional dialects, each with its own unique vocabulary, grammar, and accent. The Bodo language is an important part of India’s linguistic variety and the cultural identity and legacy of the Bodo population in Assam.

5. Dogri

The Dogra community speaks Dogri, a language that is predominantly spoken in the Jammu region of Jammu and Kashmir, India, as well as in certain areas of Punjab and Himachal Pradesh. Dogri is a member of the Indo-European language family’s Indo-Aryan branch. The Jammu region of Jammu and Kashmir, which includes places like Jammu city, Doda, Kathua, Udhampur, and portions of Himachal Pradesh and Punjab, is where it is primarily spoken. Dogri is normally written in the Takri script, but for administrative and historical reasons, it is now frequently written in the Devanagari script. Poets and authors have made significant contributions to the cultural identity of Dogri through their rich literary heritage spanning several centuries. It is renowned for its folk tunes, poetry, and artistic manifestations. The Eighth Schedule of the Indian Constitution recognizes Dogri as one of the official languages of Jammu and Kashmir, guaranteeing its usage in the government, media, education, and literary domains.
Different dialects of Dogri are spoken in different parts of the country, and they differ in vocabulary, syntax, and pronunciation.
In the northern parts of India, the Dogra community’s legacy is preserved and promoted in large part through the Dogri language and culture.

6. Gujarati

Gujarati is a language that is mostly spoken in many communities all over the world as well as in the Indian state of Gujarat. Gujarati is a member of the Indo-European language family’s Indo-Aryan branch. The western Indian state of Gujarat, the union territories of Daman and Diu, Dadra and Nagar Haveli, and many communities in Maharashtra and Rajasthan are the main locations where it is spoken. The Gujarati script, an abugida (alphasyllabary) adapted from the Devanagari script, is used to write Gujarati. Gujarati has a long and illustrious literary history that dates back to the 12th century. Its cultural legacy has been greatly influenced by poetry and prose from this era. It boasts a thriving tradition of contemporary writing, folk literature, and bhajans (devotional songs). Gujarati food, music, dance (like Garba and Dandiya Raas), festivals (like Navratri), and arts are intimately linked to the Gujarati language and culture.
The Eighth Schedule of the Indian Constitution recognizes Gujarati as one of the official languages of the Indian state of Gujarat and mandates its use in the government, media, education, and literary arts. The Gujarati diaspora has contributed to the expansion of the Gujarati language and culture worldwide, making it widely known and used, particularly in Indian populations living outside.

7. Kannada

Said primarily in the southern Indian state of Karnataka, Kannada is a Dravidian language. Kannada is a member of the Dravidian language family, which also includes Malayalam, Tamil, and Telugu. The state of Karnataka is where it is most widely spoken, along with some areas of other states like Andhra Pradesh, Telangana, Tamil Nadu, and Maharashtra. The Kannada script, an abugida (alphasyllabary) developed from the ancient Brahmi script, is used to write Kannada. With ancient poetry, prose, and drama dating back more than a millennium, Kannada boasts a thriving literary heritage. Classical Kannada literature includes works such as “Kavirajamarga,” and contemporary Kannada literature has given rise to well-known writers like Bendre, Ananthamurthy, and Kuvempu. Karnataka’s language and culture are profoundly ingrained in the region’s history, impacting traditional arts, festivals, dances (such as Yakshagana and Dollu Kunitha), classical and folk music, and traditional arts. The Indian Constitution’s Eighth Schedule lists Kannada as one of the official languages, and it is the official language of the state of Karnataka. Within the state, it is utilized in literature, journalism, education, and government administration. The Kannada language and culture add significantly to India’s linguistic diversity while also protecting and advancing Karnataka’s cultural identity.

