Few Doors are beyond worldly explanation, as not much words can be written in praise of their beauty.
Such as this Hoyasala Dynasty (Karnatak) created beautifull gateway of temple-Abode of God. On both side dwarpal keeps an eye? always they remain on Guard. In this photo i wish to point out that even God-Lord lives here, his gate-Door of abode has no Life without these lovely colourfull followers-seekers. Thus we as seekers make this Door more beautifull- i will write in favour of women.
Our Women folk, if they enter this Door, its importance is enhanced. women of houses seldom get time to visit abode of Almighty, as they are constantly and continuously engaged in household chores. performing duty-catering needs of all family members-Husbands, relative, Children and keep their house neat and clean. Mother is first teacher-thus she has responsibility to groom her children into good citizens. Therefore, if any women-Mother enters abode of God -through this Door, God feels extremely gratefull to mothers. It is He who welcomes such guest. Mother who are creator as such, even God bows to all mothers in respect. He cannot give birth? mother has to be there in any way, if he likes, he creates a Mayajaal around us.
Often mother sacrifice their feelings, over the kartavya-duty towards family.
i bow in respect of all mothers, before i bow to Lord
Dancing Celestial India (Uttar Pradesh). Early 12th century. Sandstone. H. 331/2 in. (85.1 cm) Promised Gift of Florence and Herbert Irving (L 1993.88.2) Metropolitan Museum of Art, NYC. The contours and richly ornamented surfaces of this celestial attendant to the gods exemplify a stylistic shift away from earlier Gupta-influenced forms. Here the linear play of surface decoration and dramatic contours replace the earlier emphasis on seamless volume and subtle balance. The sculptor has twisted the figure into an extraordinary pose that captures the essence of her dance and seems absolutely believable until one imagines actually trying to turn this way. The jewelry sways and emphasizes her movements, both in the way the necklaces and sashes follow the curves of her body and in the upward thrust of the spiked tips of her crown. The crisp carving of her adornments makes a pleasing contrast with the smooth and rounded surfaces of her flesh. Images of dancing semidivine attendants often appear on the outer walls of Hindu temples. They are placed near the figures of gods to honor the deity, just as actual female dancers honored the gods’ images within the temple.
But in our Indian classical Dance or so to say in other Indian dances there are various pose, Mudras those may seem impossible for west minds? But In many pose/Mudras certain amount of training goes into, before perfecting it. Specially in BharatNatyam, Oddissi dances?
Such are few common pose in or dance and Indian milieu? putting the red crimson red called Sindoor on forehead, that is symbol of Married women? But the way it is executed in dancing movement is something is captured the imagination of many artists. Even dancers also execute this movement with grace. Thus sculptors also put their expertise. Somtimes it is putting eye liner, or putting flower in hair plaits? or decorating head forehead etc. all such movements take shapes in various forms of arts.
Museums have now become multi utility spaces? Museum now hold Talks, Debates, Movies, Documentary screening, Study tours, Walk through History, Researches, Cataloging, Publications, Archaeological important material, Anthropological research, Exhibitions, much more. I think list is still not complete? So vast is the scope of museums now a days in world? As National Museum started a course for students, i am sure other museums must be doing same.
Earlier when museums were thought it was just as an art gallery for exhibiting, preserving few historical things, mostly excavated or collected paintings, sculptures etc.
Only few people used to visit such places, exhibiting Egyptian mummy, animal specimens.
I had visited few: Lucknow Zoo, there was a small structure housing few Egyptian mummy and few of old vintage portraits. Then i saw Salar Jung Museum on my visit to Hyderabad in 1977 when my father took us on LTC. It is one of the largest museums in the world. largest one-man collection of antiques in the world. one cannot completely see and be satisfied by one day visit. One clock was famous there, at hour clock rang bell. A horse parade sort of thing happens in clock, with lot of other mysterious things. So everyone inside the museum kept an eye on their clock so that at the decided time they rush to see the clock.
Another striking Big sculpture i saw in white marble, in front it had a woman and at back side of a man. To show this huge mirrors were kept behind that statue.
