Yoga has tremendous effects on strengthening core muscles of back &pelvis. Research studies substantiate that several yoga poses help to strengthen spine and pelvic muscles improving the quality of life as well as disease free muskuloskeletal system even in advancing age for everyone.
Faulty postures & sedentary lifestyle contribute to weakening of core muscles & increased incidence of musculoskeletal disorders.
Of late it is very common and spine curvature and instability leads to constant strain and pain back as well as limbs. On this back drop, the inevitability of strengthening core muscles is enhancing day by day. More people needs to be aware about core muscle strengthening yoga and other exercises to avoid any musculoskeletal disabilities arising in future.
What is meant by core muscles?
The “core” muscular network means the lumbo-pelvic-hip complex. The core muscle can also influence hamstring muscle functions.
Core stability is defined as the ability to control the position and motion of the trunk over the pelvis to allow optimum production, transfer and control of force and motion to the terminal segment in integrated athletic activities.
Activation of specific core muscle are involved in asanas or yoga poses which depended on trunk and pelvic movements.
Core muscle activity is best understood as the pre-programmed integration of local, single-joint muscles and multi-joint muscles to provide stability and produce motion. This results in proximal stability for distal mobility, a proximal to distal patterning of generation of force, and the creation of interactive moments that move and protect distal joints.
Evaluation of the core should be dynamic, and include evaluation of the specific functions (trunk control over the planted leg) and directions of motions (three-planar activity).
Rehabilitation should include the restoring of the core itself, but also include the core as the base for extremity function.
Computer -desk sitting syndrome & impact on spine &pelvis
Shortening of hamstrings occurs from continuous sitting. Shortened hamstrings have a negative effect on mobility of the pelvis and the lumbar spine.
During the practice of Utthanasana, rectus abdominis muscle flexes the trunk forward, which is further accentuated by iliopsoas and quadriceps.
Core muscles of back – Erector spinae [ES] & multifidus [MS ] in yoga poses
The back muscles of the core include ES and multifidus (MF)
ES is a group of posterior spinal muscle which is continuous from the sacrum to the occiput, and together they are involved in vertebral extension.
The ES muscle groups are categorized from head to sacrum as capitis, cervicis, thoracis, and lumborum. The thoracis and lumborum parts of the ES form the posterior aspect of the core.
Tadasana causes contraction of these muscles causing the spine to straighten.
Utthita Trikonasana contracts the laterally placed LT and IC causing lateral bending of spine. The forward bends, such as Uttanasana, stretch these muscles and the backbends (Bhujangasana) strengthen these muscles.
Back muscle activation pattern of ES is prominently higher in Utthanasana, Urdhva Mukha Utthanasana, Urdhva Mukha Svanasana, Virabhadrasana (nondominant), and Virabhadrasana (dominant) than Adho Mukha Svanasana[3].
Multifidus &yoga
MF muscle activity increased in ipsilateral bridge pose and contralateral bridge postures. The purpose of this study was to investigate both relative (as a percentage of maximal voluntary isometric contraction) muscle activity levels and ratios of local to global muscle activity, during bridging stabilization exercises[5]. Bridging exercises, all back muscles contribute in a similar way to control spine positions and movements in a healthy population.
Quadratus lumborum (QL)
Deep to the ES, lies the quadratus lumborum (QL) which originate from the posterior iliac crest and inserts on the lower border of 12th rib and transverse process of lumbar vertebra 1 through 4.
Contraction of the QL unilaterally flexes the trunk to the side in Utthita Trikonasana. Urdhva Dhanurasana contracts the QL which extends the lumbar spine.
The functional shortening of QL is associated with sedentary lifestyle postures, and it limits the range of flexion in lumbar vertebra. Shortening of QL increases lumbar lordosis which is reflected as functional stiffness of the lower back and a lack of up- and down-flow of movement. It becomes difficult to raise the pelvis off the ground and rounding the back. This is important for standing in an erect posture.
Ability to perform back-bending posture is an indicator of healthy core musculature.
Variations in core muscle firing patterns depend on the trunk and pelvic positions during these poses.
Training programs can be developed by choosing particular poses to target specific core muscles for addressing low back pain and declines in performance.
The High plank, Low plank and Downward facing dog poses are effective for strengthening external oblique abdominis, Chair and Warrior 1 poses for targeting gluteus maximum, and Chair and Halfway lift poses for strengthening longissimus thoracis. And these three muscles could be strengthened by the Upward facing dog pose.
written by dr sanjana p souparnika
References
Richardson C, Jull G, Hodges P, Hides J. Therapeutic Exercise for Spinal Segmental Stabilization in Low Back Pain: Scientific Basis and Clinical Approach. New York: Churchill Livingstone; 1999. [Google Schola
Raipur, the capital city of Chhattisgarh ,India is well- known for its green and cleanest city status as well as for its heritage. The city offers numerous tourist and pilgrim destination,falls, zoo, museums and the urban city life with numerous institutions of education &technology.
Ancient history of Raipur
Raipur, the heritage capital of Chhattisgarh was once known as Dakshina Kosala and was under the reign of Maurya Empire. A Gupta inscription dated to the 6th century CE discovered from Arang delineates the story of Gupta hegemony over the region.
According to historical texts in the 7th century CE, the region came under the reign of a Buddhist kingdom in Bhandak in modern-day Maharashtra. A sect of this royal family seems to be migrated to Sirpur [Mahasamund district] and conquered the entirety of Dakshina Kosala.
The glory of this ancient city reached its zenith during the rule of Tivaradeva. His son inscribed almost all temples in Sirpur.
According to archeological data,by the early 9th century the Kalachuris had hegemony over the region. The Kalachuris of Ratnapura ruled Ratnapur until the 13th century. By the 14th century, the Kalachuris of Raipur branch came into prominence.
Chief tourist destinations in Raipur
The Ghatarani waterfalls & Jatmai temple
It is located just 85 km from Raipur and the waterfall is one of the largest falls in Chhattisgarh. The waterfall has a mythological linking with the nearby Jatmai Ghatarani Temple, a holy temple dedicated to the goddess Ghatarani who symbolizes fertility and well-being. The shrine dates back to 18th century and is linked to Kalkanjari Devi.
The waterfall and this temple are the favourite spots for pilgrim tourists visiting Chhattisgarh. It is located at the Abhanpur Tehsil of Raipur and a favorite destination for adventure enthusiasts and trekking lovers. Post monsoon season [ November- February] is the most favourable season for travelling to Raipur and enjoy the beauty of these majestic waterfalls.
The Nandan van zoo
It incorporates a vast 800-acre wildlife, zoological park, and rescue center established in 1979. It features four main safaris—herbivore, bear, tiger, and lion—along with a dedicated zoo area within buses.
The cultural hub of purkhouti muktangan.
It portrays the tribal art and culture of Chhattisgarh with sculptures and artefacts.
The mahant ghasidas memorial museum
the Mahant Ghasidas Memorial Museum was established in 1875 and it offers deep insights into the region’s heritage. This museum offers anthropological & natural history artifacts, pottery & sculptures.
The Vivekananda sarovar
It is also known as Budha Talab, which is a lake in Raipur. It is located in Budhapara area near the Balbir Singh Juneja Indoor Stadium and it is spread in 30 hectares. The lake is named after the great Indian philosopher Swami Vivekananda who visited Raipur in 1897 and it is believed that he took a bath in this lake.
