BANARASI SAREE

Banarasi SAREE In the world of fashion ‘Banarasi Saree’ remains the Indian ‘SUN’ and has been a subject of great inspiration and appreciation for world-wide costume connoisseurs. These proposed episodes would try to fathom its historical continuance, record its traditions which goes from generation to generation and unveil the intricacies which goes towards making this Banarasi Saree an art and aesthetics. In short it would enter the subject from the raw materials and show the process to the final product and packaging.

It was in the Mughal era Baranasi saree came into popularity and got fashion currency. Today these sarees are being exported world-wide. Around 125 km of Varanasi this art of making Banarai saree is surviving since olden days. It was during the mughal times when all arts be it persian, rajasthan or other indian school got amalgamated to create a fusion of aesthetics. Same goes for costume as well. The persian motifs and Indian designs on silk texture studded with gold and silver remained the cue of Mughal patronage. Elaborate pure gold and silver designs are today rare still the zari has rightfully taken its position as an apt replacement.

Today there are mainly four varieties of Banarasi saree available. Those are Pure Silk (Katan); Shattir, Organza which is fine kora with zari and silk works and finally the Georgette . If you go to varanasi you would find some 10,000 shops selling Banarai Saree which is more a cottage industry for several million people around Varanasi which includes Gorakpur and Azamgarh as well. Around 60 percent of artisans are Muslim for whom weaving this art is their tradition. Ramzan Ali,an old traditional weaver said ‘After the partition of India people tried to take up this art ‘Banarasi Saree’ in distant land but could not produce an equivocal quality….there is something in this earth which makes the creation of Varanasi Saree possible’.

Once the saree is created those come to Gol Garj and Kunj Gali where Banarasi sarees are sold in wholesale rates. There several hundred shops where every morning people from different villages come to deliver ‘created’ sarees to the market. There are some 10 shops whose turn over they say even cross 80 crores in toto.

Thus we see for creation of Banarasi Saree one requires different experts right from the gauging the quality of Resham until marketing. All these goes towards creation of the unique saree which is envied by saree weavers from all over. Its no simple weaving rather those are functional art of India which is going on for centuries within a great fabric of Indian traditional weavers.

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Indian Culture-Tamples

Hindu temples were not meant for large congregational worship. Pillared Mandapas with elaborate sculptures, sadas for dancing & wide circumbulating passages with other deities placed around the main deity constitute a temple complex.The prominent forms of temple designs are the North Indian Temples & Southern Indian Temples. There were changes in styles, but certain basic rules fundamental to Hinduism were followed regarding the position of the garba griha, directions of the other deities, etc. The exact birth of the history of temples cannot be traced exactly. The earliest temples were constructed of perishable materials like timber & clay. Next came the cave rock-cut structures. Elaborate structural temples with ornate architecture & sculpture came into existence much later. The Gupta period marks the beginning of structural temples & a wide variety of styles were adopted. The temples were built of brick & stone. The Hindu temples can be broadly classified into three basic styles - Nagara, Vesara & Dravida according to the Silpasastras. The styles are not strictly restricted to particular regions. There is an intermingling of styles, but it can be broadly considered that a particular style was more prominent in a specific region. (Northern, Deccani, Southern styles).

The construction of a temple is a religious act, thus great care is taken to ensure that all rules & conditions laid down are adhered to strictly, starting from the land selected for the temple. The location has to be appropriate in the sense that it should be a clean, serene place to invoke peace.For all power to get concentrated in the vigraham, the norms as laid down has to be followed in every step. None of these rules are the whims of our ancestors, but based on hard scientific facts. The vigraha also has to be made according to specifications. The main deity is housed in the garbagriham & there are Utsava murthis made of bronze Civilisation in India had flourished along the banks of her rivers, off the sea-shores & in semi arid regions. Depending on the locale, materials like wood, mud, bricks, tatches woven of palm & coconut leaves have been used. Huge stones had also been used to create archways, temples etc.,

Hinduism is supposed to be 'apauruseya', i.e., of impersonal origin & so also are the Gods of Hinduism. They are eternal & though the deities appear to be different & independent, they are really facets of the same Brahman, the Supreme God.as Sri Ramakrishna says, there can be as many spiritual paths as there are spiritual aspirants & similarly there can really be as many Gods as there are devotees to suit the moods, feelings, emotions & social background of the devotees.The Hindu scriptures were eloquent while describing the qualities of God. He is all-knowing & all powerful. He is the very personification of justice, love & beauty. He is ever ready to shower His grace, mercy & blessings on His creation. From the Rig Veda, we come to know of the vedic gods eight Vasus, eleven Rudras, twelve Adityas, Indra & Prajapathi, being the Gods of earth, the heavens & the space. The main Hindu Gods as we accept today can be broadly classified as Saiva Gods (Siva, His consort, His sons, His other forms), Vaishnava Gods (Vishnu, His consort, His various avatharams)& Sakthi or Saktha (Forms of Goddess Sakthi).

