Semester II
Utkarsha Kohli Section ‘M’ (FMC)
This report is lovingly dedicated our respective mentor Mrs. Jolly Rohtagi, who has been a constant source of inspiration for learning. Her words of encouragement and push has made this report possible.
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Mrs. Jolly Rohtagi, our Cultural Studies teacher, has proved to be an ideal supervisor. Her suggestions, insightful criticisms and encouragement aided the writing of this report in innumerable ways. Her support was greatly needed and deeply appreciated. She gave us the requisite drive and discipline to tackle any task with enthusiasm and determination. And, I’m also grateful to my family and friends who supported me at every stage of this report and made this possible.
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This report discusses innumerable aspects related to “Cultural Studies�. On one hand, clothing of the Roman and Greek culture and the various developments that happened in Europe in the field of art and design, from the 1850s to till date, has been studied. On the other hand, in the context of India, Indian art has been looked into as a communicator of some deep questions and theories related to life. The dressing sense and the image and attire of men and women of different regions of India has also been focused on in the subsequent report.
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Acknowledgement……………………………………………ii. Summary……………………………………………………...iii. Objective……………………………………………………...iv. 1. Chapter-1 Ancient World/Europe……………………….1 2. Conclusion (CH-1)……………………………………….8 3. Chapter-2 Ancient India…………………………………9 4. Conclusion (CH-2)……………………………………….21 5. Chapter-3 Modern World/Europe………………………22 6. Conclusion (CH-3)……………………………………….29 7. Chapter-4 Modern India………………………………...30 8. Conclusion (CH-4)………………………………………41 Bibliography…………………………………………………42
The sole purpose behind this report was to thoroughly understand the different cultures existing in the world as well as our own country, India. The idea was to comprehend the different aspects of a culture in Ancient World and India and Modern World and India.
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Ancient World refers to the region around the Mediterranean and the Near East before the fall of the Western Roman Empire in AD 476. In this chapter, we will be discussing the cultural aspects of the Roman and the Greek Empires; mainly concentrating on the clothing of both the cultures.
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Clothing in ancient Rome generally comprised the toga, the tunic, the stola, brooches for these, and breeches. Wool, the most commonly used fibre, was most likely the first material to be spun. Silk and cotton were imported, from China and India respectively. Silk was rare and expensive; a luxury afforded only to the rich.
After the 2nd century BC, besides tunics, women wore a simple garment known as a stola and usually followed the fashions of their Greek contemporaries. Stolae typically comprised two rectangular segments of cloth joined at the side by fibulae and buttons in a manner allowing the garment to drape freely over the front of the wearer. Over the stola, women often wore the palla, a sort of shawl made of an oblong piece of material that could be worn as a coat, with or without hood, or draped over the left shoulder, under the right arm, and then over the left arm.
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Roman girls often wore nothing more than a tunic hanging below the knees or lower, belted at the waist and very simply decorated, most often white. When a girl went out she sometimes wore another tunic, longer than the first, sometimes to the ankles or even the feet. The basic garment for both sexes, often worn beneath one or more additional layers, was the tunica or tunic. This was a simple rectangle sewn into a tubular shape and pinned around the shoulders like a Greek chiton. Women might also wear a strophium or breast cloth. Garments to cover the loins, known as subligacula or subligaria, might also be worn, especially by soldiers. Farm workers wore loincloths.
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The dress code of the day was complex and had to reflect one's position accurately in the social order, one's gender, and one's language. Two examples were the angusticlavia and the laticlavus. The former was the official tunic of the equestrian order and the latter was what senators wore. "The importance of official dress, even more than other distinctions, signaled the social status and rank of freeborn Romans and the public roles of magistrates and priests. The variations of clothing worn in Rome were similar to the clothing worn in Greece at the same time, with the exception of the traditionally Roman toga. Until the 2nd century BC, the toga was worn by both genders and bore no distinction of rank – after that, a woman wearing a toga was marked out as a prostitute. The differentiation between rich and poor was made through the quality of the material; the upper-classes wore thin, naturally colored, wool togas while the lower-classes wore coarse material or thin felt.
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Clothing in ancient Greece primarily consisted of the chiton, peplos, himation, and chlamys. While no clothes have survived from this period, descriptions exist in contemporary accounts and artistic depictions.