The Nava raipur
Nava Raipur [Atal Nagar-Nava Raipur] is a planned city and fully Greenfield city in Indian state of Chhattisgarh. This green city is located between National Highway 53 and National Highway 30, about 17 km south-east of the capital city Raipur. Swami Vivekananda Airport separates Raipur and Nava Raipur.
This beautiful city has various industries of gold ornaments, software and IT parks along with Botanical Garden, art gallery and symbols of heritage of the city. It is also a hub of educational institutions.
Cultural heritage of Chhattisgarh
Chhattisgarh possess a rich cultural heritage of folk music and dance. Pandwani dance is a well-known art form of Chhattisgarh. The state celebrates various cultural festivals including Chakradhar Samaroh, Sirpur Mahotsav, Rajim Kumbh, and Bastar Lokotsav.
Furthermore, the state of Chhattisgarh fosters many traditional art and crafts and artisans doing them. The state is renowned for its traditional ornamental designs including kardhan, phully, painjna, bidhu, tora, and maldar.
The indigenous food of Chhattisgarh include Muthia (steamed rice dumplings), Farra, Chilla, Aamat, and Bara.
How to reach Raipur?
Swami Vivekananda International Airport, (Formerly called the Mana Airport), is the main airport serving the state of Chhattisgarh. The airport is situated 15 km south of Raipur and 10 km from Naya Raipur. The airport provides direct flights to various Indian cities daily.
Raipur Junction Rai way station is well-connected with the Mumbai-Howrah main line.
The city is well-connected via NH 53 to major nearby states.
Ikat is a fabric pattern of South Asia since many centuries. It is a sought after fabric art which has achieved great popularity worldwide since ancient times.
History of ikat
The word “Ikat” means bind in Malayo -polynesian languages.
Ikat weaving traditions can be divided into two groups
The first one is weaving among Daic speaking people of Vietnam hanoic. The second group of ikat fabric art tradition belongs to Austonesian people of Indonesia, Philippines, Malaysia. According to some sources Ikat takes origin from the land of Indonesia from there its glory spread to faraway lands. It is believed that another group of Ikat weaving community were residing independently in India, Japan and Central Asia, America in the same period of time.
How does ikat fabric art processing happen?
Ikat is a complicated technique involving labour and patience. In ikat weaving the resist is formed by binding yarns together with a tight wrap in the chosen pattern. Then these yarns are dyed. The bindings may then be altered to create a new pattern and the yarns dyed again with a different colour.
This process is repeated several times to create beautiful and elaborate patterns. As soon as dyeing process is finished the bindings are removed and yarns are woven into cloths.
There is another form of resist dyeing technique [ tie-dye and batik] where the resist is applied to the woven cloth.
In ikat the resist application happens before the yarns are woven into cloths. That makes the difference.
It is curious to note that in ikat both fabric faces are patterned.
There are different types of ikat dyeing:
In warp ikat or weft ikat either these yarns are dyed .
In double ikat both warp and weft yarns are dyed.
Ikat textiles may have a blurriness to the design and it might be due to the laborious work associated with weaving and dyeing. However, the pattern comes out perfectly in the finished cloth. Efficient craftsmen can mitigate the blurriness considerably using finer yarns.
However, the blurriness that is so characteristic of ikat is often prized by textile collectors. Ikat is listed among expensive ethnic fabric craft as the making is so laborious and time consuming.
Warp type of ikat seems to be originated in Neolithic weaving traditions and it is an ancient craft rooted in Asia. In India, Ikat dying technology has been present for thousands of years.
Ikat- trending fabric of urban populations
Ikat processed garments such as saree and kurtis are in demand in India and abroad along with bedsheets, door screens, and towels made in ikat art. The price of ikat made garments increases depending on the material [ silk, mul cotton etc] used for crafting this art.
Kalamkari is an ancient fabric art renowned for its mesmerizing beauty and intricate art work. kalamkari paintings portray deities and scenes taken from the Hindu epics such as Ramayana, Mahabharata and Puranas.
Kalamkari is a well-known fabric art loved by people across the world and everyone who love Indian ethnic fashion trends collect in their wardrobe at least a kalamkari shawl. Kalamkari fascinate people owing to its bright and black intricate artworks which portray Indian mythological stories.
It is an ancient textile printing art, that originated in Machilipatnam in the state of Andra Pradesh India. The name kalamkari is derived from two Hindi words “Kalam” implies ‘pen’ and “Kari” means ‘art’, which was coined by the Mughal emperors who came across this amazing art form during their conquest extended to Deccan region.
In India, silk, mulmul, cotton, and synthetic sarees portray the kalamkari art and they have great demand locally as well as in foreign lands. Printing is a much easier task than traditional Kalamkari work. Kalamkari printed dupattas and blouse pieces are popular among Indian women particularly among urban tribes.
Genesis of Kalamkari art
Kalamkari art originated about 3000 years ago in the state of Andhra Pradesh And this art form reached the zenith of its grandeur in Andra Pradesh during the reign of Vijayanagara empire.
Kalamkari is around 3000-year-old art form as per the archeological evidence. The discovery of a resist dyed piece of cloth on a silver vase at the ancient site of Harappa (c. 2600 BC) of the Bronze Age Indus Valley Civilization corroborates for its antiquity.
Kalamkari style of art originated in Machilipatnam. Centuries ago, the artisans of the hamlets were keen to depict mythological narratives using large bolts of canvas painted on the spot with simple means and dyes extracted from plants. The depictions were linking the art with Hinduism prevailed in the land for centuries since Vedic times.
Kalamkari underwent a huge transformation in its style with the Muslim invasion in Indian subcontinent. Later the Mughal empire patronized this craft in the Coromandel and Golconda provinces. The royals called the practitioners of this craft as “Qualamkars”, from which the term “Kalamkari” has evolved.
The Pedana Kalamkari craft made in Pedana close to Machilipatnam evolved under the patronage of the Mughals and the Golconda sultanate. The original kalamkari art got influenced by Persian art under the Islamic rule. This paved way for two major styles of kalamkari art in fabrics in Indian subcontinent.
The making of Kalamkari art on fabrics
Natural dyes are used since ancient times in making kalamkari art forms. Two principal styles of Kalamkari paintings exist in India. The hand painted style practiced in the town of Srikalahasti and block printed style practiced in the town of Machilipatnam. Both styles are registered as Geographical Indications from Andhra Pradesh under handicraft goods, with the Srikalahasti style registered in 2005 and the Machilipatnam style in 2008, under the Geographical Indications of Goods (Registration and Protection) Act, 1999.
Srikalahasti style of Kalamkari
In this style of kalamkari painting the “kalam” or pen is used for freehand drawing of the subject and filling in the colors. It is entirely hand worked. It is produced in Srikalahasti of Tirupati district of Andhra Pradesh. This style flourished in temples centered on creating unique religious identities, appearing on scrolls, temple hangings, chariot banners.
Srikalahasti style of kalamkari paintings portray deities and scenes taken from the Hindu epics such as Ramayana, Mahabharata and Puranas. The Kalahasti artists generally depict on the cloth the deities, scenes from the epic Ramayana, the Mahabharata, Puranas and other mythological classics mainly producing scrolls, temple backcloths, wall hangings, chariot banners etc.
Machilipatnam style of Kalamkari or Pedana Kalamkari is vegetable dyed block-painting on a fabric. It is practiced at the town of Machilipatnam in Krishna district of Andhra Pradesh.