I saw Mysore palace also it had a beautifull gallery of paintings of Raja Ravi Verma (Ravan Jatau yudh and Lady with the lamp) and few other artifacts. In Mumbai I saw the Prince of Wales Museum (now it is renamed as chatrapati shivaji museum https://www.csmvs.in ) there i saw a gallery named as museum of natural history? most striking was the King Cobra, i shivered while standing in front of it. It’s hood stood upto few feet above and seemed that it will just strike. So i shifted little bit from its front. Then there was Jehangir Art Gallery on same road, i think? Aquarium of Mumbai was also an attraction.
Actually that day I walked from Gateway of India to masjid bander(?) I don’t know for how long i walked. On the way I saw Prince of Wales Museum, Jehangir Art Gallery, VT Station on my right side. I passed by it, but i could not notice that there is a big railway station inside that building? on the way there was National Gallery of Modern Art? (i thought only one NGMA existed in India, as one is in New Delhi, near India Gate? i did one Art appreciation course at NGMA New Delhi in 1994-95. Then later in life I visited National Museum at New Delhi it is a life time opportunity to see this museum. It houses treasures of our Indian Heritage. I also got chance to visit Bhopal. I took a trip to see the Shiv Temple at Bhojpal? later i visited Indira Gandhi rashtriya manav sangrahalaya इन्दिरा गांधी राष्ट्रीय मानव संग्रहालय . This is an open air museum housing types of houses, other things used by tribal community. spread over a large portion of land, one really needs strength to walk around.. In Bhopal Bharat Bhawan is also there i saw many paintings of renowned painters. Works of Mrinalini MUKHERJI ji. I have had heard names of BB Karanth? Vibha Mishra?
While studying i could know about few other places such as a library at #Rampur Raza library started by Nawabs of Rampur. Famous for music traditions, i heard, it had lots of manuscripts of musical importance. Then there was one Khuda Bux library of Patna?
One of the dream place that i wish to visit is Saraswathi Mahal of Tanjore. it is said to house big treasure and truly named as Saraswati, in name of Goddess of learning. On looking at the treasure in National museum Nwd Delhi I could guess about the treasure, the saraswati mahal could be having. So beautifull Tanjore paintings were there in Delhi.
On Doordarshan, i got to know about Raja Dinkar Kelkar Museum. He talked about how he collected many specimens of historical importance, most important was Mastani Mahal, That was built by Pehswa Baji Rao for Mastani ji. Kelkar museum has the portion of that mastani mahal.
I also read somewhere that when Prince Albert had to visit India then in Jaipur a building was named as Albert hall jaipur
following are some of the Gems of Sculpture, Art Architecture etc from India. just scroll down. See and appreciate great Art of India, and largely kept preserved due to Museums, Gallery and pvt collections. Many of such diamonds of our Art had been looted outside of India.
Chola Dynasty saw the highest standard of metal works, using the lost wax technique.
Below: Parvati, 10th century, Metropolitan museum of Art, NYC
Both pictures below looked similar? thus kept together
Chola period (880-1279), early 11th century, Rockefeller 3rd Collection of Asian Art, Asia Society
Natraj, the supreme Art of chola dynasty
Not only Metal craft but Indian Art had high standards of Sculptures in Stone.
Many temples and caves carving are not available since they have been destroyed
left is from Khajuraho
Above: Female Tree Deity or called as Shalbhanjika, c. 973 Rajasthan, Sikar, Harshagiri, 10th century cleveland museum of Art I name it as Apsara.
Queen Sembiyan Mahadevi as the Goddess Parvati Chola dynasty, 10th century India Freer Gallery of Art, Washington DC
I cannot say if there is any other icon similar to or near to this statue in Metal (Bronze?) anywhere else in world. so perfectly modeled in that century.
