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1
Irwin, John, and Ananda Kentish Coomaraswamy. "Symbolism of Indian Architecture." Journal of the American Oriental Society 105, no. 1 (January 1985): 177. http://dx.doi.org/10.2307/601572.
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Presley, Ann Beth, and Whitney Upchurch Campassi. "Measuring Clothing Color and Design Symbolism Preferences and Purchase Intentions of Asian Indian Females at Different Levels of Acculturation." ISRN Textiles 2013 (July 18, 2013): 1–8. http://dx.doi.org/10.1155/2013/859419.
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The purpose of this study was to develop a reliable and valid instrument to measure color, design clothing preferences, and purchase intentions of Asian-Indian female consumers; secondarily, to determine if westernized clothes with Asian-Indian ethnic dress elements might be purchased more often than westernized clothing with design attributes primarily symbolic of American culture at different levels of acculturation. The instrument included a modified acculturation scale, limited demographics, and the developed Clothing Preferences and Purchase Intention Instrument. The instrument consisted of four components: Color Symbolism and Purchase Intention, Design Symbolism and Purchase Intention, Symbolic Attributes Scale, and Clothing Preference and Purchase Intention for Mainstream American versus Asian-Indian Inspired. All of the scales had high reliability. Of the 30 colors in the instrument, red, magenta, orange gold, yellow, cobalt blue, and purple were symbolic of Asian-Indian dress; hunter green, navy blue, baby blue, and blue were considered western colors. Neutral colors were eliminated. Nine of the 27 tunics in the instrument were highly indicative of Asian-Indian clothing; 11 were indicative of westernized clothing. Secondarily, Asian-Indians preferred and showed intent to purchase westernized clothing with colors and designs associated with their native country’s traditional dress regardless of acculturation.
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Valančiūnas, Deimantas. "Myth in constructing contemporary Indian identity in popular Hindi film: The case of Ashutosh Gowariker." Acta Orientalia Vilnensia 9, no. 2 (January 1, 2008): 159–74. http://dx.doi.org/10.15388/aov.2008.2.3702.
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Vilnius UniversityThe present paper concentrates on particular mytho-religious symbolism and mythological structures used in two popular films by famous contemporary Indian film director Ashutosh Gowariker: Lagaan (2001) and Swades (2004). These films are significant in the history of Indian popular cinema not only for their complex problems related to the sensitive topics of anti-colonialism, nationalism and patriotism, but also for their widely used mytho-religious symbolism. My goal in this essay is to analyse these two films, identifying the mythological symbols and mythological structures used in the films, and to see how they organise the films’ narrative and how they are connected with the issues of anti-colonialism, Hindu nationalism, and the construction of (idealised) Indian identity. In this paper I argue that the usage of mythological and mytho-religious symbolism functions as a useful tool for the director to transfer ideas related to national identity, nationalism, and anti-colonialism to the viewer effectively, as well as to express a political and social critique of contemporary India and to construct the images of idealised Indian identity in response.
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Teodorescu, Ana. "Tiger Symbolism in the British Raj." Columbia Journal of Asia 1, no. 2 (December 9, 2022): 51–62. http://dx.doi.org/10.52214/cja.v1i2.10126.
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This research paper explores representations of the tiger during British colonization of India, arguing that the symbolism embodied in these depictions started with the copying of Indian rulers’ ceremonial attachments to tigers and gradually merged into an approach which delineated class division and racial segregation. A brief history of British-Indian relations situates the period in question and paints a picture of the powers at play. Themes of power dynamics, racism, and gender roles are explored in relation to art and animal history, offering a comprehensive view of a phenomenon that was accepted but never openly discussed. The power of symbolic imagery in constructing cultural identities is emphasized and illustrations vividly support the thesis for the various stages.
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Sundari, R. Shunmuga. "Adaptation of Visual Storytelling and Symbolism in ‘Shanthi Nilayam’: A Reflection of ‘Jane Eyre’." Shanlax International Journal of English 12, no. 1 (December 1, 2023): 16–21. http://dx.doi.org/10.34293/english.v12i1.6715.