Clothes were mainly homemade, and often served many purposes (such as bedding). Despite popular imagination and media depictions of allwhite clothing, elaborate design and bright colors were favored. Ancient Greek clothing consisted of lengths of linen or wool fabric, which generally was rectangular. Clothes were secured with ornamental clasps or pins and a belt, sash, or girdle (zone) might secure the waist. Men's robes went down to their knees, whereas women's went down to their ankles.
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The inner tunic was a peplos or chiton. The peplos was a garment worn by women. It was usually a heavier woolen garment, more distinctively Greek, with its shoulder clasps. The chiton was a simple tunic garment of lighter linen, worn by both genders and all ages. Men's chitons hung to the knees, whereas women's chitons fell to their ankles. Often the chiton is shown as pleated. A strophion was an undergarment sometimes worn by women around the mid-portion of the body, and a shawl (epiblema) could be draped over the tunic. Women dressed similarly in most areas of ancient Greece although in some regions, they also wore a loose veil as well at public events and market.
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The chlamys was made from a seamless rectangle of woolen material worn by men as a cloak. It was about the size of a blanket, usually bordered. The chlamys was typical Greek military attire from the 5th to the 3rd century BC. As worn by soldiers, it could be wrapped around the arm and used as a light shield in combat. The basic outer garment during winter was the himation, a larger cloak worn over the peplos or chlamys. The himation has been most influential perhaps on later fashion.
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The Greek and Roman culture have many differences and similarities, The Greek culture existed long before the Roman culture did. Rome started as a small community but they started to conquer lands as their civilization grew and become stronger. Rome was also under the rule of Escrustan Kings for centuries, until that system was overthrown and the Roman Republic came about. Rome grew and unite, until one day decided they wanted to conquer all world. Greek, of course, fell to the great Roman Empire. When the Romans demolished the Greeks, they decided that they liked its culture and adopted it. But Rome was still quite different from the Greeks even though they stole many of their ideas. The Romans also adopted the Greeks fashion of Toga. For the Romans, the toga is an everyday clothing, the official wear of a Roman citizens for both men and women. Of course, the toga originated in Greece. Now this is during the Roman Republic. When the Roman Empire emerge, the toga became extinct. Woman adopted a new kind of clothing, the Stola, which originated in Greece, and remained popular throughout the Roman Empire. Then, comes the Tunic, which is a Roman Fashion. Government Officials wore the tunics more often, as well as peasants. Togas were worn rarely. As the years went by, the Roman Empire`s choice of clothing became more and more acceptable. Like the long sleeved tunic, for example, which could be worn up to 3 layers by a grown man, during the winter season.
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REPORT THE BODY IN INDIAN ART ‘The Body in Indian Art’ is one of the largest temporary exhibitions ever installed at the National Museum, New Delhi. It presents us with 8 different galleries on the following topics: 1. Death: The Body is But Temporary 2. Nirguna, Arupa, Nirakara – The Body Beyond The Limits of Form 3. [Re] Birth 3[1] [Re] Birth- Light, Sound, Desire – Creation 3[2] [Re] Birth- Mothers: Graceful Creators and Dangerous Protectors 3[3] [Re] Birth – Miraculous Children 4. The Body in the Cosmos 5. The Body Ideal: Supernatural 6. The Body Ideal: Heroic 7. The Body Ideal: Ascetic 8. Rapture: The Body of Art These galleries contain over 300 masterpieces, ranging from monumental stone sculptures to Chola bronzes, manuscripts from the library of the Nawabs of Rampur. Some of those artworks which have never been exhibited or published have been displayed in this exhibition. It exhibits the heroic, yogic, ascetic, seductive and dangerous bodies in a display of the richness of India’s art and thought. The body and its representation is revealed here as a subject of art as well as the keeper of values, preoccupations and the aspirations of ancient, medieval, modern, popular and classical times. The complex plurality of India in geography, chronology, patronage, religion and art material have been showcased in each of the galleries.
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If your mind seeks answers to the following questions, then this is the perfect place to go: 1. How does a civilization express its thoughts on death and rapture? 2. Is one’s place in the cosmos fated by destiny, or does a body have its own agency? 3. How are the values of men constructed differently from those of women?