8. Kashmiri

The language known as Kashmiri is mainly spoken in the Kashmir Valley, which is located in the northern Indian union region of Jammu and Kashmir. As a member of the wider Indo-European language family, Kashmiri is related to the Dardic branch of Indo-Aryan languages. The Kashmir Valley, which includes places like Srinagar, Anantnag, Baramulla, and other regions of Jammu and Kashmir, is where it is primarily spoken. Communities of Kashmiri immigrants in various regions of India and beyond also speak it. The Sharada script, an antiquated script associated with Brahmi, was formerly used by Kashmiris. But of days, most Kashmiri writing is done in the Nasaliq Perso-Arabic script. Kashmiri literature boasts a rich legacy spanning multiple centuries, featuring the works of ancient poets such as Lal Ded and Habba Khatoon. Prominent authors of plays, short tales, and poetry have contributed to modern Kashmiri literature. The language and culture of Kashmir are fundamental to the region’s cultural identity; they have influenced traditional arts and crafts, dancing styles, music (such as Rouf and Hafiza), and Sufiana Kalam and Chakri. The Indian Constitution’s Eighth Schedule lists Kashmiri as one of the official languages. In Jammu and Kashmir, it is utilized in literature, media, education, and government administration. The Kashmiri language and culture are an integral element of India’s rich linguistic and cultural mosaic and are crucial to the preservation and promotion of the Kashmir Valley’s cultural legacy.

9. Konkani

The majority of speakers of Konkani are found in the western Indian state of Goa, Karnataka, Maharashtra, and Kerala. The Indo-Aryan branch of the Indo-European language family includes Konkani. Goan Konkani, the name for the coastal regions of Goa, as well as portions of Karnataka (the Konkani-speaking belt of Uttara Kannada and Udupi districts), Maharashtra (the coastal areas), and Kerala (the southern districts) are the main places where it is spoken. Several scripts are used to write Konkani, depending on the community and area. Devanagari script (Devanagari Konkani) and Roman script (Roman Konkani). Malayalam script (Konkani) and Kannada script (Kannada Konkani). Modern literature, poetry from the Middle Ages, and classical literature are all part of Konkani’s rich literary heritage. Notable playwrights, poets, and writers have come from it, adding to its cultural legacy. The traditions, rituals, and festivals of the Konkani-speaking populations are intimately linked to the Konkani language and culture. These include the music (such as folk songs and Mangalorean Catholic music), dance (such as Dekhnni and Fugdi), and culinary habits. The Indian Constitution’s Eighth Schedule lists Konkani as one of the official languages. In the areas where it is spoken, it is utilized in literature, media, education, and government administration. The Konkani language and culture add to the multicultural fabric of India’s linguistic landscape by reflecting the richness and diversity of the Konkani-speaking populations spread across several states.

10. Maithili

The majority of people who speak maithili are from eastern India, especially from the state of Bihar and its surrounding territories. The Indo-Aryan branch of the Indo-European language family includes Maithili. The Mithila region of Bihar, which includes districts like Darbhanga, Madhubani, and Sitamarhi, as well as portions of Jharkhand, Uttar Pradesh, and Nepal, is where it is primarily spoken. The Maithil diaspora speaks it both overseas and in other regions of India. Traditionally, Maithili was written in the now-rarely-used Mithilakshar script, which is evolved from Brahmi. These days, most Maithili writing is done in the Devanagari script. Classical poems and prose from antiquity can be found in Maithili’s rich literary heritage. One well-known Maithili poet is Vidyapati Thakur, who is well-known for his works in both Sanskrit and Maithili. The traditions, rituals, and celebrations of the Maithil community are intimately linked to the Maithil language and culture. This includes dancing, music, and cultural practices such as Maithili folk ballads. The Indian Constitution’s Eighth Schedule lists maithili as one of the official languages. In Bihar and other areas where it is spoken, it is utilized in literature, media, education, and government administration. By maintaining the rich literary and linguistic traditions of the Maithil population, the Maithil language and culture greatly add to India’s cultural richness.