The captivating blend of colors on the fabrics mostly depicts characters of the Indian mythology, including the divine figures of Brahma, Saraswati, Ganesh, Durga, Shiva and Parvati.
The Machilipatnam paintings, is a melange of Hindu and Islamic art forms of fabric painting owing to the patronage of the Mughals and the Golconda Sultanate. Therefore, religious motifs of Hinduism were absent on this art form. The traditional block prints in this art show Persian motifs like interlacing pattern of leaves and flowers, the cartwheel, different forms of the lotus flower, creepers, birds like parrots and peacock, and other intricate leaf designs.
In this art form there is great significance to the portrayal of tree of life.
With the conquest by the Mughal Empire in 1687, a new style emerged in Machilipatnam kalamkari work which represented personal portraits of the emperors along with panels depicting sagas of the Mughal court.
The making of pristine kalamkari fabric
The first step in creating Kalamkari fabric is steeping it in astringents and buffalo milk and then drying it under the sun. Afterwards, the red, black, brown, and violet portions of the designs are outlined with a mordant and cloth are then placed in a bath of alizarin.
Later to cover the cloth in wax, except for the parts to be dyed blue, and immerse the cloth in indigo dye. The wax is then scraped off and the remaining areas are painted by hand.
To create design contours, artists use a bamboo or date palm stick pointed at one end with a bundle of fine hair attached to this pointed end to serve as the brush or pen. This pen is soaked in a mixture of jaggery and water; one by one these are applied, then the vegetable dyes are added.
Dyes for the cloth are obtained by extracting colours from various roots, leaves, and mineral salts of iron, tin, copper, and alum.
Various effects are achieved by using cow dung, seeds, plants and crushed flowers to obtain natural dye. Along with buffalo milk, myrobalan is used in kalamkari. Myrobalan is also used to remove the odd smell of buffalo milk. The fixing agents available in the myrobalan can easily fix the dye or colour of the textile while treating the fabric. Alum is used in making natural dyes and also while treating the fabric. Alum ensures the stability of the colour in Kalamkari fabric.
Modern day kalamkari art
Contemporary kalamkari techniques are slightly different from its primitive form. In Masulipatnam, mordant is now uniformly printed with a block. Indigo dyeing has been given up and the application of the wax resist by kalam has also disappeared. The mordant for outlining in black remains unchanged, but iron acetate has replaced indigo for dyeing the larger areas black, despite its known corrosive qualities. Yellow dyes are made from dried flowers of the myrobalam, Terminalia chebula.
Kalamkari is a vastly popularized ethnic art form which has been in use in most part of the country and spread world wide as one of the most sought-after fabric art form.
Kangra fort is a historically significant ancient fort in the Kangra district of the Himachal Pradesh state in India. The fort is the largest and one of the oldest forts in the Indian Himalayan range. It is believed to have been constructed by the Katoch dynasty in the 4th century BC.
Kangra -an ancient fort in the lap of Himalayan valley where history of centuries-old conquests sleeps…
Himachal Pradesh, a state in the Himalayan range of India boasts a rich heritage, encompassing historical monuments, religious sites, and a vibrant culture. Its main heritage sites include the UNESCO World Heritage Site Great Himalayan National Park, the Kalka-Shimla Railway, and the historic Kangra Fort.
Kangra fort is a historically significant ancient fort in the Kangra Valley, Himachal Pradesh, protected by archaeological department govt of India. The fort is popularly known as ‘Nagarkot’ and ‘Kot Kangra’.
This fort is one of the largest and oldest for in the Himalayan valley. It is situated on a hillock between two rivers Manjhi and Banganga among the foothills of the Dhauladhar range.
Kangra was once an important center of Jainism. The ancient remains or relics inside the fort are of Jain and Hindu temples dated to c. 9-10 century A.D.The earliest mention about kangra fort in the records dates back to the time of invasion of the fort by Mahmud Gazni in 1009 AD. Later the fort was seized by Muhammad bin Tughlug in 1337 AD. and succeeded by Firuz Shah Tughlug in 1351 A.D. respectively.
The structural characteristics of kangra
The Kangra Fort is spread across 463 acres in the Himalayan valley. The entrance to the fort is through a small courtyard enclosed between two gates. It is believed that this area was built during the Sikh period, as depicted by an inscription over the entrance. Soon the entrance area may lead to a long and narrow passage further pointing to the top of the fort, through the Ahani and Amiri Darwaza built by Mughals.
About 500 feet from the outer gate the passage turns round at a very sharp angle and passes through the Jehangiri Darwaza.
The Darsani Darwaza, which is now flanked by defaced statues of River Goddesses Ganga and Yamuna gave access to a courtyard, along the south side of which stood the stone shrines of Lakshmi-Narayana and Ambika Devi and a Svetambara Jain temple with large idol of Rishabhanatha
The myths & history surrounding Rishabanada Jain temple of kangra fort
The Jainist temple of the fort has to unveil a curious and enchanting myth or tale. According to a local legend, King Susarmacandra, came to know about the significance of Mount Shatrunjaya, and later he took a vow to not eat or drink anything until he pays homage to Rishabhanatha at Palitana temples. It is believed that immensely pleased by the king’s devotion and determination and to save him from his vow to starve, demigoddess Ambika created a temple of Rishabhanatha at the king’s fort. After paying homage to the idol, the king broke his fast.
Within the premises of Kangra Fort lies an idol of Rishabhanatha. The inscription on the pedestal of the idol is in Sarada script. It mentions that the idol was consecrated by Jain sect Svetambara monk Amalacandra, a disciple of Acarya Abhaycandra in 854 CE.
The granite idol of Rishabhanatha is seated in Padmasana posture. An icon of bull carved on its pedestal indicates that the idol is of Rishabhanatha. However, another noteworthy feature of this idol is that it does not show a waistband and a waistcloth, as most commonly found in Svetambara [Jainist monks] icons of Tirthankaras after Bappabhattisuri’s era.Locks of hair carved on both sides of the head of the idol as well as an inscription from 854 CE, however, substantiate that the idol and the temple is of the Svetambara sect of Jainism as noted by archaeologist Sir John Marshall.
It is an astonishing fact that, this ancient bustling Jain centre fade into oblivion after migration of Jainas out of the town. The idol of Rishabhanatha was found in the Indresvara Temple. Later on, efforts to reinstall the idol were made by Svetambara Jaina nun Mrugavati. After many decades, in 1978, the idol was installed in an independent shrine within Kangra Fort. Currently, the idol is under the supervision and control of the Archaeological Survey of India. However, it is maintained as a Jain temple and Jain devotees are given the right to worship the idol.
History of Kangra fort – story of invasions & siege by Mughals & retrieval by katoch dynasty
It is the largest fort in the Himalayas and probably the oldest dated fort in India. The Kangra Fort was built by the royal Rajput family of Kangra State the Katoch dynasty, which traces its origins to the ancient Trigarta Kingdom, mentioned in the Mahabharata epic. Later years witnessed invasion by Muslim rulers in their conquest of the subcontinent which lasted many centuries.
The earliest recorded reference to the Kangra fort dates from the time of this fort’s invasion by Mahmud Ghazni in 1009 A.D. The fort was captured by Muhammad bin Tughluq in 1337 A.D., and by his successor Firuz Shah Tughluq in 1351 A.D. respectively. Khawas Khan Marwat, a superior General of Sher Shah Suri, managed to capture the fort in 1540 AD.