Naga memorial for a warrior
Sati Memorial, Inscribed
Veeragal memorial for a soldier showing intestines pilling out of self inflicted wound
Veerasati, a memorial to a female warrior, is inflicting a knife wound on herself.
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The Ancient Indian concept of the cycle of rebirth believes that the body is impermanent. Death is not always thought of as an ending, but as a passage or stage of life for the eternal atman. This ‘self’ that inheres within the body lives on beyond its outer shell. Art is intimately linked with memory allowing persons to live on even when they are no longer present in their bodily forms. What sorts of memories does society wish to preserve? How did Indians deal with bodily remains like relics; or with ancestor’s memories and spirits? In this gallery, we see how people have been remembered in a variety of ways – through memorial stones and funerary monuments, stupas and tombs.
Bhishma on a bed of arrows
The devotee Sharbhanga achieves Moksha
A folio from a manuscript on Heaven and Hell (a Karni Bharni series)
Vision of the sage Markandeya
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The multitude of gods and goddesses in India exist alongside significant traditions that emphasize abstract imagery and bring attention to light, fire, fragrance, sound and nothingness. Meditation and interiorization are as valid a a focus for reverence as are external images. Objects used in ritual, traces of the body or people’s possessions become relics that signify physical presence. Many believe that bodily forms must only be made by gods- naturally occurring forms, can thus become the focus of veneration. Palm prints and footprints recall the presence of a deity or person in many religions; and even the written word can become a talismanic protector or transformative force.
Alam Buddhapada
Qadam Rasul
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The stories of the creation of the universe and gods are inseparable from the creation myths of the first human bodies. The dreams of mortals, their desires, and imaginings give birth to gods. And conversely, through the tales of gods we see that god makes men. Concepts of cyclical time and the idea that a person is subject to rebirth are fundamental to many early Indian religious systems. But rebirth necessitates a first birth, and a first soul that must have been created for subsequent incarnations to take place. What brought about that first birth ? The myths and philosophies of ancient India reveal that the birth of man cannot be separated from the beginnings of desire, from the birth of an idea, nor from the park of creative inertia.
Creation of Nath Siddha as Bhairav
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The perils of pregnancy, birthing and the fragility of infant life, particularly in ancient societies, led to the creation of a range of deities and rituals relating to these matters. Images of ‘ goddesses’, commonly called matrikas (mothers) have been used in a variety of contexts, sometimes as simple clay idols at festivals, or as grand stone statues in temples. Matrikas do not conform to the stereotype of nurturing or benign mother. Some have a dangerous and protective aspect that believes the compassion typically associated with the idea of ‘mother’.
Ekmukh Linga
Saptamatrika relief panel From left to right: Vaishnavi, Varahi, Indrani and Chamunda
From left to right: 1. ‘Saptamatrika’ The seven mothers 2. Fertility Ring 3. Naga figure
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The birth stories of gods and heroes, across different religions, are replete with miraculous or immaculate conceptions. The Quran describes the birth of Mary as a boon resulting from an aging mother’s prayers who promises to dedicate the child to the service of god. The Jain Tirthankaras could choose which parents to be born to as a result of the accumulation of good karma from their previous lives. The Boddhisattva Siddthartha entered his mother Maya’s womb in a dream and was born to predictions that he would conquer the world. Prophecies foretold the birth of Krishna too, compelling his parents to give him up for adoption so that he could fulfil his predicted destiny. Siva’s son Kartikeya was bron of many mothers; and Parvati’s son Ganesh was mysteriously conceived in Siva’s absence. All of these stories highlight qualities that each religion give importance to, the miraculous nature of birth, and makes clear that no single configuration defines or suggests the norm of an ‘ideal’ family.
The Demoness Putana suckles Krishna Shah Nama, page showing the birth of Rustam
The Infant Krishna
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There my be 1.2 billion Indian bodies, yet bodily features, lines on one’s palms, moles and birthmarks, as well as the place and time of birth, are believed to give each person an individualized destiny, a personal connection with the cosmos, talismans and predictions, The interpretation of dreams and the throw of dice are famously celebrated in myths, showing the role of chance in determining the fortunes of a body. There is a multiplicity of Indian approaches to these concepts. Even astrology has not remained static. This allows us to see the developments in science, and the place of the body in relation to these ideas. Cosmological diagrams situate the body in both space and time. Paintings of man as purusha in Buddhist, Jain, Hindu or Tantric traditions show how the body is regarded as containing the whole universe within it, while also being a miniscule element located in the universe.