11. Malayalam

The Dravidian language of Malayalam is mostly spoken in the Lakshadweep Islands and the state of Kerala in southern India. Languages like Tamil, Telugu, and Kannada are also members of the Dravidian language family, which includes Malayalam. The state of Kerala, which includes districts like Thiruvananthapuram, Kochi, Kozhikode, and others, is where it is predominantly spoken. Malayali groups in various parts of India and the world also speak it. The Malayalam script, an abugida (alphasyllabary) developed from the Grantha script, which in turn comes from the Brahmi script, is used to write Malayalam. With a rich literary history spanning more than a millennium, Malayalam is home to numerous classical pieces of prose, poetry, and drama. Among the well-known authors of Malayalam are Thunchaththu Ezhuthachan, who is regarded as the founder of contemporary Malayalam literature. The Malayali community’s cultural customs, festivals, and dance forms—such as Kathakali and Mohiniyattam—as well as music—such as Kerala classical music and movie songs—are intricately linked to the Malayalam language and culture. The Eighth Schedule of the Indian Constitution recognizes Malayalam as one of the official languages. It is utilized in Keralan and other Malayali communities’ literature, education, media, and government administration. A vital component of India’s linguistic and cultural diversity, the Malayalam language and culture play a major role in maintaining and advancing Kerala’s unique cultural identity.

12. Manipuri

The language known as Manipuri, or Meiteilon, is mostly used in the state of Manipur in northeastern India. Manipuri is a member of the Sino-Tibetan language family’s Tibeto-Burman branch. Manipur is where it is most commonly spoken, especially in the Imphal Valley and its environs. Manipuri diaspora populations in other regions of India and beyond also speak it. The Meitei script (Meitei Mayek), an indigenous script derived from the ancient Brahmi alphabet, was formerly used in Manipuri. Nonetheless, in some situations, Manipuri is also written using the Bengali script. Classical literature from antiquity is part of Manipuri’s rich literary and cultural legacy. Poems, folktales, and manuscripts are all included. Poets Chongtham Kamala and Hijam Anganghal are well-known from Manipur. The Manipuri people’s cultural identity is inextricably linked to their language and culture, which has a profound impact on festivals like Yaoshang and Lai Haraoba, music, and performing arts like Thang-Ta and Ras Lila. The Indian Constitution’s Eighth Schedule lists Manipuri as one of the official languages. In Manipur, it is employed in the media, education, government administration, and literary works.
The distinctive history and customs of the Manipuri population are preserved by the Manipuri language and culture, which add to the great diversity of languages and civilizations in northeastern India.

13. Marathi

The Indo-Aryan language of Marathi is mostly spoken in the Indian state of Maharashtra and its surrounding areas. The Indo-Aryan branch of the Indo-European language family includes Marathi. The majority of its speakers are found in Maharashtra, which includes Nagpur, Nashik, Pune, Mumbai (previously Bombay), and other regions. Some areas of nearby states, including Goa, Gujarat, Madhya Pradesh, Karnataka, and Telangana, also have Marathi speakers. The Devanagari script, which is also used for Hindi, Nepali, and Sanskrit, is used to write Marathi. The literary legacy of Marathi stretches back to the 13th century, when poets such as Namdev, Sant Tukaram, and Sant Dnyaneshwar contributed to the language. Renowned writers like Vinda Karandikar, P.L. Deshpande, and Vishnu Sakharam Khandekar have contributed to modern Marathi literature. The Indo-Aryan language of Marathi is mostly spoken in the Indian state of Maharashtra. The festivals, rituals, and music of the Marathi-speaking community—such as Tamasha and Powada, dances like Lavani and Bhavageet, and food habits like Maharashtrian cuisine—are intricately linked to the Marathi language and culture. The Indian Constitution’s Eighth Schedule lists Marathi as one of the official languages. In Maharashtra and other areas where Marathi-speaking people live, it is utilized in government administration, education, the media, and literature.
An integral component of India’s linguistic and cultural diversity, the Marathi language and culture are vital to the preservation and advancement of Maharashtra’s cultural identity.