Raja Dharam Chand submitted to the Mughal Ruler Akbar in 1556 and agreed to pay tribute, including, renouncing claims to the fort. The fort of Kangra resisted Akbar’s siege in 1615. However, Akbar’s son Jehangir successfully subdued the fort in 1620, forcing the submission of the Raja of Chamba. Mughal Emperor Jahangir with the help of Suraj Mal garrisoned with his troops.
In 1620, Emperor Jahangir, killed that Katoch king, Raja Hari Chand and annexed the Kangra kingdom into the Mughal Empire. Under the leadership of Nawab Ali Khan and aided by Raja Jagat Singh, the fort was captured in 1620 and remained under Mughal rule until 1783. In 1621, Jahangir visited it and ordered the slaughter of a bullock there. A mosque was also built within the fort of Kangra. However, the Katoch Kings repeatedly looted Mughal controlled regions so as to weaken the Mughal control over the region in their relentless effort to be back in power in their own land.
The the decline of Mughal power inevitably happened and Raja Sansar Chand-II succeeded in recovering the ancient fort of his ancestors, in 1789. Maharaja Sansar Chand fought multiple battles with Gurkhas on one side and Sikh King Maharaja Ranjit Singh on the other. The Fort remained with the Katochs until 1828 when Ranjit Singh annexed it after Sansar Chand’s death.
The fort was finally taken by the British during the First Anglo-Sikh war after a six-week long siege. This siege was fought from mid-April to 28 May 1846. Sir Henry Lawrence reached the fort on 3 May 1846. This was the only battle fought between the Sikh forces of Kangra and the British. The British controlled the valley after defeating them and the fort. A British garrison occupied the fort until it was heavily damaged in an earthquake on the 4th of April, 1905.
Location
The Kangra Fort is located 20 kilometers from the town of Dharamsala on the outskirts of the town of Kangra, in the Kangra district.
Currently, this ancient fort[ built in 4th century] is well- maintained and well-preserved by Archaeological survey of India, with lush green lawns and exquisitely beautiful stone pavements. Visitors of kangra fort can walk over the sandstone and granite pathways experiencing the grandeur of huge walls surrounding the fort where the history of the fort is unravelled by inscriptions and sign boards. On passing over five gates of ancient architectural styles, walking over the stone pavement you may reach the temples of kangra fort. A few of them are in dilapidated condition due to an earth quake happened in this region many years ago. However you can see the walls of ancient temples and sculptures.
The fort is located over a hillock surrounded by innumerable trees of the Himalayan valley and rivers. As you ascend through the pavements to the higher elevations you may get a fantastic, breathtaking and ethereal view of azure blue sky and lush green Himalayan valley surrounding the fort. If you are a traveller with a bend to ancient history as I am this is a perfect location for delving into the past & rich heritage of the subcontinent.
How to reach kangra fort?
By air:
Gaggal airport is the nearest airport to Kangra Fort, located at a distance of only 14 km from Kangra valley. This airport is connected to Delhi through frequent flights
By train :
The nearest broad gauge railway station is Pathankot Cantt. (Chakki) at a distance of 87 km from Kangra and nearest narrow gauge railway station is Kangra mandir railway station
By bus:
Distance between New Delhi to Kangra is 471km. You can take overnight Volvo buses or can hire a taxi
Tamil Nadu is a state of unparalleled cultural vibrancy due to its vast heritage temples, art forms, festivals and being the cradle of various dance forms. Have a glimpse at Tamil Nadu’s cultural heritage.
According to historical data Tamilakam region indicates a continuous history of human occupation for more than 3,800 years. The region was inhabited by Tamil-speaking Dravidian people. The cultural heritage of Tamilakam evolved from a diverse range of empires ruled the region over many centuries.
The region was reigned by many renowned kingdoms including the Sangam period (3rd century BCE to 3rd century CE) triumvirate of the Cheras, Cholas and Pandyas, the Pallavas (3rd–9th century CE), and the later Vijayanagara Empire (14th–17th century CE). European colonization began in the 17th century CE, and lasted for over two centuries.
Tamil Nadu boasts a vibrant tapestry of cultural festivals, some of which are harvest-related such as Pongal while some of the festivals are intricately linked with the myths and legends of the land. For instance, Thaipusam is a Tamil festival celebrated on the first full moon day of the Tamil month of Thai coinciding with Pusam star and dedicated to God Murugan.
Pongal, the harvest festival, is one of the most celebrated, lasting four days and honouring the Sun God and farm animals.
The Chithirai Festival is a festival that takes place at Madurai, which puts on a grand spectacle marking the celestial wedding of Lord Sundareswarar and Goddess Meenakshi.
The state has a rich cultural heritage steeped in history and myth and people of this land still preserve it with great fervour and passion.
Dravidian temple architecture of Tamil Nadu
The state is famous for its temple architectural styles and millions of pilgrims visit Tamil Nadu from all over the world every year. Dravidian architecture style of temple architecture defines the spiritual landscape of the state. The temples consisted of a central sanctum (garbhagriha) topped by pyramidal tower or vimana, porches or mantapas preceding the door leading to the sanctum and large gate-pyramids or gopurams on the quadrangular enclosures that surround the temple. Besides these, they consisted of large pillared halls and one or more water tanks or wells.
Murals &Fresco paintings adorn Tamilakam temples
Tamil paintings are usually centered around natural, religious or aesthetic themes. Sittanavasal is a rock-cut monastery and temple attributed to Pandyas and Pallavas which consist of frescoes and murals from the 7th century CE, painted with vegetable and mineral dyes in over a thin wet surface of lime plaster.
The murals on the Ranganathaswamy Temple at Srirangam and the Brihadeeswarar temple at Thanjavur are amazing examples.
One of the major forms of Tamil ancient painting is Thanjavur painting. Thanjavoor painting originated in the 16th century CE. In this visual art form, a base made of cloth and coated with zinc oxide is painted using dyes and then decorated with semi-precious stones, as well as silver or gold threads.
The musical heritage history of Tamilakam
The ancient Tamilakam region had its own system of music called Tamil Pannisai.
The Sangam literature, Silappatikaram from 2nd century CE states about music notes and instruments.
From the 9th century CE, Shaivite hymns Thevaram and Vaishnavite hymns Tiruvaymoli were sung along while musical instruments were played in the background.
There are many traditional instruments received from the region dating back to the Sangam period such as parai, tharai, yazh,and murasu. Nadaswaram, a reed instrument that is often accompanied by the thavil, a type of drum instrument are the major musical instruments used in temples and weddings.
Melam is from a group of percussion instruments from the ancient Tamilakam which are played during events and functions.
Carnatic music originated later from the region which included rhythmic and structured music by composers such as Thyagaraja, Muthuswami Dikshitar, and Shyama Shastri.
Villu Paatu is an ancient form of musical story-telling method where narration is interspersed with music played from a string bow and accompanying instruments.
Gaana is a combination of various folk music sung mainly in Chennai region of Tamil Nadu.
Tamilakam -the cradle of Bharatanatyam
Bharatanatyam is a major genre of Indian classical dance that originated from Tamil Nadu and reached global platforms through talented and renowned artists from the country. It is one of the oldest classical dance forms of India.
There are many folk-dance forms that originated and are practiced in Tamil Naadu.
Karakattam involves dancers balancing decorated pot(s) on the head while making dance movements with the body.