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This study delves into the intricate world of visual storytelling and symbolism in the classic Indian film ‘Shanthi Nilayam’ and draws parallels with Charlotte Bronte’s timeless novel ‘Jane Eyre’. By analysing the use of cinematic elements and symbolism in both works, this research aims to uncover how ‘Shanthi Nilayam’ adapts and reflects the themes and motifs found in ‘Jane Eyre’. Through a comparative lens, this study provides valuable insights into the cross- cultural adaptation of literary classics in cinema and showcases the power of resonance of storytelling and symbolism across diverse artistic mediums and cultures.this study underscores the importance of visual storytelling and symbolism in cinematic adaptations of classic literature. It illustrates how “Shanthi Nilayam” creatively reinterprets “Jane Eyre” through visual means, offering a fresh perspective on Brontë’s timeless narrative.By exploring the interplay of visual elements and symbolism in “Shanthi Nilayam”, this research contributes to a deeper understanding of how cinematic adaptations can capture the essence of a literary masterpiece while infusing it with cultural and visual richness.
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Anamika Kumari. "Culture and Identity in Contemporary Indian English Poetry." Creative Launcher 5, no. 4 (October 30, 2020): 39–42. http://dx.doi.org/10.53032/tcl.2020.5.4.07.
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Indian English poetry with a view to achieving modernity, tries to do different kinds of experiments. Rhyme and Stanzaic forms had replaced free verse. Verbal melody came to be evoked through the use of alliterative words. The tone was one of the intellectualized irony and sarcasm. The stance of the poets was one of the complete detachment and objectivity. The other innovation of the modern Indian poets is the use of symbolism. The poets use modern techniques used by the film industry and advertising industry besides the stream of consciousness and free association of ideas. There is much “word hunting” and “image hunting” which reflects the medium of consciousness on the part of the poet. The Indian, poets therefore borrows words from their regional languages. To be Indian, poets have to be rooted in Indian-geographically, historically, socially or psychologically. Poetry is the expression of human life from times eternal. India, in fact has a long tradition of arts and poetry from ages. Colonialism gave a new language, English for the expression of Indians. The poetry written by the Indians in English in the last 150 years may be said to have three phrases: the imitative, the assimilative and the experiment.
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Martins, Paulo. "A Concise History of Hindu Astrology and Indian Spirituality." Scholars Journal of Arts, Humanities and Social Sciences 11, no. 02 (February 14, 2023): 33–36. http://dx.doi.org/10.36347/sjahss.2023.v11i02.003.
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This essay refers to the concise history of Hindu astrology, highlighting its symbolism present in its spirituality which is transversal to all cultures. In a summarized way, it also mentions the foundations and main conceptions of Hindu astrology, namely Rasi, Nakshastra, Navagrahas, Bhava, Dashas.
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Balaram, S. "Product Symbolism of Gandhi and Its Connection with Indian Mythology." Design Issues 5, no. 2 (1989): 68. http://dx.doi.org/10.2307/1511515.
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Pande, Susmita. "Indian Symbolism: Symbols as Sources of our Customs and Beliefs." Indian Historical Review 26, no. 2 (July 1999): 181–84. http://dx.doi.org/10.1177/037698369902600210.
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Mahima Agarwal. "The Fusion of Culture and Symbolism in Mahapatra's Poetic Expression." Knowledgeable Research: A Multidisciplinary Journal 2, no. 06 (January 29, 2024): 61–73. http://dx.doi.org/10.57067/cbvr3p98.
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A well-known poet in Indian English, Jayant Mahapatra skilfully incorporates cultural imagery and symbolism into his poems to create a sophisticated and nuanced picture of Indian life. His poetry delves deeply into identity, spirituality, socio-economic circumstances, and the passage of time. He frequently employs vivid and evocative imagery to convey these themes' core effectively. By bridging the personal and the global, Mahapatra's deft use of symbols, whether derived from natural elements, human anatomy, or customary rituals, offers profound insights into the human predicament. The poetry of Mahapatra is collected in a wide variety of works, all of which add to a complex picture of India's spiritual and cultural landscapes. In addition to showcasing India's diverse cultural heritage, Mahapatra's poetry through apt use of symbols and images critically examines how societal conventions and cultural traditions shape and frequently restrict people's lives.