Coping With A Mixed Culture Relationship

As the world continues to shrink, and people become increasingly accustomed to moving country as one time they moved town, there is an increasing trend for mixed culture relationships. At one time, such relationships met with society's disapproval, but nowadays it's commonplace to see couples of obvious mixed backgrounds walking hand-in-hand in the shopping mall. If you find yourself involved with someone from a different cultural background to your own, there are ways of merging the two cultures so that rather than having two separate ones, you create a special mixed one that you can both happily live with. Mixed culture could mean different ethnicity, different religions, different languages, or even different social status. It could even mean a combination of some or most of these! In order to merge the two, you both need to first have a good base of respect for your partner's culture. You need to learn what is important to that culture in order to see where the blending areas are. In the case of religion, this may not be possible - but if you love and respect your partner, it's not necessary for you to convert to their religion, only that you both mutually respect the other's right to your own belief system.

Attribute of Airtist

When newly elected Socialist President François Mitterand announced that I. M. Pei had been hired to design the entrance to the Louvre, many critics flew to their respective podiums. How could a political party so outspoken about U.S. imperialism allow an American to resurrect their most sacred space? Many balked at the American association, scowling as they remembered art's exodus from the cafés of Paris to the lofts of New York.

Pei's supporters pointed out that he was an American who was born in China, a perfect consolidation of the West's flashiness and the East's efficiency. Pei had also been schooled in the Modernist tradition, a European baby if there ever was one. After all, at Harvard he had studied under the Bauhaus masters Walter Gropius and Marcel Breuer.

When the Louvre's new glass pyramids (one of which towered 70 feet above the ground) were uncovered, a vast public gasp was heard across Paris. The juxtaposition seemed outrageous, to say the least. The great French tradition had been compromised, the aesthetic line of the venerable structure ripped to shreds by these angular shapes erupting from amongst the cobblestones.

Again, his supporters came out in droves. They contended that only abstract forms and materials were simple enough to compliment the Louvre's beauty. His open atrium proved incredibly efficient, enlivened by balconies and escalators descending into a modernized space. Meanwhile, Ieoh Ming Pei had become perhaps the most recognized name in architecture since Frank Lloyd Wright.

The man behind the scandal was born in Canton in 1917, but left China at the age of 18 to make a name for himself in America. He immediately found a place at MIT and completed his bachelor's degree there in 1940. However, it seems the defining years of his career began when Pei went on to graduate school at Harvard. Pei had begun teaching at Harvard when he was hired at Hugh Asher Stubbins in 1946 (just three years before Mao would control all of mainland China). After two years, New York beckoned -- he moved to Webb & Knapp, serving as head of the architectural division for 12 years before opening his own firm. Since then, he has received numerous awards, including the prestigious Pritzker Prize in 1983.

Pei is a living example of Leonardo da Vinci's dictum: "Strength is born of constraint, and dies of freedom." For Pei, constraint consists in the everyday materials of an architect's palette: light, space, proportion, environment. The latter particularly engages him. Often, he will study a place for days to get a taste of its spirit, his mind's eye weaving designs into the existing milieu. "After all," he says, "no building exists alone."

Consider his design for the Bank of China in Hong Kong, the largest building in Asia. With its series of glass triangles laid side by side, the structure seems to jut out of the earth like a levitating icicle (here again we see the glass and triangle motifs). Despite its size and overtly modern aesthetic, the building seems to slide into its environment -- even the mountains that frame Hong Kong embrace the structure. It's a solid yet elegant geometry that both accommodates and augments space. In a sense, Pei takes his essentialized forms from the earth's own blueprints. Perhaps the architect himself puts it best: "For me, there has to be geometry. What are buildings but cubes, spheres, tetrahedrons? There are endless possibilities in the way you arrange these basic shapes. That is what interests me."

The Strategic Importance Of India

Importance Of India

Our agreement with India is unique because India is unique. India is a democracy, where citizens of many ethnicities and faiths cooperate in peace and freedom. India's civilian government functions transparently and accountably. It is fighting terrorism and extremism, and it has a 30-year record of responsible behavior on nonproliferation matters.

our agreement is good for energy security. India, a nation of a billion people, has a massive appetite for energy to meet its growing development needs. Civilian nuclear energy will make it less reliant on unstable sources of oil and gas. Our agreement will allow India to contribute to and share in the advanced technology that is needed for the future development of nuclear energy. And because nuclear energy is cleaner than fossil fuels, our agreement will also benefit the environment. A threefold increase in Indian nuclear capacity by 2015 would reduce India's projected annual CO2emissions by more than 170 million tons, about the current total emissions of the Netherlands.

Indian Culture

Art and Culture of India:-

Indian culture treats guests as god and serves them and takes care of them as if they are a part and parcel of the family itself. Even though we don’t have anything to eat, the guests are never left hungry and are always looked after by the members of the family. Elders and the respect for elders is a major component in Indian culture. Elders are the driving force for any family and hence the love and respect for elders comes from within and is not artificial. An individual takes blessings from his elders by touching their feet. Elders drill and pass on the Indian culture within us as we grow.

“Respect one another” is another lesson that is taught from the books of Indian culture. All people are alike and respecting one another is ones duty. In foreign countries the relation between the boss and the employee is like a master and slave and is purely monetary whereas in Indian culture the relation between the boss and the employee is more like homely relations unlike foreign countries.

Helpful nature is another striking feature in our Indian culture. Right from our early days of childhood we are taught to help one another in need of help and distress. If not monetary then at least in kind or non-monetary ways.

Indian culture tells us to multiply and distribute joy and happiness and share sadness and pain. It tells us that by all this we can develop co-operation and better living amongst ourselves and subsequently make this world a better place to live in.

Even though India is a country of various religions and caste our culture tells us just one thing 'phir bhi dil hai hidustani '.