Kavadiattam is part of a ceremonial act of sacrifice, wherein the dancers bear a kavadi, an arch shaped wooden stick balanced on the shoulders with weights on both the ends.
Kolattam is a folk-dance form performed by women in which two small sticks (kols) are crisscrossed to make specific rhythms while singing songs.
Kummi is similar to Kolattam, with slight difference that hands are used to make sounds while dancing instead of sticks used in the later.
Mayilattam is another folk-dance form. In Mayilattam, dancers wear attires and outfits resembling the peacocks and peacock feathers and head dresses. They perform movements to various folk songs and tunes while trying to imitate the movements of a peacock.
Koothu is a form of theatre performance usually happening on streets. The play consists of dance along with music, narration and singing. The performers wear elaborate wooden headgear, special costumes with swirling skirts, ornaments such as heavy anklets along with prominent face painting and make-up. This art of Koothu is performed during festivals in open places and streets and it is dedicated to goddesses such as Mariamman or Draupadi with stories drawn from Hindu epics, mythology and folklore.
Bommalattam is a type of puppetry that uses various doll marionettes manipulated by rods and strings attached to them.
The themes are drawn from various Hindu scriptures such as the Puranas and epics and/with local folklore.
Cultural festivals of Tamil Nadu
The state of Tamil Nadu has been celebrating many cultural festivals commemorating its ancient pride and grandeur. Most of these festivals are connected to the epics and the divinity associated with the landscape.
Chithirai Festival is a festival that takes place at Madurai, which puts on a grand spectacle marking the celestial wedding of Lord Sundareswarar and Goddess Meenakshi.
Pongal
Pongal is a major and multi-day harvest festival celebrated by Tamils in the month of Thai according to the Tamil solar calendar (usually falls on 14 or 15 January). The harvest festival also has a sacred linking with Indian mythology as it dedicated to the Sun God .This festival is named after the ceremonial “Pongal”[ meaning -to boil, overflow] which is the traditional dish prepared from the new harvest of rice boiled in milk with jaggery offered to Surya.
Mattu Pongal is meant for celebration of cattle when the cattle are bathed, their horns polished and painted in bright colors, garlands of flowers placed around their necks and processions.
Jallikattu is yet another traditional event held during the Pongal festival period. In this event a bull is released into a crowd of people, and multiple human participants attempt to grab the large hump on the bull’s back with both arms and hang on to it while the bull attempts to escape. Although it is a scary event jeopardizing human lives and has claimed legal attention several times it part of the tradition of the state.
Karthikai Deepam is a festival of lights that is observed on the full moon day of the Kartika month, called the Kartika Pournami, [on the months of November or December].
Aadi Perukku is a Tamil cultural festival celebrated on the 18th day of the Tamil month of Adi which pays tribute to water’s life-sustaining properties. The worship of Amman and Ayyanar deities are organized during the month in temples across Tamil Nadu with much fanfare.
Panguni Uthiram is a festival marked on the purnima (full moon) of the month of Panguni and celebrates the wedding of various Hindu gods.
Vinayaka Chaturthi is a festival of Lord Ganesha. It is celebrated with special temple poojas to pay respect to Lord Ganesha. On the fourth day after the new moon in the Tamil month of Avani, devotees start eleven days of celebrations by worshipping clay idols of the Lord. These idols will be installed outdoors in pandals or marquees. The legend linked with this festival is that it was on this day that Lord Shiva beheaded Lord Ganesh for refusing him entry into his abode. Lord Ganesh was guarding Lord Parvati while she was taking a bath. Later, Lord Shiva brought him back to life, by replacing his head with that of an elephant. Pran Pratishtha, Shodashopachara, Uttar Puja and Ganpati Visarjan are the four rituals associated with the festival. Grand celebrations are held at the Vinayaka temples on this day.
Mahamaham
This bathing ritual is celebrated once in 12 years in the quaint town of Kumbakonam and it is a festival event attracting huge crowd.
The Mahamaham festival is a bathing ritual that is believed to cleanse one of all sins. The bathing takes place in the Mahamaham tank that is situated at the heart of the land of temples. The date and time for the celebration of this festival is calculated according to the astrological positions of planets.
There is a myth associated with this holy bath. It was the prayer by the holy rivers Ganga, Yamuna, Sarayu, Cauvery, Saraswati, Mahanadi and Narmada which paved way for Mahamaham bathing festival. These river goddesses prayed to Lord Bhrahma to get rid of the sins of theirs that occurred by humans washing in these rivers. As they prayed to Lord Brahma, he instructed them to take a bath in Mahamaham waters together so that they attain purity. Since that time, it is believed that the Mahamaham tank comprise of the waters of all the holy rivers and taking a dip in the tank is equivalent to taking a dip in all the holy rivers.
During the mahamaham festival Kumbakonam town bustles with celebration and the fervour of devotion. During the event the whole town glistens with lamps and vibrant colours.
Natyanjali dance festival
Natyanjali is an annual classical Indian dance festival. It denotes to the dance festival at Chidambaram Nataraja temple. Originally, the festival was introduced at the Chidambaram temple, but nowadays it has been organized at many other temples in Kumbakonam, Thanjavur, Chennai, Nagapatinam, Mayavaram, Thirunallar, Thiruvanaikoil, etc.
This dance festival provides an opportunity for all dancers, from all over India, to perform and to pay their tribute to Lord Nataraja. It begins on the auspicious occasion of MahaShivarathiri. Many famous dancers from all over the country congregate and dance in the temple as an offering to Lord Nataraja on this occasion.
Other notable cultural festivals of Tamilnadu include Thaipusam, a spiritual celebration honouring Lord Murugan. Tamil Nadu also celebrates Navaratri & Deepavali festivals with its vibrance and fervour.
Chennai Sangamam is yet another big Tamil cultural festival held in Chennai every year with the noble purpose of rejuvenating the old village festivals , folk art forms and for encouraging artists from the remote hamlets of Tamil Nadu.
Location of Tamil Nadu
Coordinates: 11°N 79°E
Country India
Region South India
It is a south Indian state of India with many heritage spots.
Madhubani paintings is a popular art form which has been widely used in Indian ethnic fashion for many decades. It is passionately loved by Indian fashion aficionados across the globe and fabrics and outfits with madhubani paintings are in huge demand. This ancient ethnic art originated from Madhubani district of the Mithila region of present Bihar,India. Madhubani paintings use two-dimensional imagery, and traditional colors derived from nature.
Madhubani art mostly depicts people and their intricate connection with nature along with scenes and deities from the ancient epics. This painting style is named after the Madhubani district of Bihar, India, where it originated.
It is a style of painting practiced in the Mithila region of India and Nepal and hence Madhubani art is also known as Mithila art.
Mithila painting’s themes include natural objects like the sun, the moon, and sacred plants like Tulsi along with scenes from the royal court and social events like weddings. In this art form the gaps between main figures and objects are filled by paintings of flowers, animals, birds etc. It includes geometric designs also.
The origin & style of Madhubani painting
The Madhubani art is traditionally practiced for many decades by women of Jitwarpur, Ranti and Rasidpur. The paintings were traditionally done on freshly plastered mud walls and floors of huts, but later they started doing it on cloth, handmade paper and canvas.