14. Nepali

The Indo-Aryan language known as Nepali, or Nepalese, is mostly spoken in Nepal and the Indian states of Uttar Pradesh, West Bengal, Assam, and Sikkim. Nepali is a member of the Indo-European language family’s Indo-Aryan branch. The majority of people in Nepal speak it as their first language and it is the official language of the country. Speaking it outside of Nepal are Nepali diaspora communities in India and other countries.
The Devanagari script, which is also used to write Hindi, Marathi, and Sanskrit, is used to write Nepali. Poetry, folk ballads, and religious writings are among the classic works in Nepali literature’s long and illustrious history. Works by well-known poets and authors like Laxmi Prasad Devkota and Bhanubhakta Acharya are included in the canon of modern Nepali literature. The language and culture of Nepal are fundamental to the country’s cultural identity; they have an impact on dance (Dhime dance and Jhyaure folk dance), music (Nepali folk songs and contemporary Nepali music), and festivals (Dashain and Tihar). In addition to being the official language of Nepal, Nepali is listed on the Eighth Schedule of the Indian Constitution as one of the official languages. In Nepal and other Nepali-speaking areas of India, it is utilized in government administration, education, the media, and literature. The language and culture of Nepal contribute to the linguistic variety of South Asia and represent the varied background and customs of the Nepali people.

15. Odia

The Indo-Aryan language known as Odia, or just Odia, is mainly spoken in the Indian state of Odisha as well as in some areas of nearby states like Jharkhand, West Bengal, and Andhra Pradesh. Odia is a member of the Indo-European language family’s Indo-Aryan branch. The state of Odisha, which includes Bhubaneswar, Cuttack, Puri, and other districts, is where it is predominantly spoken. Additionally, communities of Odia speakers in Andhra Pradesh, West Bengal (particularly in the areas bordering Odisha), and Jharkhand speak it.
The syllabic Odia script (Odia Lipi) is used to write Odia and is developed from the Brahmi script. Poetry, epics (such as the Sarala Mahabharata), and religious writings are among the classic works in Odia’s rich literary heritage, which dates back to the tenth century. Prominent writers including Fakir Mohan Senapati, Gopabandhu Das, and Kalindi Charan Panigrahi have contributed to modern Odia literature. The Odia language and culture are strongly associated with the customs, festivals, and traditions of the Odia-speaking population. These include folk songs and Odissi music, Gotipua dance and Odissi dance, and Odia food and culinary traditions. The Indian Constitution’s Eighth Schedule lists Odia as one of the official languages. In Odisha and other areas where there are large populations of Odia-speaking people, it is used in government administration, education, the media, and literature. An integral component of India’s linguistic and cultural diversity, Odia’s language and culture are vital to the preservation and advancement of Odisha’s cultural identity.

16. Punjabi

Speaks mostly in the Punjab region of both India and Pakistan, Punjabi is an Indo-Aryan language. The Indo-Aryan branch of the Indo-European language family includes Punjabi. The Punjab province of Pakistan and the Indian state of Punjab are where it is primarily spoken. It is also spoken in several areas of Delhi, Jammu and Kashmir, Himachal Pradesh, and Haryana in India. In India, the Landa script is the source of the Gurmukhi script, which is used to write Punjabi. Shahmukhi script, a modified form of Perso-Arabic script, is used in Pakistan. Notable poets including Baba Farid, Guru Nanak, Bulleh Shah, and Waris Shah have made significant contributions to Punjabi literature, which dates back to the medieval era. Poetry, prose, and drama are all genres of contemporary Punjabi literature. The traditions, rituals, and celebrations of the Punjabi-speaking people are intimately linked to the Punjabi language and culture. These include dance forms such as Bhangra and Sammi, music like Bhangra and Giddha, and festivals like Baisakhi and Lohri. The Indian Constitution’s Eighth Schedule lists Punjabi as one of the official languages. It is utilized in Punjabi literature, journalism, education, government administration, and Punjabi-speaking communities abroad. The language and culture of Punjab contribute significantly to the preservation and enhancement of the cultural identity of the Punjabi community and are an essential part of South Asia’s multifaceted linguistic and cultural environment.

