πBanjara culture
β The Banjara community consists of various groups found throughout India, with a significant population in Telangana, Andhra Pradesh, and Karnataka.
β They have settled in permanent settlements called Tandas, abandoning their nomadic lifestyle.
β The Banjara people speak GorBoli, also known as Lambadi, which belongs to the Indo-Aryan group of languages and has no script.
β Teej is a festival celebrated by young unmarried Banjara girls in Shravanam (August), where they pray for a good groom.
β Fire dance and Chari are traditional dance forms of the Banjara people.
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#prelims
#art_and_culture
β The Banjara community consists of various groups found throughout India, with a significant population in Telangana, Andhra Pradesh, and Karnataka.
β They have settled in permanent settlements called Tandas, abandoning their nomadic lifestyle.
β The Banjara people speak GorBoli, also known as Lambadi, which belongs to the Indo-Aryan group of languages and has no script.
β Teej is a festival celebrated by young unmarried Banjara girls in Shravanam (August), where they pray for a good groom.
β Fire dance and Chari are traditional dance forms of the Banjara people.
#gs1
#prelims
#art_and_culture
πNarsapur lace Craft:
β Narsapur is situated on the bank of Godavari River in the state of Andhra Pradesh.
β It is believed that the women of the farming community of this region started creating highly attractive artefacts from colourful lace, about 150 years ago.
β The craft has survived the Indian famine (1899) and the Great Depression (1929). By the early 1900s, above 2,000 women were involved in the craft in the Godavari region.
β The lace work is done using thin threads and these are again woven with thin crochet needles of varying sizes.
β Narsapur's famed hand-made crochet industry produces doilies, pillow covers, cushion covers, bed spreads, table-runners and tablecloths etc.
β Many of these products are exported to markets in the USA, UK and France.
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#art_and_culture
β Narsapur is situated on the bank of Godavari River in the state of Andhra Pradesh.
β It is believed that the women of the farming community of this region started creating highly attractive artefacts from colourful lace, about 150 years ago.
β The craft has survived the Indian famine (1899) and the Great Depression (1929). By the early 1900s, above 2,000 women were involved in the craft in the Godavari region.
β The lace work is done using thin threads and these are again woven with thin crochet needles of varying sizes.
β Narsapur's famed hand-made crochet industry produces doilies, pillow covers, cushion covers, bed spreads, table-runners and tablecloths etc.
β Many of these products are exported to markets in the USA, UK and France.
#gs1
#art_and_culture
πBull
β Nandi and Shiva are often depicted together as they are considered inseparable in Hindu mythology. Nandi is the divine vehicle and gatekeeper of Lord Shiva.
β It symbolizes strength, virility, and the loyal nature of a devotee. The bull is also associated with fertility.
β Cultural Symbol: In some Indian cultures, the bull is revered as a symbol of agricultural prosperity, as it has been traditionally used in farming.
β Baked clay Bull, Mohenjodaro.
β Rampurva Bull: The Ashokan Pillarβs sandstone capital from the third century B.C.
β The Nandipada (βfoot of Nandiβ) is an ancient Indian symbol, also called a taurine symbol, representing a bullβs hoof or the mark left by the foot of a bull in the ground.
β Ajanta Painting: Bull is not depicted as the part of the composition but as decoration or design.
β Cattle depictions were a common feature on the borders of Mughal miniature paintings.
β Krishnaβs association with cattle in paintings is rooted in the mythology and traditions of the region of Vrindavan.
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#mains #prelims
β Nandi and Shiva are often depicted together as they are considered inseparable in Hindu mythology. Nandi is the divine vehicle and gatekeeper of Lord Shiva.
β It symbolizes strength, virility, and the loyal nature of a devotee. The bull is also associated with fertility.
β Cultural Symbol: In some Indian cultures, the bull is revered as a symbol of agricultural prosperity, as it has been traditionally used in farming.
β Baked clay Bull, Mohenjodaro.
β Rampurva Bull: The Ashokan Pillarβs sandstone capital from the third century B.C.
β The Nandipada (βfoot of Nandiβ) is an ancient Indian symbol, also called a taurine symbol, representing a bullβs hoof or the mark left by the foot of a bull in the ground.
β Ajanta Painting: Bull is not depicted as the part of the composition but as decoration or design.
β Cattle depictions were a common feature on the borders of Mughal miniature paintings.
β Krishnaβs association with cattle in paintings is rooted in the mythology and traditions of the region of Vrindavan.
#art_and_culture
#mains #prelims
π³ Odisha will be the theme state in the International Surajkund Fair
βΌοΈIt has been formally announced by the Haryana Tourism Department
βΌοΈ Odisha has been made the theme state for the second time
The Surajkund International Fair is held every year near the Surajkund Lake in the Aravalli valleys.
βΌοΈ The first fair was organized in 1987
βΌοΈ Even before this, Odisha had been the theme state of Surajkund Mela in 1993
#UPSC #PSC #prelims #currentaffairs #art_and_culture
βΌοΈIt has been formally announced by the Haryana Tourism Department
βΌοΈ Odisha has been made the theme state for the second time
The Surajkund International Fair is held every year near the Surajkund Lake in the Aravalli valleys.