Madhubani paintings use traditional colors derived from nature. The pigments used for making this art include vermilion powder mixed with grounded mustard seeds for red, cow dung mixed with lampblack for greenish black, rice paste for white, Pevdi for lemon yellow, turmeric for yellow ochre, Indigo for blue, palash flower for orange, bilva leaf for green, and red clay for indian red.
Gum arabic or goat’s milk constitutes the paint’s binder. Gum arabic is used for painting on paper and goat’s milk used mainly for wall paintings.
The paint is created using natural dyes and pigments such as ochre and lampblack are used for reddish brown and black respectively.
The creation of painting is done using twigs, brushes, nib-pens, matchsticks and sometimes with fingers. Still the artists continue to utilize traditional brushes, which consist of bamboo slivers, rags, and sticks.
Madhubani painting art is still confined to specific geographical area and the skills have been passed on to generations through centuries. However, the content and the style of Madhubani painting have not transformed overtime. It has stood the test of time with its unique and exquisite style and popularity. Thus, Madhubani painting has received GI (Geographical Indication) status.
The paintings are characterized by their astounding geometrical patterns. There is also ritual content made available for particular occasions, such as birth or marriage, and festivals, such as Holi, Surya Shasti, Kali Puja, Upanayana, and Durga Puja.
Mithila art has five distinctive styles:
Bharni
Katchni
Tantrik
Godna
Kohbar
In the 1960s, Bharni and Tantrik styles of Madhubani art were predominantly created by Brahmin women in India and Nepal, focusing on religious themes and depictions of gods and goddesses.
Artists from other castes incorporated elements from their daily lives, local legends like the story of Raja Shailesh, and various symbols into their paintings.
Khobar style Madhubani
It is also known as puren , and it is traditionally painted on the wall of a Mithila wedding chamber, where a bride and groom spend their first night together. They most often depict circular motifs made up on feminized faces, and lines drawn in red and black ink. There are both Brahman and Kayastha versions of the Khobar style.
Madhubani mythological linking
Madhubani paintings also known as Mithila art has a mythological linking with epic Ramayana. It is believed that the Mahbubani painting was first created at Mithila, the birthplace of Hindu goddess Sita of Ramayana. According to the epic, Mithila is the birthplace of Sita and she was the daughter of king Janak. During the marriage rituals of Lord Ram and Sita , King Janak asked to capture the moments of marriage as paintings.
Later Madhubani painting was traditionally created by the women of various communities in the Mithila region for many centuries.
Madhubani painting -on the trajectory of growth &popularity
Deliberate and consistent efforts have been taken by many institutions in India to sustain this beautiful ancient art form. It is still practiced and kept alive in institutions spread across the Mithila region. Kalakriti in Darbhanga.
Vaidehi in Benipatti in Madhubani district and Gram Vikas Parishad in Ranti are some of the major centres of Madhubani painting which have taken taken tremendous efforts to preserve & sustain this ancient art form for generations yet to come and it is indeed awe-inspiring.
Madhubani artists have been featured in multiple museum collections and exhibitions, including a UNESCO Christmas card collection and an exhibit from San Francisco’s Asian Art Museum titled Painting is My Everything: Art From India’s Mithila Region. It denotes the global recognition this ancient art form has achieved over the years.
In contemporary times, Madhubani art has evolved into a global art form, transcending caste distinctions unlike as in the past. Artists now freely work across all five styles of Madhubani, and has gained international recognition.
Nation honouring the artisans of Midhila paintings
Madubani artists have been honoured by the government of India several times and still it is a continuing tradition. Madhubani painting received official recognition for the first time in 1969 when Sita Devi received the State award by the Government of Bihar. Later Indian government honoured her with National Award also. Mamta Devi from the village Jitwarpur also received the National Award.
Jagdamba Devi from Bhajparaul, was honoured with Padma Shri by the nation in 1975. In 1984 Ganga Devi was awarded by Padma Shri& Mahasundari Devi received the Padma Shri in 2011.
Bhimbetka in Madhya Pradesh stands tall with the grandeur of seven hills and over 750 rock shelters with cave paintings of ancient times, distributed over 10 km.
It is a UNESCO World Heritage Site near Bhopal, renowned for its rock shelters and cave paintings. Bhimbetka has the oldest-known rock art in India, as well as it is one of the largest prehistoric complexes.
The place name Bhimbetka originated from a myth related to Bhima of Mahabharatha . Bhimbetka means “Bhima’s resting place” or “Bhima’s lounge”.
This amazing rock shelter consists of seven hills: Vinayaka, Bhonrawali, Bhimbetka, Lakha Juar (east and west), Jhondra and Muni Babaki Pahari
South of these rock shelters are successive ranges of the Satpura hills. It is within the Ratapani Wildlife Sanctuary, embedded in sandstone rocks, in the foothills of the Vindhya Range.
The Auditorium rock is the largest shelter at Bhimbetka. According to the accounts of Robert G. Bednarik this prehistoric cave has “cathedral-like” ambience with its Gothic arches and soaring spaces.
There is an ancient Mata Vaishavi Temple in Bhimbetka.
Location
Bhimbetka rock shelter is situated at Bhojpur Raisen in Bhopal District about 45 kilometres south-east of Bhopal, at the southern edge of the Vindhya Range.
Historical significance
Bhimbetka is a scenic and picturesque site with it is world famous rock shelters which throw light into the earliest traces of human life in India and evidence of the Stone Age starting at the site in Acheulean times.
Some of the Bhimbetka rock shelters feature prehistoric cave paintings and the earliest are dated to 10,000 BCE, corresponding to the Indian Mesolithic.
These cave paintings depict various types of animals and human figures with early evidence of community living with dance and hunting from the Stone Age. The paintings also depict warriors on horseback from a later time.
Link with Mythology
Indigenous people of Bhimbetka believes that Bhima during his exile used to rest here to interact with the locals. There is also a narrative that Bhima Worshiped Mata Vaishavi at this location and blessed for concurring the forthcoming war.
Auditorium cave.
The cave is one of the prominent features of Bhimbetka which throws light into the history of this place. It is surrounded by quartzite towers.
The cave’s plan is similar to a “right-angled cross” with four of its branches aligned to the four cardinal directions. The main entrance points to the east. At the end of this eastern passage, at the cave’s entrance, is a boulder with a near-vertical panel that is distinctive, one visible from distance and all directions – Chief’s Rock” or “King’s Rock]. The boulder with the Auditorium cave is the central feature of the Bhimbetka.
Cave paintings of Bhimbetka unravel the evolution of a civilization
The rock shelters and caves of Bhimbetka have a large number of paintings. Some of the oldest paintings are dated to 10,000 BCE.
It was W. Kincaid, a British India era official who first mentioned Bhimbetka in a scholarly paper in 1888.But the archeological significance of this rock caves was found by V. S. Wakankar. However, the prehistoric significance of Bhimbetka was revealed only in the 1970s.
There was human settlement here from the Stone Age through the late Acheulian to the late Mesolithic until the 2nd century BCE. The artefacts from the excavation site and the pigments present in deposits, as well as the rock paintings points to that.
The drawings and paintings of Bhimbetka can be classified under seven different periods.
V. S. Wakankar classified the drawings and paintings into seven different periods and dated the earliest paintings to have belonged to the upper Palaeolithic to be as early as 40,000 years ago
The colours used are vegetable colours which have endured through time because the drawings were generally made deep inside a niche or on inner walls.
Period I – (Upper Paleolithic): These are linear representations in green and include humans dancing and hunting.