17. Sanskrit

An important part of Indian literature, philosophy, religion, and culture is the ancient Indo-Aryan language Sanskrit. The Indo-Aryan branch of the Indo-European language family includes Sanskrit. With a history that dates back more than three millennia, it is among the oldest languages that people have ever learned. It has affected numerous languages in South Asia and was employed as a scholarly and religious language in ancient India. The Devanagari script, also used for languages like Hindi, Marathi, and Nepali, is traditionally used to write Sanskrit. Throughout history, it has also been written in a number of other scripts, such as Grantha and Brahmi scripts. A wide range of genres, including dramas, poetry (kavya), epics like the Ramayana and Mahabharata, Upanishads, Vedas, and philosophical treatises (shastras), are included in the extensive and varied body of Sanskrit literature.
Sanskrit is used to write many of the core scriptures of Buddhism, Jainism, and Hinduism. It has served as a vehicle for the expression of difficult theological and philosophical themes. In India and around the world, Sanskrit is still studied and utilized in gurukulas, traditional educational settings, universities, places of worship, and cultural contexts. Through cultural interactions, Sanskrit has influenced languages outside of India and helped shape several modern Indian languages. Sanskrit is still highly regarded for its accuracy, coherence, and profundity, which makes it essential to the comprehension and preservation of India’s intellectual and cultural legacy.

18. Santali

The Santal people, an indigenous group mostly found in the Indian states of Jharkhand, Odisha, West Bengal, Bihar, and Assam as well as in Bangladesh and Nepal, speak Santali as their primary language. Santali is a member of the Munda branch of the Austroasiatic language family. It has a remote relationship to languages like Ho and Mundari. It is mostly spoken in the tribal regions of eastern India, which include parts of Odisha, Bihar, West Bengal, and Assam, as well as districts in Jharkhand (such as East and West Singhbhum). Santal villages can also be found in Bangladesh and Nepal, two nearby nations. The Ol Chiki script, an indigenous alphabet made especially for the Santali language, was traditionally used to write Santali. Nowadays, the Devanagari script and sometimes the Roman script are also used to write the Santali language. Folktales, stories, and songs that have been passed down through the years are part of Santali’s rich oral culture. Santali literature has evolved in the modern era, with renowned authors adding to its rich cultural legacy. The Santal community’s identity is inextricably linked to its language and culture, which also influence art, festivals (like Sarhul and Baha), and music (like traditional Santali music and dances). With its unique traditions and customs, the community has a distinct cultural identity. The Indian Constitution’s Eighth Schedule lists Santali as one of the official languages. In areas where Santali-speaking people are concentrated, it is utilized in government administration, education, media, and literature.
The Santali language and culture are essential to maintaining the Santal community’s cultural legacy and adding to the linguistic diversity of India and its surrounding nations.

19. Sindhi

The Indo-Aryan language known as Sindhi is predominantly spoken by the Sindhi diaspora across the globe and in the Sindh region of Pakistan. Sindhi is a member of the Indo-European language family’s Indo-Aryan branch.
The Sindh province of Pakistan, which includes the cities of Karachi, Hyderabad, and Sukkur, is where it is predominantly spoken. There are communities in several parts of India that speak Sindhi, especially in Gujarat, Rajasthan, Maharashtra, and Uttar Pradesh.
The Devanagari script is the source of the Sindhi script, which is used to write Sindhi traditionally. In Pakistan, Sindhi writing is most frequently done in the Perso-Arabic script. With a rich literary history spanning several centuries, Sindhi is home to great poetry, folktales, and Sufi writings. Sachal Sarmast and Shah Abdul Latif Bhittai are well-known authors and poets.
The traditions, rituals, and festivals of the Sindhi-speaking population are intimately linked to the Sindhi language and culture. These include the music (such as Sufi and Sindhi folk music), dance (such as Dhamal and Ho Jamalo), and culinary habits. One of Pakistan’s officially recognized languages is Sindhi. It is utilized by Sindhi-speaking communities abroad as well as in government administration, education, the media, and literature in Sindh.
The cultural identity of the Sindhi community is greatly preserved and promoted by the language and culture of Sindh, which also adds to the linguistic diversity of South Asia.