βΌοΈ The first fair was organized in 1987
βΌοΈ Even before this, Odisha had been the theme state of Surajkund Mela in 1993
#UPSC #PSC #prelims #currentaffairs #art_and_culture
π1
π Weaving in India
π Context : On National Textile Day, a tribute was paid to the rich tradition of Indian weavers, showcasing their significant contributions to India's heritage.
π History of Weaving in India
π Indus Valley Civilization (3300β1300 BCE): Evidence of cotton cultivation and textile production, with dyed cotton fragments found in Mohenjo-Daro.
π Vedic Period (Rigveda, 1500β500 BCE): Mentions of weavers as "vaya" (male) and "vayitri" (female), highlighting the craftβs early roots.
πΉ Post-Vedic Period: The Mahabharata mentions silk fabrics, while Buddhist texts describe textiles like linen, cotton, and silk, emphasizing the importance of weavers.
π Mughal Empire (1526β1857): Flourishing of luxury textiles like brocades, muslins, and velvets through Karkhanas (workshops). Sericulture expanded in Kashmir, as noted in the Tarikh-i-Rashidi.
βοΈ Modern India: The Industrial Revolution led to the decline of Indian textiles due to competition from machine-made products, causing economic losses and the erosion of traditional markets.
π State/UT Weaves
π¨ North:
β Jammu & Kashmir: Kani Weave, Kashmiri Pashmina.
β Himachal Pradesh: Kullu Shawls.
β Punjab: Khes Weave.
π¨ Northeast:
β Assam: Muga Silk, Eri Silk.
β Nagaland: Chakhesang Shawl.
β Meghalaya: Eri Weave, Tap-Moh Khlieh.
π¨ West:
β Gujarat: Patola, Mashru Weave.
β Rajasthan: Kota Doria, Jaipuri Rajai.
β Maharashtra: Paithani, Himru Weave.
π¨ South:
β Tamil Nadu: Kanchipuram, Kandagi.
β Andhra Pradesh: Venkatagiri, Dharmavaram Handloom.
β Karnataka: Ilkal, Mysore Silk.
π¨ East:
β West Bengal: Jamdani, Baluchari.
β Odisha: Sambalpuri, Bomkai.
β Bihar: Bhagalpuri Weaving.
#gs1 #prelims #art_and_culture
π Context : On National Textile Day, a tribute was paid to the rich tradition of Indian weavers, showcasing their significant contributions to India's heritage.
π History of Weaving in India
π Indus Valley Civilization (3300β1300 BCE): Evidence of cotton cultivation and textile production, with dyed cotton fragments found in Mohenjo-Daro.
π Vedic Period (Rigveda, 1500β500 BCE): Mentions of weavers as "vaya" (male) and "vayitri" (female), highlighting the craftβs early roots.
πΉ Post-Vedic Period: The Mahabharata mentions silk fabrics, while Buddhist texts describe textiles like linen, cotton, and silk, emphasizing the importance of weavers.
π Mughal Empire (1526β1857): Flourishing of luxury textiles like brocades, muslins, and velvets through Karkhanas (workshops). Sericulture expanded in Kashmir, as noted in the Tarikh-i-Rashidi.
βοΈ Modern India: The Industrial Revolution led to the decline of Indian textiles due to competition from machine-made products, causing economic losses and the erosion of traditional markets.
π State/UT Weaves
π¨ North:
β Jammu & Kashmir: Kani Weave, Kashmiri Pashmina.
β Himachal Pradesh: Kullu Shawls.
β Punjab: Khes Weave.
π¨ Northeast:
β Assam: Muga Silk, Eri Silk.
β Nagaland: Chakhesang Shawl.
β Meghalaya: Eri Weave, Tap-Moh Khlieh.
π¨ West:
β Gujarat: Patola, Mashru Weave.
β Rajasthan: Kota Doria, Jaipuri Rajai.
β Maharashtra: Paithani, Himru Weave.
π¨ South:
β Tamil Nadu: Kanchipuram, Kandagi.
β Andhra Pradesh: Venkatagiri, Dharmavaram Handloom.
β Karnataka: Ilkal, Mysore Silk.
π¨ East:
β West Bengal: Jamdani, Baluchari.
β Odisha: Sambalpuri, Bomkai.
β Bihar: Bhagalpuri Weaving.
#gs1 #prelims #art_and_culture
π Ravana Shaking Mount Kailasha - Ellora, Rashtrakuta Period
π Characteristics of the Sculpture:
β Scale and Grandeur:
- Carved into the side of a sheer rock face, reaching a height of approximately 30 meters (98 feet) and stretching over 40 meters (131 feet) in length.
- This impressive scale conveys the immense power and determination of Ravana.
β Dynamic Composition:
- The sculpture captures the chaos and energy of the scene, with Ravanaβs muscular arms straining as he lifts Mount Kailasha, the abode of the gods.