Period II – (Mesolithic): small figures in this group show linear decorations on the body. There is animal as well as human figures and hunting scenes with the weapons such as barbed spears, pointed sticks, bows and arrows. The types of weapons used are clear indicators to the periods of history.
Tribal wars also have been portrayed here. The depiction of communal dances, birds, musical instruments, mothers and children, pregnant women, men carrying dead animals, drinking and burials are detected among the paintings.
Period III – (Chalcolithic) – These resemble paintings of the Mesolithic. These paintings denote that during this period the cave dwellers of this area were in contact with the agricultural communities of the Malwa plains, exchanging goods with them.
Period IV & V – (Early historic): The figures of this group have a schematic and decorative style and are painted mainly in red, white and yellow colors.
The association is of riders, depiction of religious symbols, tunic-like dresses and the existence of scripts of different periods.
The figures of yakshas, tree gods and magical sky chariots also have been found here.
Period VI & VII – (Medieval): These paintings are geometric linear and more schematic, however they show degeneration and crudeness in their artistic style. The colors used in these paintings seems to be prepared by combining black manganese oxides, red hematite and charcoal.
In one of the desolate rock shelters, the painting of a man holding a trident-like object and dancing has been found and it is assumed by many as Lord Shiva.
Many paintings of Bhimbetka has been lost or degenerated overtime.
It has been estimated that paintings of at least 100 rock shelters might have eroded away.
Bhimbetka stands with its numerous rock shelters in the lush green valley of Vindya ranges, since many centuries unravelling the history of mankind. It offers new lessons for exploring our roots taking a stroll through the depth of the caves which unfolds the untold history of people who thrived here centuries and decades ago.
How to reach Bhimbetka?
By air : Raja Bhoj Airport is the major airport of Bhopal, located around 15 km from the city center in Bairagarh suburban area on National Highway 12. Bhopal is well connected to the metros other cities by various companies’ airlines.
To reach Bhimbetka Rock Shelters from Bhopal, you can take a bus or taxi on NH46, which is about a 46 km drive.
By rail: The nearest railway station to the Bhimbetka Rock Shelters is Bhopal Junction (BPL]. It is served by the West Central Railways. Bhopal is on one of the two main Delhi to Mumbai railway lines and also on the main line to the southern state capitals of Chennai, Hyderabad, Bangalore and Thiruvananthpuram.
By road:
The nearest bus stand to the Bhimbetka Rock Shelters is Obaidullaganj, which is about 9 km away, and buses from Bhopal can take you there.
Pattachitra arts is a form of fabric painting known for its intricate details as well as mythological narratives and folktales inscribed in it.
Pattachitra is one of the ancient artworks of Odisha ,Bengal & Bangladesh. In Sanskrit, the word paṭṭa means “cloth” and chitra means “picture”. Most of these paintings depict stories of Hindu mythology.
This ancient painting art is a general term for traditional, cloth-based scroll painting, based in the eastern Indian states of Odisha, West Bengal and parts of Bangladesh.
There are chiefly two important categories of pattachitra painting- Odisha pattachitra and Bengal pattachitra.
Hisory
Originally this art form was created for ritual use and as souvenirs for pilgrims to Puri, as well as other temples in Odisha.
Patachitras are also a component of an ancient Bengali narrative art, originally serving as a visual device during the performance of a song.
Charanachitras, Mankhas, Yamapatas were ancient form of paintings out of which Pattachitra paintings seem to be evolved. Pattachitra paintings are over more than thousand years old.
Odisha pattachitra painting
Pattachitra style of painting is one of the oldest and most popular art forms of Odisha. Most of the paintings depicts Hindu mythology stories. They seem to be inspired by Jagannath and Vaishnava sect. All colours used in the Paintings are natural and paintings are made in old traditional way by Chitrakaras or Odiya Painter.
There are different categories of Pattachitra from the point of view of medium used for painting, i.e. paintings on cloth are called ‘Patta Chitra’ .
Paintings on walls are known as ‘Bhitti Chitra’ and paintings on palm leaf engravings as “Tala Patra Chitra’ or “Pothi, Chitra’.
The style of all the three painting arts remains more or less the same at a specific time as then the artists were commissioned to work in all these media.
The pattachitra paintings are similar to the old murals of Odisha particularly of religious centres of Puri, Konark and Bhubaneshwar region [ 5th century BC]. The oldest record of Pattachitra Paintings is related to the time of establishment of the shrine of Shri Jagannath temple at Puri. However, the oldest classical marble paintings of Sitabanji at Keonjhar do not conform to the present style of Patta painting wholly.
Pattachitra themes
The theme of Odia Pattachitra painting mostly portrays Lord Jagannath and the Vaishnava sect of Hindu mythology. Lord Jagannath is believed as an incarnation of Lord Krishna. The theme also include Balabhadra and Subhadra, temple activities, the ten incarnations of Vishnu basing on the ‘Gita Govinda’ of Jayadev, Kama Kujara Navagunjara, Ramayana, Mahabharata. The dress style portrayed in the paintings has Mughal influences.
The background on which the figures are represented in pattachitra is delineated with decorations of flowers and foliages and is mostly painted in red colour. All the paintings are given decorative borders.
Pattachitra painting method
Pattachitra paintings are done on small strips of cotton cloth. The canvas is prepared by coating the clothing with a mixture of chalk and gum made from Guar or tamarind seeds. Then it is rubbed by taking the help of two different stones and then the cloth is dried. The mixture of gum and chalk gives the cloth’s surface a leathery finish on which the artists paint with vegetable, earth and stone colours.
The chitrakar or painter simply draw over the cloth canvas made, with the brush either in light red or yellow colour. Then the colours are filled in. The final lines are drawn and the painting is given a lacquer coating to protect it from weather, thus making the painting glossy. The painting is held over a fireplace so that the back of the painting is exposed to heat. On the surface of the painting fine lacquer is applied.
The pattachitra painters prepare their own colours or paints. White colour is made from the conch-shells by powdering, boiling and filtering through a complicated process. Although this process requires great effort and patience it gives brilliance and permanence to the hue.
‘Hingula’, a mineral colour, is used for red. ‘Haritala’, king of stone ingredients for yellow, ‘Ramaraja’ a sort of indigo for blue are being used in pattachitra painting. Pure lamp-black or black colour is prepared from the burning of coconut shell.
The brushes that are used by the painters of this art form are also indigenous and are made of hair of domestic animals. A bunch of hair tied to the end of a bamboo stick and the brush is made.
Palm leaf Pattachitra
Palm leaf pattachitra which is in Oriya language known as Tala Pattachitra drawn on palm leaf. The palm leaves are plucked and left for becoming hard. Then these are sewn together to form like a canvas. The images are traced by using black or white ink to fill grooves etched on rows of equal-sized panels of palm leaf that are sewn together. These panels can also be easily folded like a fan and packed in a compact pile for better conservation.
Often palm-leaf illustrations are more elaborated, obtaining by superimposing layers that are glued together for most of the surface, but in some areas can open like small windows to reveal a second image under the first layer.
Bengal Patachitra
The Bengal Patachitra refers to the ancient painting art of West Bengal and Bangladesh. It is a traditional and mythological heritage of West Bengal. The Bengal Patachitra is categorized into various types like Durga Pat, Chalchitra, Tribal Patachitra, Medinipur Patachitra, and Kalighat Patachitra.