Shiva with cosmic symbols
Jyotishkavadan (Buddha saving boy from fire)
A horoscope of a Rajput princess (facsimile)
Navagraha, the nine planets
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The supernatural gods Shiva, Vishnu, Devi and semi-divine creatures have eternal ageless bodies possessed with powers and qualities that reach beyond the mundane and inspire mortals. Several ancient and medieval texts have codified ways of representing idealized supernatural beauty. Their multiple heads, arms and attributes each symbolize the amalgamation of diverse qualities into a single whole, Although the Buddha was thought of as a mortal, in time he began to be depicted as a miracleworking supernatural whose depiction was subject to similar iconographic conventions. Ancient texts have also listed the ideal representation of the skeletal the dwarfed the corpulent. The study of the variety of iconographic forms takes us beyond image recognition to a rich language of aesthetic communication.
Trivikram Vishnu
A spout for libations from a temple
Vishnu as Vamana Avatara
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How are heroes made? Myth informs human ideals or a society’s archetypes, and equally, human ideals are mythologized. How is the sense of righteousness embodied by gods and heroes and expressed in life and art. The ancient idea of the hero king centers on the concept of the chakravartin (wheel-mover- a term for the world conqueror) which influenced Hindu and Buddhist imagery. If Hindus looked to incarnations of Vishnu as the heroic ideal in which to cast their kings, Buddhists looked to Bodhisattvas who were capable of attaining enlightenment but remained in the world for the benefit of all sentient beings. The Mahabharata and the Ramayana are the most popular mythic narratives whose heroes are regarded as exemplars. The Persianate world introduced other heroes to India epics such as the Shahanama (The Book of Kings); while the large store of moral fables in folklore present regionally specific ideals of heroism.
Hanuman
Sheila Gowda Draupadi’s Vow
Ramayana Kalamkari
A warrior
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The sage with a mortal body can question gods, make love to them, merge with them and even curse them. The sage can lead the devotee to deliverance and thus has social power. But sages are also caricatured as all knowing and wily, as often as they are associated with pure innocence in the hermitage and forest. A compendium of examples have been provided here to illustrate the significant contributions of individual saints in negotiating societal rules that dictate gender, class and caste hierarchies through the medium of the physical body. Several devotional movements led by individual poet-saints spread through India from the sixth-century onward. The bhakti (devotional) and sufi (mystical traditions of Islam) saints attract a wide range of followers through their poetry which was composed in several vernacular languages.
A Fakir’s Magic Wand Dvilingi ‘Lakulisha’
The Rising Kundalini: A painted scroll in seven parts
Vaishnav Sage
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The body is only a temporary vessel, and it need not be filled by one self alone. The self can be lost through rapturous love, consumed by another. Many believe that the body can also be possessed by spirits, divine, or malevolent. Even a possession happens in ritualized ways, with predictable behaviors making them aesthetic experiences. Alongside the belief that the body is transient and that the world is only an illusion , much is written in Indian texts that celebrate the body as the field of experience and senses. Taste, touch, sight, smell and sound are what attach the mind to life, one that may perhaps be only temporary but remains the means to truth. What is real when even stones can be constructed with a divine spirit and made to come alive? Questions arising from this condition have occupied aestheticians ancient, medieval and modern, who ask ‘Can we apply the same rules to art as we do to life?.
Demon mAsk, Sampati Mask and Sugriva Mask
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‘The Body in Indian Art’ attempts to find answers to the universal question on death, birth and rebirth by tracing the body in several civilizations. It looks at how the body has been represented in Indian art. It references all body shapes, from the pot-bellied Ganesha to the deformed Kuber, from the snake goddess Nagadeva to Bhairava, who roams around cremation grounds
Beginning with death, the show brings to fore the idea of the body
being temporary, then birth and of course re-birth, the place of astrology and cosmology in determining the fortunes of the body, the nature of divine bodies, heroism and ideal bodies, asceticism and the development of practices of healing and yoga. The show ends with the sculpture of Surasundari as it explores the body in rapture, possessed, by art, by nature. Attempting to explain art in modern times, a print depicts Mahatma Gandhi arising out of a lingam to rescue a chained mother India. Completing the cycle of life, from rapture we return to death, the body is but a temporary vessel. It is sometimes an illusion of reality.