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Chaudhary, Dr Shubhda, Soumi Dutt, and Vanshika Gupta. "COLOUR SYMBOLISM ACROSS CULTURES: A DICHOTOMY BETWEEN GERMAN AND INDIAN CONTEXTS ." International Journal of Social Science and Economic Research 6, no. 5 (May 30, 2021): 1545–80. http://dx.doi.org/10.46609/ijsser.2021.v06i05.014.
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Sengupta, Shamashis. "Fish Symbolism in Indus Valley Epigraphy and Protohistoric Accounts." Studia Orientalia Electronica 11, no. 1 (November 18, 2023): 86–102. http://dx.doi.org/10.23993/store.110917.
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The contribution of the Indus Valley civilization to the historic cultures of South Asia is a matter of debate due to a discontinuity in material culture, from the time of its decline to the reappearance of urbanization several centuries later. Progress in the epigraphy of the Indus Valley has been hindered by the absence of a bilingual inscription and the brevity of its texts. One of the most frequent signs encountered in its undeciphered writing system is the pictogram of ‘fish’. On a few seal inscriptions, this sign appears alone, suggesting that it represented a meaningful word or a name. It is noteworthy that Indian literature of later centuries recounts a protohistoric kingdom named Matsya in the vicinity of the Indus Valley sites, as matsya is the Sanskrit word for ‘fish’ and a divinity in the form of a fish is celebrated in the Indian version of the flood myth. An analysis of these narratives is presented in this paper, revealing the possibility of an association with the Indus Valley civilization of the more distant past. These observations indicate that fish symbolism may have occupied a place of prominence in Indus culture from political and religious perspectives. The Matsya territory mentioned in Vedic and epic literature is discussed in light of the chalcolithic cultures of Rajasthan, and it is suggested that this region witnessed successive waves of migration of different cultural groups due to its economic importance related to the exploitation of copper reserves.
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Rhook, Nadia. "“Turban-clad” British Subjects." Transfers 5, no. 3 (December 1, 2015): 104–22. http://dx.doi.org/10.3167/trans.2015.050308.
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The late nineteenth century saw a wave of Indian migrants arrive in Victoria, many of whom took up the occupation of hawking. These often-described “turban-clad hawkers” regularly became visible to settlers as they moved through public space en route to the properties of their rural customers. This article explores how the turban became a symbol of the masculine threat Indians posed to the settler order of late nineteenth-century Victoria, Australia. This symbolism was tied up with the two-fold terrestrial and oceanic mobility of 'turban-clad' men; mobilities that took on particular meanings in a settler-colonial context where sedentarism was privileged over movement, and in a decade when legislators in Victoria and across the Australian colonies were working out ways to exclude Indian British subjects from the imagined Australian nation. I argue that European settlers' anxieties about the movements of Indian British subjects over sea and over land became metonymically conflated in ways that expressed and informed the late nineteenth-century project to create a settled and purely white nation. These findings have repercussions for understandings of the contemporaneous emergence of nationalisms in other British settler colonies.
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Pande, Susmita. "Book Review: Indian Symbolism: Symbols as Sources of our Customs and Beliefs." Indian Historical Review 26, no. 1 (January 1999): 181–84. http://dx.doi.org/10.1177/037698369902600110.
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Singh, Ruchika. "The Intersection of Detachment and Attachment in Arun Joshi's 'The Foreigner’." Revista Review Index Journal of Multidisciplinary 3, no. 1 (March 31, 2023): 30–34. http://dx.doi.org/10.31305/rrijm2023.v03.n01.006.
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Human emotions are complicated, and this article, "The Foreigner" by Arun Joshi, "The Intersection of Detachment and Attachment," delves into that complexity in the context of cultural and family identity. The story digs into the lives of its protagonists, notably Sindi Oberoi, who, as a nonresident Indian (NRI), struggles with the disconnection from his Western existence and the commitment to his Indian heritage. This summary examines the narrative's treatment of distancing and bonding, providing context for the novel's wider explorations of cultural identity, family ties, and social transformations. Arun Joshi creates a story with resonant themes and uses powerful symbolism to show the reader these inner struggles.