There is no parallel to the sculpture of Hoyasala? created in temples, Karnatak? (below)
one side India had highest standards of statue/Sculpture art, other side there was Paintings
Chola and Pallava bronze statues (9th to 13th century AD). Bronze Gallery, Pantheon Complex. Chennai
see incredible minute detailing that too in metal works, these were created by using Lost Wax method. Imagine how difficult it would have been.
below is Chola Bronze, sculpture of Goddess Parvati. Similar is of Bhoodevi at LACMA
Many places have become open art gallery or museum. As more and more excavations are done more treasure is unearth? but few places-monuments that were unrecognised earlier are now have become famous. Deogarh, Bhitargaon Temple, Stupa, few caves, Ajanta Ellora, Elephanta, Badami caves etc. they house treasure of our arts.
All thanx to our Museums And Art Galleries.
All must visit such places any where or near you live, to know about our glorious past.
Sarang Dev wrote Sangeet Ratnakar. Sarang Dev compiled knowledge known (or available) prior to him such as Nāţyaśāstra, Dattilam, Bŗhaddēśī, Sarasvatī-hŗdayālańkāra-hāra and ideas of Abhinavagupta on Nāţyaśāstra. He wrote about ancient scholars such as Bharata, Matanga, Dattila and Narada paying homage.
Strange is that how in that age where mode of communication were supposed to be none as compared to present times. He managed to study works of Abhinavagupta who lived in Kashmir? SarangDev though belonged to family of Kashmiri Brahmins but still while living in Devagiri he studied Abhinavgupta. This shows how big was our knowledge base and was scattered across the geographical boundaries from Plateau of Pamir to Kanyakumari or Kucth or Patliputra in Magadh.
SarangDev(1175–1247) (शार्ङ्गदेव) was working in court of Singhana I of Devagiri of Yadaya dynasty(13th century). Amazing thing is that he was working as an Accountant, but he perused his passion Music!!
If these yadavas were claimed to be from Kannad background, Kannada language was used in their courts but along with Sanskrit and Marathi then the works of SarangDev in Sanskrit might have got appreciation of rulers also. As He was on payroll of yadava kings and if he wrote something that does not suited to the ruler, how can we imagine that work (Sangeet Ratnakar) could still survived? Thus this work on Sangeet Ratnakar might have got sanction of Ruler Singhana II. Incidenlty the Yadava rulers were also said to have built Jain Cave temples at Ellora?
Sangeet Ratnakar classifies sangeet into two kinds: Marga-sangita and Desi-sangīita. Marga refers to the classical techniques taught by Bharata in Natya Shastra. Desi Sangita refers to regional improvisations that may not follow the classical rules and structure for the music and performance arts. Many of our elder musicians who were hard core classical musicians followed Marga Sangeet.
but if regional traditions is to be belived then question comes as if the Maand singing as was prevalent in Rajasthan would be called classical or Deshi Sangeet? Maand Kokila Allah Jilai Bai of Bikaner sang most famous Maand Kesariya Balam, Padharo Mhare Desh
According to Sarngadeva’s verses 27-30 of the section 1.1, song is everywhere, in the cry of a baby, in the beats of nature, in the pulse of life, in every human act of Dharma, Artha, Kama and Moksha.
The sections 3 through 8 of the first chapter describe nada(sound), svara(tone), Sruti (microinterval) gramas(primary scales), murcchanas(derivativescales), Varna (Color), Jati(Mode), Alankara (Embellishment), giti (Singing styles), meters and other musical concepts.
Many of us must be aware of this figure, nick named as Dancing girl of Harappa/Mohenjo-daro, found in 2500 BC old Indus River valley civilization. Indus river is know as Sindhu River in India. It has become world famous idol. People are researching over iconography etc things on this. But For me, I was amazed, why the name “dancing girl” is given to it?
How can historian/ archaeologist can name her as a dancing girl? She could have been any authoritarian figure? Priestess? or any sacrificial woman? Or simply a dream girl (muse) of an artist? Why not? But assigning this name in itself tells the attitude of society at large towards the word “dancing girl”. It is very easy to write “dancing girl”?
Is there anything such as Her ornaments, posture? hair plait? necklace? eyes? or any thing that can indicate her being a dancing girl? i Don’t think so? This statue is from thousands of years old civilization? it is in Bronze? a difficult metal craft? and that too there was no Industrial revolution (as of UK) or #3D printer, not even elctricity for grill machine or tools? All there was traditional knowledge, hard work, enthusiasm and observing power of eyes? or even we can say power to imagine? People in Europe once upon a time imagined that earth is flat and if you walk accross a certian point you will fall down. That was imagination power?