- The swirling movement of the figures and the use of negative space add to the dynamism of the composition.
β Symbolic Elements:
- The sculpture is rich in symbolism, reflecting the Hindu worldview and the narrative of Ravanaβs attempt to impress Shiva.
- The presence of celestial beings, animals, and mythical creatures adds to the mystical and otherworldly atmosphere of the scene.
#art_and_culture
π Characteristics of the Sculpture:
β Scale and Grandeur:
- Carved into the side of a sheer rock face, reaching a height of approximately 30 meters (98 feet) and stretching over 40 meters (131 feet) in length.
- This impressive scale conveys the immense power and determination of Ravana.
β Dynamic Composition:
- The sculpture captures the chaos and energy of the scene, with Ravanaβs muscular arms straining as he lifts Mount Kailasha, the abode of the gods.
- The swirling movement of the figures and the use of negative space add to the dynamism of the composition.
β Symbolic Elements:
- The sculpture is rich in symbolism, reflecting the Hindu worldview and the narrative of Ravanaβs attempt to impress Shiva.
- The presence of celestial beings, animals, and mythical creatures adds to the mystical and otherworldly atmosphere of the scene.
#art_and_culture
πVishu:
β It is a Hindu festival celebrated in the Indian state of Kerala, Tulu Nadu region in Karnataka, MahΓ© district of Union Territory of Pondicherry, neighbouring areas of Tamil Nadu and their diaspora communities.
β The festival marks the first day of Medam, the ninth month in the solar calendar followed in Kerala.
β It therefore always falls in the middle of April in the Gregorian calendar on 14th or 15th April every year
πPuthandu:
β Also known as Puthuvarudam or Tamil New Year, is the first day of the year on the Tamil calendar and traditionally celebrated as a festival.
β The festival date is set with the solar cycle of the lunisolar Hindu calendar, as the first day of the Tamil month Chithirai.
β It therefore falls on or about 14th April every year on the Gregorian calendar.
πBohag Bihu:
β Bohag Bihu or Rongali Bihu also called Xaat Bihu (seven Bihus) is a traditional aboriginal ethnic festival celebrated in the state of Assam and other parts of northeastern India by the indigenous ethnic groups of Assam.
β It marks the beginning of the Assamese New Year.
β It usually falls in the 2nd week of April, historically signifying the time of harvest.
#prelims
#art_and_culture
β It is a Hindu festival celebrated in the Indian state of Kerala, Tulu Nadu region in Karnataka, MahΓ© district of Union Territory of Pondicherry, neighbouring areas of Tamil Nadu and their diaspora communities.
β The festival marks the first day of Medam, the ninth month in the solar calendar followed in Kerala.
β It therefore always falls in the middle of April in the Gregorian calendar on 14th or 15th April every year
πPuthandu:
β Also known as Puthuvarudam or Tamil New Year, is the first day of the year on the Tamil calendar and traditionally celebrated as a festival.
β The festival date is set with the solar cycle of the lunisolar Hindu calendar, as the first day of the Tamil month Chithirai.
β It therefore falls on or about 14th April every year on the Gregorian calendar.
πBohag Bihu:
β Bohag Bihu or Rongali Bihu also called Xaat Bihu (seven Bihus) is a traditional aboriginal ethnic festival celebrated in the state of Assam and other parts of northeastern India by the indigenous ethnic groups of Assam.
β It marks the beginning of the Assamese New Year.
β It usually falls in the 2nd week of April, historically signifying the time of harvest.
#prelims
#art_and_culture
π Famous Sculpture/Painting: Mohini
π Monument Era/Dynasty
β Chennakeshava Temple, Hoysala Dynasty
π Subject Matter
β The Chennakeshava Temple in Belur, Karnataka, India, is home to a captivating sculpture of Mohini, the female avatar of Lord Vishnu.
β This exquisite sculpture is located in the templeβs navaranga.
#art_and_culture
π Monument Era/Dynasty
β Chennakeshava Temple, Hoysala Dynasty
π Subject Matter
β The Chennakeshava Temple in Belur, Karnataka, India, is home to a captivating sculpture of Mohini, the female avatar of Lord Vishnu.
β This exquisite sculpture is located in the templeβs navaranga.
#art_and_culture
π Beni Putul (Bengal)
β Puppet Type:
- Made from red felt and are about 1 to 2 feet tall.
- Have movable arms, legs, and heads, manipulated by the puppeteer using hands.
β Instruments:
- Accompanied by Bengali instruments like ektara, dhak, and tabla.
β Size and Design:
- Smaller and more delicate than puppets from other traditions.
- Less emphasis on props and costumes.
#art_and_culture
β Puppet Type:
- Made from red felt and are about 1 to 2 feet tall.
- Have movable arms, legs, and heads, manipulated by the puppeteer using hands.
β Instruments:
- Accompanied by Bengali instruments like ektara, dhak, and tabla.
β Size and Design:
- Smaller and more delicate than puppets from other traditions.
- Less emphasis on props and costumes.
#art_and_culture