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Following were the developments which occurred in Modern Europe on the basis of art and design from the 1850s to till date: 1. REALISM (1850 to 1880) • •
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It appeared in France after the 1848 revolution. It believed in the ideology of objective reality and revolted against the exaggerated emotionalism of the romantic movement. Such paintings depicted people at work, underscoring the changes wrought by the Industrial Revolution and Commercial Revolutions.
2. IMPRESSIONISM
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(1867-1886)
Impressionism originated with a group of Paris-based artists. It was a colorful style of painting. Characteristics of Impressionist paintings include relatively small, thin, yet visible brush strokes; open composition; emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time); common, ordinary subject matter; the inclusion of movement as a crucial element of human perception and experience; and unusual visual angles.
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3. SYMBOLISM (1885 to 1910) • •
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In this movement, art became infused with mysticism. The term Symbolism means the systematic use of symbols or pictorial conventions to express an allegorical meaning. Symbolism is an important element of most religious arts and reading symbols plays a main role in psychoanalysis. Thus, the Symbolist painters used these symbols from mythology and dream imagery for a visual language of the soul.
4. ART NOUVEAU 1890-1910 • • •
Art Nouveau is a global approach to decoration and architecture. It emphasized the persuasion of artistic beauty through nature. The new style of art was characterized by opulent lines and restrained light, feminine outlines and wavy hair, flowing dresses and attitudes, vegetal curvatures and willow leaves, parody waves and fleeting smoke coupled with controlled lines, geometric connotations and beautiful shapes.
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5. FAUVISM (1900 to 1907 or 1905 to 1910)
• Fauvism was a joyful style of painting that delighted in using outrageously bold colors. • ‘Les Fauves' believed that color should be used at its highest pitch to express the artist's feelings about a subject, rather than simply to describe what it looks like. • Fauvist paintings have two main characteristics: extremely simplified drawing and intensely exaggerated color.
6. EXPRESSIONISM 1905-1925
• Started in Germany out of fauvism as a way to use distortion and exaggeration to have a more emotional effect with the use of intense colors and bold brush strokes and outlines.
7. ABSTRACT ART 1907 onwards
• The word 'abstract' means to withdraw part of something in order to consider it separately. In Abstract art that 'something' is one or more of the visual elements of a subject: its line, shape, tone, pattern, texture, or form.
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8. CUBISM (1907-1915 or 1908- 1914)
• It was the first abstract style of modern art. Cubist paintings ignore the traditions of perspective drawing and show you many views of a subject at one time by breaking it up into abstract forms. • Pablo Picasso and Georges Braque were two of the main leaders of this movement.
9. FUTURISM (1909-1914 or 1916)
• The artists expressed movement, speed, technology and violence as their subjects in their work. • It celebrated modernity, glorified industrialization, technology, and transport along with the speed, noise and energy of urban life.
10. DADA 1916- 1922
• It was a form of artistic anarchy born out of disgust for the social, political and cultural establishment of the time which it held responsible for Europe's descent into World War. • Dadaism was an ‘anti art’ stance as it was intent on destroying the artistic values of the past. • Dada’s weapons in the war against the art establishment were confrontation and provocation.
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11. SURREALISM (1920 to 1940 or 1924 to 1939)
• A literary and artistic movement of dream-like expressionism. • Combining prose, poetry, story, and art works, the authors and movers of this movement were specifically obsessed with capturing imagination and solving the mysteries that lie beneath the subconscious matters of the human mind. • Surrealism was the positive response to Dada's negativity. • Its aim, was to liberate the artist's imagination by tapping into the unconscious mind to discover a 'superior' reality - a 'sur-reality'. a spontaneous form of drawing without the conscious control of the mind.
12. ABSTRACT EXPRESSIONISM (1946 to 1960 or 1956)
• Abstract Expressionism marks the shift of focus of modern art from Europe to the United States. • The movement began post-world war II. • The Abstract Expressionist movement embraced paintings from a wide range of artists whose work was not always purely abstract or truly expressionistic.