If this statue is not observation then how one can imagine such thing? A Dream Girl? can we say?
It is still unknown as to what purpose this bronze statue served?
But it is certainly amazing that how this craft of using metals came to Indus valley civilization? It was done in lost wax technic as we know today? It is an example of Art of metallurgy prevalent in Indus River Valley civilization.
It’s not a dancing pose, it’s a standing pose. Even, sometime we stand like this, placing hand on waist. This statue was discovered in 1926 by a British serving officer (obviously) in colonial India. Now pakistan disputes it, I don’t understand why pakistan disputes it? earlier in that part of world everything Indian was destructed by the invaders from West Asia, and now after partition a newly born country claims to be owner of 3000 BC civilization. This itself indicates what they wanted to loot? What they are teaching in History books of Pakistan?- that Indus valley civilization grew and became Pakistan?
Lost wax method was used in Chola period also to make amazing beautifull Bronze statues. But for using that technic in Indus Valley there must have been some previous references? some education? knowledge transfer? passed on to generation to generation? it is not that suddenly one day, a man created bronze statue by using lost wax technic? it requires lots of things, planning execution. when wax is lost (melts away) the impression on the metal becomes visible and look artistic. isn’t it? At first a statue is created out of wax then covered by clay or mud, dried and then molten metal is filled inside, so that melted wax runs out from other end.
She can be any one? even a queen? or consort? any diety? why not? she can be even a gaurd/fighter? waiting to get her spear? or arrows ready from back, or something hidden at back? in olden times women gaurds were kept to protect princes queens or royal ladies and even for kings also? but in that time British officers were mostly amazed by the Nautch girls, dancing girls, tawaif or Devdasi traditions in India. Thus when someone in British Office/Archeologist? saw it, he immediatley imagined the dance pose of dancing girls that he had in mind imprinted so vividly that as soon as he saw this he named it dancing girl?
from wiki: This discovery indicates that they (indus civilization) knew metal blending, casting and other sophisticated methods. The bronze girl was made using the lost-wax casting technique and shows the expertise of the people in making bronze works during that time. The statue is displayed at National Museum, New Delhi.
A similar bronze statuette was found by Mackay during his final full season of 1930–31 at DK-G area in a house at Mohenjo-daro. The preservation, as well as quality of craftsmanship, is inferior to that of the well known Dancing Girl. This second bronze female figure is displayed at Karachi Museum, Pakistan.
An engraving on a piece of red potsherd, discovered at Bhirrana, India, a Harappan site in Fatehabad district in Haryana, shows an image that is evocative of Dancing Girl. The excavation team leader, L. S. Rao, Superintending Archaeologist, Excavation Branch, ASI, remarked that, “… the delineation [of the lines in the potsherd] is so true to the stance, including the disposition of the hands, of the bronze that it appears that the craftsman of Bhirrana had first-hand knowledge of the former”.
But I still Don’t agree with their Assumption? that her profession was dance? How they can presume? For Shri Ram at Aydohya few people are asking for a proof? here they are naming her as dancing girl without any proof? I think mystery of Harappa civilization can only be solved by deciphering the SCRIPT? So after reading all that is written in that script can tell something about lost civilization. But Pakistan cannot claim that it is their heritage?
Many miniature paintings also depicts lot of interesting things about these dancing girls of India. Which are often referred as Tawaif, courtesan, nachini, domni, Kothewali, Derewali etc names aplenty but they have been at centre of life of any city, court/Mehfil or folklore.
When British came to India they became Gora Sahebs. Few gora sahebs started imitating mannerism of mughal or nawabs.
The dancing girls were the most evident in painting of that era. Also these gora sahebs were fascinated by these charming ladies. Gora Sahebs also patronized paintings.
These painting are called as Raj or Company school paintings.
Dancing girls, Ganika, NagarVadhu, Apsara concept has been in folk lore and mythology also. But when it became an ill famed custom we dont know?