The theme of Bengal Patachitra is mostly mythological, religious stories, folk lore and social. The Kalighat Patachitra, the last tradition of Bengal Patachitra is developed by Jamini Roy. The artist of the Bengal Patachitra is called Patua.
These religious pots[ painting] encompass the story of Hindu epics like, mythology, Ramayana, Mahabharata narrating stories of Hindu gods and goddesses like Radha Krishna, Chaitanya, Kali, Shiba and the indigenous Bengali folklore of Manasha and Chandi, Behula and Lakshinder .
Secular pots depict important news events, scandals accidents etc. such as bus accidents at Narayangarh, rural elections, the rationing system, family planning, evils of the dowry system etc.
Every Bengal Patachitra has a song related to it, which the artists sing while unfurling the Patachitra. Singing pot in Bengal is called Patua Sangeet. Patua Sangeet or Poter Gan is a cultural tradition of the singing Bengal Patachitra.
It is famous in the village part of West Bengal like Birbhum, Jhargram, Bardhaman and Murshidabad as a folk song of West Bengal.
Chalchitra is a part of Bengal Patachitra, It referred to the Debi Chal or Durga chala, the background of the Durga Pratima or idol.
Patua or the artists of Chalchitra called it as Pata Lekha, means the writing of Patachitra. 300–400 years old idols of Nabadwip Shakta Rash used Chalchitra as a part of Pratima.
Durga pot or Durga sara is recognised as the worshiped patachitra. It worshiped in the Hatsarandi Sutradhar society of Birbhum district on Durga puja time. This type of patachitra is also worshiped is Katwa. Durga Pot has a hemispherical Patachitra where Patachitra of Durga is in the middle position.
Ram, Sita, Shib, Nandi-Vringi, Brahma, Vishnu, Shumbha-Nishumbha are painted on this kind of Chalchitra. These paintings have elements of symbolism and cultural significance.
Use of natural color is one of the individual characteristics of the Bengal Patachitra. In general, blue, yellow, green, red, brown, black and white are used in the Patachitra of West Bengal. Chalk dust is used for white color, pauri for yellow color, cultivated indigo for blue, bhushakali for black and mete sindur for red color.
The seated figures of Dasaratha and Chand Sadagar of Medinipur crowning the Ramayana and Kamale-Kamini scrolls are impressive and monumental.
Bengal Patua artists carry the occupational surname of ‘Chitrakar’. They are concentrated in the village of Naya in Medinipur district of West Bengal.
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Kedaraswara temple in Balligavi , near Shikaripura in Shivamogga district of Karnataka is a Shiva temple built in trikuta style .It is a heritage site & protected monument under archeological survey of India [ASI]. The temple is presumed to be built during 11th century by the Hoysala kings who were feudatory of Western Chalukyan empire.
Location
Balligavi is a small town located in Shikaripura taluk, Shivamogga district, Karnataka, India.
It is an ancient Shiva temple where devotees from various parts of Karnataka and neighbouring states visit particularly during festivals like Shravana and Shivratri. The ancient Kedareswara temple is famous for its architectural significance and it is easily accessible from National highway.
The temple premises also include an artgallery with statues, paintings and sculptures of Hindu gods and goddesses from various centuries. Some of them are in dilapidated conditions.
Visiting Balligavi offers a delightful experience to devotees as well as individuals who are keen to understand the archeological significance of this heritage monument. Sri kedareswara temple is situated in Balligavi town at a picturesque place surrounded by lush green vegetation.
History
The town Balligavi is very ancient and it is mentioned in medieval inscriptions as Anadi rajadhani. Balligavi was a renowned town during the rule of western Chalukyas in 11th-12 th century. The golden age of Balligavi was during the rule of the Western Chalukya Empire during the 10th-12th centuries.
The ancient kedaraswara temple is built in distinctHoysala architectural style.
The temple has the cella [garbhagriha] with the Shivalinga [ universal symbol of Shiva ,the Hidu god].
During ancient times the temple was known as the centre of kalamukha sect of shaivism. The famous festivals celebrated in the temple are shravana and mahashivratri.
Kedareswara Temple architecture
The ancient kedareswara temple is built in trikuta style or having three shines with shikara facing east north and south. The temple shrines are capped by decorative towers of Hoysala style with kalasha on the top. According to the Mysore archaeological department , Kedareswara temple is the oldest example of the Western Chalukya- Hoysala architectural combinational style in Karnataka.
The western shrine has a vestibule and all the three shrines conjointly open to mahamandapa which is preceded by a sabhamandapa. The western shrine is presumed to be the oldest one. The western shrine is the oldest dating from the 7th or 8th century.
All shrines open up to a six-pillared hall called “mahamantapa” which is preceded by a large ornate open space called “sabhamantapa”.
The layout of the gathering hall or sabhamandapa is “staggered square” which has the effect of creating projections and recesses. Each projection of the wall has a complete “architectural articulation” (achieved by repetitive decoration). The gathering hall has entrances from the north, south and eastern directions.
The ceiling of the mantapa is flat and the inner ceiling is well carved with lotuses in them. The central ceiling has the carving of Tandaveshwara (dancing Shiva) with eight dikpalakas (guards).
The distinctive Hoysala crest symbol is evident in this temple also. The dome is a large sculpted piece known as helmet or amalaka. This is an excellent example of a trikuta “triple towers” temple in a transitional Western Chalukya-Hoysala architecture.
The superstructures over the shrines are 3-tiered (tritala arpita) vesara (combination of south and north Indian style) with the sculptural details being repeated in each tier.
Kedareswara temple has all the distinctive architectural styles of a Hoysala architectural monument. It includes the large decorative domed roof over the tower; the kalasha on top of it and the Hoysala crest (emblem of the Hoysala warrior stabbing a lion) over the sukhanasi (tower over the vestibule).
The dome is the largest sculptural piece in the temple with ground surface area of about 2×2 meters and is called the “helmet” or amalaka.
Its shape usually follows that of the shrine (square or star shape). The tower over the vestibules of the three shrines appear as low protrusions of the main tower .
The shrine interior :
The entrance to the shrine which faces east has a Nandi, the bull and a celestial attendant of Shiva.
The central shrine has a Shiv linga made from black marble .
The shrine to the south has a linga called Brahma and the shrine to the north has a statue of Janardhana (Vishnu).
The exterior architecture:
The exterior walls of temple are bult in “staggered-square” style with many projections and recesses which is a Hoysala design. The outer walls of the open mandapa (hall) have carvings of women wearing fine jewellery. Two Hoysala emblems were added in 1060 CE by king Vinayaditya.
The superstructure (tower) of the vimana is well- decorated with sculptures of Tandaveshwara, Varaha, Uma Narasimha, Bhairava etc. (avatars of Shiva and Vishnu) and the sukanasi of all three towers still exist.
How to reach Balligavi?
Nearest air ports
Hubbli airport is 130 km away.
Belgaum airport is 224km away from Balligavi town.
Nearest railway station
Shikaripura railway station is the nearest.
By road:
Bus services are available to Balligavi from nearby places like Shivamogga , Uduppi , Shikaripura etc.
From Shivamogga to Balligavi the distance is 74kms by bus or cab .
From Mangaluru to Uduppi buses or cabs are easily available and Uduppi to Shivamogga bus services reach Balligavi also.
[ Mangluru to Balligavi 234.2 kms]
References
A Concise History of Karnataka, pp 116-117, Dr. S.U. Kamath