20. Tamil

The Dravidian language of Tamil is mainly spoken in the union territory of Puducherry and the Indian state of Tamil Nadu. Along with Telugu, Kannada, and Malayalam, Tamil is a member of the Dravidian language family. Tamil Nadu, where it is the official language, and Puducherry are the two places where it is most often spoken. There are Tamil-speaking populations outside of India as well, including Tamil diaspora groups across the globe. One of the world’s oldest and most widely used scripts, Tamil (Tamil Lipi) is used to write Tamil. Because it’s an abugida script, vowel sounds are inherent to consonants. With epics like Silappatikaram and Manimekalai, philosophical writings, and classical poetry known as Sangam literature, Tamil literature boasts a rich literary legacy spanning over two millennia. Prominent authors like Kalki Krishnamurthy and Subramania Bharati have contributed to modern Tamil literature. The Tamil language and culture are essential to the identity of those who speak it; they have an impact on holidays such as Pongal and Tamil New Year, as well as dance forms like Bharatanatyam and folk dances, music (including Carnatic music and Tamil cinema songs), and dancing. The Indian Constitution’s Eighth Schedule lists Tamil as one of the official languages. In Tamil Nadu and Puducherry, it is employed in the media, literature, education, and government administration. Tamil language and culture are renowned for its vibrant arts, classical literature, and linguistic diversity. They have made a substantial contribution to India’s cultural history.

21. Telugu

The Dravidian language known as Telugu, or Telugu, is mostly spoken in the Indian states of Andhra Pradesh and Telangana. Telugu is a member of the Dravidian language family, which also includes Malayalam, Tamil, and Kannada.
As the official language of the states of Andhra Pradesh and Telangana, it is primarily spoken there. There are additional Telugu-speaking communities abroad and in other parts of India. The Telugu script, also known as Telugu Lipi, is an abugida script that was developed from the Brahmi script and is used to write Telugu. It is renowned for its unique rounded characters and is used to write Telugu. With almost a millennium of literary history, Telugu boasts a rich canon of traditional poetry, prose, and drama, including the Andhra Mahabharata and Annamayya’s compositions. Some of the most well-known authors of Telugu literature nowadays include Viswanatha Satyanarayana and Gurajada Apparao. The Telugu-speaking community’s traditions, customs, and festivals are intimately linked to the language and culture of Telugu. These include folk songs and Carnatic music, Kuchipudi and Perini dances, and culinary habits. The Indian Constitution’s Eighth Schedule lists Telugu as one of the official languages. In Andhra Pradesh and Telangana, it is employed in government administration, education, the media, and literature.

22. Urdu

The Indo-Aryan language of Urdu holds great cultural and historical significance in South Asia, especially in Pakistan and certain regions of India. The Indo-Aryan branch of the Indo-European language family includes Urdu. It originated as a synthesis of Sanskrit, Arabic, Turkish, and Persian. Pakistan’s official language is Urdu, which is also one of India’s 22 scheduled languages. In both countries, it is spoken and understood in many areas, including big cities like Hyderabad, Delhi, Karachi, and Lahore. The Perso-Arabic script (Nastaliq), a modified version of the Arabic alphabet, is traditionally used to write Urdu. The writing is done from right to left. Since the 14th century, poets and writers such as Mir Taqi Mir, Mirza Ghalib, Allama Iqbal, and Faiz Ahmed Faiz have contributed to the rich literary heritage of Urdu. Urdu literature consists of plays, novels, short tales, and poetry (ghazals, nazms). The traditions, customs, and artistic expressions of the Urdu-speaking community—such as dance forms like Kathak and classical and contemporary music like Qawwali and cinema songs—are intricately linked to the Urdu language and culture. Pakistan recognizes Urdu as its national language, and India recognizes it as one of its official languages. In both nations, it is utilized in literature, media, education, and government administration. The language and culture of Urdu have greatly influenced South Asia’s literary and cultural environment, acting as a conduit for the expression of various populations and influencing the region’s creative and intellectual traditions.

Takeaway

Hindi and English are the two official national languages of India. 22 scheduled languages are also recognized by it, including Urdu, Bengali, Gujarati, Kannada, Marathi, Punjabi, Tamil, Telugu, and Assamese. Additionally, every state has the authority to declare one of its official languages, such as Tamil in Tamil Nadu and Marathi in Maharashtra. The linguistic diversity of the nation is supported by this policy.