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13. POP ART (1954 to 1970)
• Pop Art was the art movement that characterized a sense of optimism during the post war consumer boom. • It coincided with the globalization of pop music and youth culture, personified by Elvis and The Beatles. • Pop Art was brash, colorful, young, fun and hostile to the artistic establishment. It included different styles of painting and sculpture from various countries, but what they all had in common was an interest in popular culture. • The images of celebrity and consumerism by Andy Warhol and the comic book iconography of Roy Lichtenstein represent the style as we know it today.
14. MINIMALISM (1960 to 1975)
• Minimalism was not only a reaction against the emotionally charged techniques of Abstract Expressionism but also a further refinement of pure abstraction. • It was an attempt to discover the essence of art by reducing the elements of a work to the basic considerations of shape, surface and materials. • Minimalist art used hard-edged forms and geometric grid structures. Color was simply used to define space or surface.
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15. OP ART (1964 to 1970)
• Op Art is short for 'optical art'. It was an abstract style that emerged in the 1960's based on the illusionistic effects of line, shape, pattern and color. • Op Artists such as Victor Vasarely, Bridget Riley and Richard Anuszkiewicz play with the perception of the viewer by subverting the picture plane with ambiguous shapes, shifting tones and dynamic color relationships. • Although Op Art images are static they generate the illusion of movement with perceptual tricks that create an unstable picture surface. • The effects of this can be so strong that you have to look away for fear of losing your balance or hurting your eyes. • The fairground fun aspect of Op Art was very popular with the public and was quickly commercialized by the design and fashion industries.
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In the words of, William S. Burroughs, “Artists to my mind are the real
architects of change, and not the political legislators who implement change after the fact.�. I think this is the reasons we can see so many changes in the field of art
and design in form of the various movements discussed above. An artist’s mind can never remain stable. His thinking and imagination goes beyond limits, resulting in such beautiful pieces and styles of art. All these movements are a result of the his creative mind.
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A detailed study of the image and attire of Indian men and women according to different regions i.e. North, South, West and East has been done and presented on the following pages: 1. NORTH INDIA
The term North Indian Culture officially describes the cultural heritage of the six North Indian states of Punjab, Jammu & Kashmir, Chandigarh (Union Territory), Haryana, Himachal Pradesh, and Uttarakhand. Other states which are not formally part of North India, but which are traditionally - culturally and linguistically - seen to be so are Rajasthan and Uttar Pradesh. North Indian Culture is mainly rooted in Indo-Aryan traditions and customs, with assimilation of - and impact from - other cultures over long periods of history. North Indian culture reflects the diversity of traditions and customs of the vast region it encompasses.
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a) -
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Men :
a)
The Punjabi traditional clothing includes Salwar Kameez, sherwani, Kurta, Achkan and Dhoti in men. Punjabi Jutti and Tillay wali Jutti is a very famous footwear for both men and women in Punjab. In men Pagri (turban) is also worn as a traditional cap in many occasions. In Jammu and Kashmir, men usually pair the Pheran with a churidar while the Muslim men choose to wear a Salwar beneath the Pherans. The Pathani Suit, is especially popular in Srinagar among men and is also referred to as Khan-dress. Turbans are commonly worn by Muslim men. The clothing item for the head, the skull cap, is popular among the working class. Woolen Pashmina shawls are also worn which is made from woolen textiles acquired from goat. It is a symbol of royalty. In haryana, Dhoti, Kurta, coat, waistcoat, turban (or cap), a hand towel upon the shoulders and a copy of the Panchang (astrological ephemeris) under his arm; this used to be the traditional attire of the Brahmin priest. The Rajputs wore tight fitting Churidar pyjamas, a long coat a starched turban with a special crown, pointed shoes, a flourishing pair of moustaches and a frown upon their foreheads.