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Aripdjanov, Otabek. "ARTISTIC FEATURES AND SYMBOLISM OF IMAGES IN THE BONE CARVING OF KUSHAN BACTRIA." JOURNAL OF LOOK TO THE PAST 3, no. 3 (March 30, 2020): 4–10. http://dx.doi.org/10.26739/2181-9599-2020-3-1.
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In this scientific article, on the basis of various everyday objects, historical and artistic significance of jewelry, analysis of their decorative design, description of or namentand artistic images, image symbols, the peculiar aspects of Bactrian bone carving art,its connection with Indian, Greco-Roman and nomadic cultures are identified, and also their mutual influence
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Zysk, Kenneth G. "Potency Therapy in Classical Indian Medicine." Asian Medicine 1, no. 1 (January 16, 2005): 101–18. http://dx.doi.org/10.1163/157342105777996782.
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This paper examines the traditional Indian ideas about impotency, virility, and potency therapy as found principally in the Sanskrit medical treatises of Caraka and Suśruta. Included is a detailed discussion of the potency formulas and what they contain. The analysis of this material leads to six important conclusions: l. Caraka relies on a brahminic explanation of and justification for potency therapy, which is wanting in Suśruta. 2. The use of symbolism to empower certain medicines seems to reflect a local tradition of folk medicine. 3. Certain animals are used as potency symbols. A similar use of potent animals occurs throughout Sanskrit literature. 4. The mention of meat in the potency of formulas of both treatises indicates that meat-eating was not forbidden at this time in certain contexts. 5. All but one of the potency formulas were to be consumed, and where believed to give general nourishment and bodily strength. Moreover, the consumption of animal semen as an ingredient in certain formulas was forbidden by the twelfth century CE. 6. The only non-consumed potency medicine was a foot balm, which may have been derived from an early tradition of Indian eroticism, known as Kāmaśāstra.
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Yurinov, Vladimir Yurievich, and Artur Ravilevich Karimov. "Principle of Number Six in Ancient Indian and Chinese Philosophy." Общество: философия, история, культура, no. 9 (September 25, 2020): 64–67. http://dx.doi.org/10.24158/fik.2020.9.10.
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The paper discusses the role of the principle of the number six in the Vedic corps of ancient Indian phi-losophy and in the philosophy of ancient China. It is shown that number, counting, numerology in the culture of Ancient India and Ancient China played an important, metaphysical role. It justifies why in an-cient Indian philosophy there could be exactly six darshanas, since they exhausted the body of Vedic philosophy (astics). The rest of the schools of an-cient Indian philosophy, therefore, could not claim the status of darshan. The special significance of the number six for Chinese philosophy is also asso-ciated with the presence of six schools and with the Yin symbolism. Since the link «yin» – «yang» is im-portant for the ancient Chinese culture, the number «nine» (the symbol «yang») also acquires special significance for the ancient Chinese culture. It is assumed that together the numbers «nine» and «six» in Chinese culture mean «the number of the Sage».
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Donatowicz, Jadzia. "Symbolism of the Cosmic Dance of Shiva in the South-Indian Temple Dance Tradition." Leonardo 29, no. 2 (1996): 156. http://dx.doi.org/10.2307/1576355.
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Parry, Jonathan. "Death and Digestion: The Symbolism of Food and Eating in North Indian Mortuary Rites." Man 20, no. 4 (December 1985): 612. http://dx.doi.org/10.2307/2802753.
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Donatowicz, Jadwiga. "Symbolism of the cosmic dance of shiva in the South-Indian temple dance tradition." Vistas in Astronomy 39, no. 4 (January 1995): 718. http://dx.doi.org/10.1016/0083-6656(96)88186-4.
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Vijay, Vivek. "Agni: The Eternal Flame Guiding Indian Life and Spirituality." Interdisciplinary Journal of Yagya Research 6, no. 1 (August 25, 2023): 36–40. http://dx.doi.org/10.36018/ijyr.v6i1.109.