Shakuntala was daughter of an Apsara, but she was a daughter of a Sage at first? Sage was solely responsible for birth of Shakuntala. But some how his name is not written in black color? only the characters of Apsara is much talked about? Irony?
I tried to search pictures on dancing girl? obviously through Google.
This pic must be from South India? the dhoti adorned by men is may be from Andhra, Karnataka or Maharashtra? Girls adorning the dress looks similar to worn by Sadir natyam or dassi natyam?
please note one thing in this pic that these girls are of very young age?
Beautifull Girl in this pic is again of a tender age? forced to dance? accompanying artists belong to a community? Tabla, the percussion instrument and sarangi are the accompanying musical instruments. This is probably of Mughal influenced era.
Below is another beautifull photo of a dance girl from Lucknow? See all beautifull things around her. Richly designed ornament/ jwellery and pure Gold or silver (not at all imitation) The curtains, the cushions, the mattress, the fashion? yes they were the fashion icons of those times. They make new styles of dress, specially custom made and wearing them they make it into fashion statements. As I understand they (these women) were actually master entrepreneurs, as they supported or patronised many crafts. the dress designing, Textile weaving, tailoring, coloring of textiles, Jwellers, artists- painters, and all those trades which had these women as their clients?
Ancient Indian sculptures also depicted few of such fine example of good art.
The beauty at Sanchi stupa is a poetry carved in
The ornaments bangles, ear rings, necklace, waist plate and rings in leg all are extremely intricately designed.
Figurine, hair style and her skirt are all evident.
There are few other good examples of beautifull sculptures of Ancient India. These are the most beautifull and umatched in world? Best poetic sculptures are found in Hoyasala, Belur etc in Karnataka. But still i can say there are thousands of such in South India.
These incredible statues carved in stone many centuries ago? No one can deny the hard work patience of artist or craft persons.
I have put these pics here just to show the dance in our arts. Compared to that statue found in Harappa. Can you say that statue was of a dance girl? I think in India our artists knew how to depict dance movements. Presumption is done by those not belonging to this land. Their assumption is made out to be a fact? That’s is wrong.
This statue reminds me of my favorite song from Pakeezah. Thare rahio banke yaar re. Particularly the lines where Nayika (dancer in film) says bole payal nigodi…. and similar
pose. mudra is taken to indicate/depict that Bhaav of payal
nigodi……as is done in this sculpture on left.
it looks as if master craftsman descended from heaven to create such intricate amazing beautifull sculptures. When you stand in front of these creations you can’t say it is created by men. One life time is not enough to see all of splendour of India:
Ajanta Ellora caves, Elephanta caves, Belur, Hoyasala, Mahabalipuram, Konark, Khajuraho, Kiradu, Dilwara and whole of Rajasthan.
The book by Pran Nevile describes in detail about the dance girls in colonical India.
System of nautch girls or dance girls was prevalent in this world from time immemorial. It was there in Kabul, Gandhar, Afghanistan, Kashmir & upto Kanyakumari in South India. Nomenclature differed, from Tawaif to Devdasi.
In the said book there is a description that a dance girl kept whirling and keeping eggs on this loops tied with strings, he referred it as egg dance? not a single egg was broken.
These dancing girls were most innovative also. As is evident from dress they wore.
Indian films also had a hand in mystifying the dance girls. In many movies they are shown in some extra ordinary manner. I mean they are shown not in Authentic manner. Very few films had these dance girls in correct perspective. I was in awe of Pakeezah, Umrao Jaan (Rekha ji) and this Chitralekha mostly due to my love for Meena Kumari ji.
Bela Bose and Meena Kumari ji were there in this film. Many scenes Meena ji was behind the mask and some double must have danced.
But the Temple dancers from Orissa were totally different as i found out while reading many articles. These women never danced outside temples. They are called MAHARI, not devdasi. Two major class of Mahari was there, Bhitar Gauni and Baher Gauni. First was allowed to enter Garbh Griha, the sanctum of Temple and second class did seva outside the garbhgriha.
She is the last surving Mahari
it says Women of pride?