Women :
Churidar and Kurta is the most commonly worn costume among Punjabi women. Salwar kameez is another commonly worn traditional costume of Punjab. They are usually of bright, dark and brilliant colors and are matched with a matching or contrasting colored Dupatta. It is draped over the head as a part of their religious custom. Women also wear shawls which also come with beautiful Phulkari designs. Punjabi women love to flaunt shawls with floral motifs and embroidery set in jewel designs. The Pherans are the prominent attire for Kashmiri women, which includes two robes placed on top of the other. It usually has Zari embroidery done on the hem line, around the pockets and mostly done around the collar area. It is traditionally characterized by their broad sleeves and reach up to the knees. However, the Hindus of Jammu and Kashmir wear their Pherans long, stretching up to their feet with the sleeves narrower. Costumes of Rajput or Brahmin women are very traditional. They usually wear kurtas, rahide and Ghagra Lehenga Choli.. The Chamba people love adornment. Head scarves are common among women in this community.
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1. SOUTH INDIA
South Indian culture refers to the culture of the South Indian states of Tamil Nadu, Karnataka, Andhra Pradesh and Kerala. South Indian culture though with its visible differences forms an important part of the Indian culture. The South Indian Culture is essentially the celebration of the eternal universe through the celebration of the beauty of the body and motherhood. It is exemplified through its dance, clothing, and sculptures.
a) Men: - The men wear a type of sarong, which could be either a white dhoti or a colorful lungi with typical batik patterns. - The lungi is draped over clockwise or counterclockwise and is tied at the back or fixed just along the waist line. - It's sometimes lifted till knee and tied at the waist leisurely or just held in hand to speed up walking. - Traditionally, South Indian men do not cover their upper body. Sometimes in formal situation a piece of cloth covers the upper body. - Certain temples in South India even bans men from wearing upper body garments when inside the temple.
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a) Women: - South Indian women traditionally wear the sari. The sari, being an unstitched drape, enhances the shape of the wearer while only partially covering the midriff. - In Indian philosophy, the navel of the Supreme Being is considered as the source of life and creativity. Hence by tradition, the stomach and the navel is to be left unconcealed, though the philosophy behind the costume has largely been forgotten. - The Araimudi (Tamil) is a small silver metal plate shaped like a heart or a fig leaf formerly worn by young Tamil girls on their genitals. "Arai" means loin and "mudi" means cover. The araimudi is also known as the "Genital shield“.
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1. WEST INDIA
Western India consists of the states of Goa, Gujarat and Maharashtra, along with the union territories of Daman and Diu and Dadra and Nagar Haveli. The region is highly industrialized, with a large urban population. Roughly, western India is bounded by the Thar Desert in the northwest, the Vindhya Range in the north and the Arabian Sea in the west. A major portion of western India shares the Deccan Plateau with south India. Before the partition of India, the nowPakistani territories of Sindh and Balochistan were also included in this region.
a) Men: - The traditional attire of Gujarati men is dhoti, that is a long cotton cloth wrapped around the waist, and long or short coat with a turban. - The popular dress worn by rural males is cotton drawers known as ‘Chorno’, a short rounded kurta known as “Kediyu” or “Angarakhu” that is used to cover the upper part of the body, along with thickly folded turban called ‘Phento”. - Men wear dhoti with kurta or shirt, which is a famous costume throughout Maharashtra. - They also put on bandi over their shirt and there is a turban known as ‘pagadi’ and ‘pheta. - In old age, Maharashtrian men were known as warriors. So they are greatly influenced by the manhood and fighter’s personality that appear in their clothing as well.
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They also wear headdress, which is a folded cap of made of cotton, silk or woolen cloth. - The Koli fishermen of Goa, who wear colourful shirts and half pants, and a hat made of bark of the bamboo trees, make for a wonderful sight. a) Women: - The traditional dress of Indian women in Gujarat is the colourful ghagra choli. - The choli is brightly embroidered, waist-length bare-backed blouses. Ghagras or lehengas are gathered ankle-length skirts secured around the waist. - The attire is completed by an odhni or dupatta draped across the neck or over the head. - Saree is also another traditional dress of Gujarat but here the pallu is draped in front rather than over the shoulders. - Sari is the traditional garment here worn in distinctive Maharashtrian style. In Maharashtra, the sari is 9 metre long and is worn tucked between the legs. This saree does not require a petticoat or a slip. - The famous Paithani sari is worn by Maharashtrian women during festivals and religious functions. - Western dresses like skirts and tops, trousers and shirts, wrap-arounds are preferred by women in Goa. - Goan Christian women still wear sarees rather than dresses. There is a visible presence of western, particularly Portuguese, influence evident in the style of houses, churches, dress and cuisine in Goa.
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1. EAST INDIA
East India (also known as Eastern India) is a region of India consisting of the Indian states of West Bengal, Bihar, Jharkhand, Odisha and also the union territory Andaman and Nicobar Islands. The states of Odisha and West Bengal share some cultural and linguistic characteristics with Bangladesh and with the state of Assam. The bulk of the region lies on the east coast of India by the Bay of Bengal, and on the Indo-Gangetic plain.
a) Men: - Dhoti forms a traditional dress for men in West Bengal. Previously, Dhotis are prevalent only in white color but nowadays different colors of Dhotis available in the market. - Western dressing has greater acceptance. Men also wear traditional costumes such as the panjabi kurta with dhoti, often on cultural occasions. - In Orissa, men like to wear their traditional outfits. They attire Dhoti, kurta with a Gamucha. - The traditional dress of Bihari people includes the dhoti-kurta for men. Upper garment for men is kurta, shirt and t-shirt. - During special occasions men put on beautiful apparels. Churidar, kurta, sherwani and pyjamas are the common costumes during festivals, marriage and other events.
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It is interesting to note that men in Bihar inhabit a penchant for ornaments. they decorate themselves with bala or bali (bangles). gowalas (the milkmen) flaunt themselves in kundals (earrings). however, malas or bead necklaces are on the rise these days. The traditional costume of the lepcha male is thokro-dum which involves a whitepajama, stretching only to the calves, yenthatse, a lepcha shirt and shambo, the cap. The texture of the male dress is rough and long-lasting, suitable for the hardy toil in the field and the forest. The traditional costume of the bhutia males comprise kho, It is a loose mantle tied at the neck on one side and at the waist region with a silk or cotton belt. Aa Bhutia man dons a jya jya, a waist coat, the shirt called yenthatse, kera cloth belt and shambo, the cap.
a) Women: - Sarees primarily woven in cotton and silk, is the traditional dress of women in West Bengal. - Bengal silk is famous for its sophisticated quality and texture. The only difference is in the way of wearing it. It has no pleats and is elegantly draped around the body and the pallu falls over the shoulder. - The traditional saree is of cotton but for formal occasions, they prefer to wear silk sarees. Baluchari, Jamdani are famous traditional sarees of West Bengal. - Women in Orissa wear the Oriya Sari, a simple drape, draped with a five yard cotton ikat cloth. - Traditionally the women of Orissa dress in sarees of blue, red and magenta and other deep colours, with ikat patterning. - Saree remains the traditional dress of women in Bihar. - The original inhabitants of Sikkim are said to be Lepchas. The female Lepcha wear a two piece dress. - The bhutias are the people of Tibetan origin who migrated to Sikkim. The ladies dress consists of a silken "Honju" which is a full sleeve blouse and a loose gown type garment. - The traditional clothes of the Lepchas are woven in exquisite colour combinations.
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As discussed in the aforesaid pages, traditional dresses of different regions are very diverse. They are mostly worn on special occasions. This is one of those factors which divide the country i.e. their image and attire. However, the western influence is uniting the country in some way. It signifies many things- gender, region, wealth, profession and occasionally religion. In present times, men usually wear trousers or jeans with shirts or Tshirts. In south India and in rural areas, native forms of dress—long pieces of cloth called lungis or dhotis—are wrapped around the waist and legs, but loose-fitting pajama-type outfits are more common. These are topped with an undershirt, called a banyan, and perhaps a tunic or kurta. Headgear can also be an indicator of religion or region. Rajasthani men are known for their bright, coiled turbans (and grandiose mustaches), Sikh men sweep their long hair into streamlined turbans, and Muslim men usually wear skull caps when praying. Though, salwar kameez and churidar with kurta are quite comfortable for urban women but they are also adopting to the jeans and other Western wear, though exposing too much leg or cleavage in public is frowned upon in most of the cities. Sarees are kept for more traditional and special occasions, but some traditional families still want their daughters and daughterin-laws to be dressed in saree or salwar kameez even when the society has become so much westernized.
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