Why not? They were bearer of our Arts? Traditions? Music and Dance with other attached traditions have been kept alive by such women and their families?
Thus naming them just as Dancing girl is not correct? For whom they danced? Who made them to dance? They were daughters of big VIPs and most respected Men of society, Kings, Dewan, Pundits- Brahmin, Priest, Business Men, Chettiar? Seth as we call. Merchant etc and etc. Thus degrading them is not in right perspective. Dancing Girl deserve respect?
just see this image. Is it really from Kashmir?
its not just beautifull sculpture but it is proof of hard work, high standards of Art, metal art? prevalent in our India centuries ago. During the time of invaders lots of arts, knowledge have been lost. Many arts have become extinct.
When I saw this beautiful gate I was speechless. Stood there just admiring this magnificent majestic artistic creation. I forgot that it was noon time in month of April and anyone can imagine the heat, temperature during summer times in Kanpur. It is Nice example of Indian Architecture. How much time, patience, hard work might have gone into building this? I forgot hot scorching sun over my head. I was just standing and watching this building.
Many intricate carvings are very beautiful.
See this detail of carving on gate.
I presume this is Goddess Ganga on top of gate. As Aligator मगर वाहन is prominently present there. In one hand deity is holding a pot may be it is Ganga jal गंगाजल or Amrit अमृत. But on second look the statue doesnt look like a goddess? is it Vishnu? or Kuber? but since it is riding on an Aligator?
Over time such beautiful buildings are crumbling, partly due to neglect, ignorance, lack of resources either financial or commitment. In era of commercialization where even family relations or bonds are neglected how can we presume that our rich tradition of art can be given priority?
As tempo reaches near the river bank it halted just few metres before Pathar ghat in Bithoor, Some problem in engine was noticed by driver. We were disembarke. Just as I turned to my left there stood this magnificent remainent of a beautiful building. It’s obvious with intricate design on whole of building that it was work of passion dedication but now a picture of neglect. I don’t think this will be there in coming time. I don’t know how to save it. But I just clicked it to save it’s sight in my camera.
It has the famous symbol of two fish, much prevalent in Awadh area. This is considered auspicious. But I thought whether such symbol could have been made on a religious building such as Temple. Or it was an official building? It could have been a residential building also. I will certainly try to know on my next trip to Bithoor, Kanpur. It was made from the smaller bricks. Such bricks and still smaller than this were prevalent in that time. Often called as गिट्टी ईंट Gitti. The plaster was applied on outer surface. It was so good that seeing it can’t be guessed whether inside are these Gitti bricks. I had heard the masala mix had urad dal, methi-fenugreek in it so as to make it binding. I dont know why that brick was called as lakhauri?
Below is a burj kind of thing, standing over there i could see large span of River Ganga (Ganges), it’s bank, people dipping in water, people performing pooja-whole bank of river was full of people. So much devotion-faith people had for River Mother Goddess Ganga. Inspite of scorching hot temperature people gathered on the river bank.
Pathar ghat Bithoor
This point when i stood there, i could imagine dancing on this chatri
This building in white colour is a resting place for pilgrims, visiting Bithoor. built by a talukedar-raja Tikait Rai, as written-mentioned on this board. Tikait rai pond is also i heard in Lucknow near to it one of my uncle lives. In those times patrons-rulers etc used to build such places for pilgrims by act of this they tried to earn -Punya पुन्य as concept of पाप & पुन्य was prevalent. Now days term CSR is making round-Corporate Social Responsibility-as it is called.
This is seen when you walk through the Memorial built at Bithoor, This is said to be the portion of the Palace of Peshwa. He was referred as Maharaja in Bithoor and surrounding villages. This nice piece of Palace is just going to ruin.
Bank of River Ganga whom we address mother Ganga offers a place where hordes of people gather and perform many rituals. Aged old tradition are followed by people. They come from far off places to perform rituals. This is photo when I went with a family to perform the ritual Mundan, Hair removing for the first time of a child. Such occasions offer many opportunities of livelihood, employment generation to the locals and as well as people from various adjoining places. They come here in hope of earning something while people gather to perform religious social rituals at such bank of rivers. This is Bithoor.