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This opinion delves into India's profound connection with Agni, exploring its significance as a symbol of divinity, transformation, and guidance. The ancient practice of Yagya, a ritual centered around Agni, has evolved through time, maintaining its relevance in modern India. Agni's teachings are reflected in Vedic mantras and are interwoven into the fabric of daily life through rituals like Balivaishya Yagya. The manuscript discusses Agni's role in 16 Sanskaras, guiding individuals through life's stages while promoting values and virtues. It also explores Agni's metaphysical dimension, manifested as sacred eternal flames or lamps, revered by Yogis and the masses alike. The spiritual essence of Agni is emphasized through practices like Yogagni, Pranagni, and Mantragni. Additionally, Maharshi Aurobindo's perspective unveils Agni's deep symbolism in Vedic hymns as a bridge between humanity and divine realms. Ultimately, the opinion underscores that Agni is not a mere concept, but an integral thread woven into the tapestry of Indian life, continuing to inspire generations to embrace wisdom, virtue, and spiritual growth.
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zendt, christina. "Marcos Zapata's Last Supper: A Feast of European Religion and Andean Culture." Gastronomica 10, no. 4 (2010): 9–11. http://dx.doi.org/10.1525/gfc.2010.10.4.9.
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In Marcos Zapata's 1753 painting of the Last Supper in Cuzco, Peru, Christian symbolism is filtered through Andean cultural tradition. Zapata was a late member of the Cuzco School of Painting, a group comprised of few European immigrants and handfuls of mestizo and Indian artists. The painters in Cuzco learned mostly from prints of European paintings, and their style tends to blend local culture into the traditional painting of their conquistadors. Imagery was the most successful tool used by the Spaniards in their quest to Christianize the Andean population. By teaching locals to paint Christian subjects, they were able to infuse Christianity into Andean traditions. Zapata's rendering of the Last Supper utilizes this cultural blending while staying true to the Christian symbolism within the subject. Instead of the traditional lamb, Zapata's Last Supper features a platter of cuy, or guinea pig, an Andean delicacy stocked with protein as well as cultural significance. Cuy was traditionally a sacrificial animal at Inca agricultural festivals and in this way it offers poignant parallel to the lamb, as a traditional Christian sacrificial animal.
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Gubba, Neelima, and Esther Kiruba Jebakumar. "Egg as an Organic Building Material a Comparative Study and Understanding in Indian Context." Key Engineering Materials 803 (May 2019): 267–71. http://dx.doi.org/10.4028/www.scientific.net/kem.803.267.
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Indian architecture is a development of many distinct features which are inspired by its ancient vernacular techniques and the features brought by its migrants. It has attained the symbolism and importance due to its unique fusion of these building construction techniques. A comprehensive approach is necessary to understand and identify many examples of Indian architectural past to achieve the unique quality in the future of architecture. Using Eggs in the Building Finishing and Ornamentation work has been used extensively in different parts of India. Egg is an organic material which is sustainable and which has been passed on from generations. In this paper, a comprehensive review of the methods and techniques of using Eggs are documented to bring the awareness and propagate the use of this versatile material. The use of Egg waste as an additive to concrete has also been investigated.
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Neha Singh , Dr. Priya Raghav, Dr Hanan Khalid Khan. "Narrative Techniques and Symbolism in the Ramayana: A Literary Analysis." Tuijin Jishu/Journal of Propulsion Technology 44, no. 4 (October 28, 2023): 2604–9. http://dx.doi.org/10.52783/tjjpt.v44.i4.1325.
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For ages, academics have been fascinated by the epic poem known as the Ramayana, which is considered to be one of the most respected works of Indian literature. This study will conduct an extensive literary examination of the Ramayana, with a special emphasis on the Ramayana's storytelling strategies and symbolism. This research aims to discover the deeper levels of significance that are buried in the epic's verses by conducting an investigation of the complex narrative techniques that are used throughout the text. It explores the use of allegory, metaphor, and allegorical storytelling that the sage Valmiki, the epic's original author, and successive retellers utilised in their narratives. The look at the ubiquitous symbolism in the Ramayana and analyses how it functions as a potent vehicle for transmitting important philosophical, ethical, and cultural ideas. This research aims to shed light on the enduring literary significance of the Ramayana and its capacity to resonate with readers across a wide variety of cultural and temporal contexts by dissecting the text on both a structural and thematic level. The research was carried out in order to achieve this goal. As a result of this, it provides new insights into the ageless allure and everlasting significance of this ancient epic.
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Saeed, Bayar. "Caste and Gender in Arundhati Roy`s The God of Small Things." Humanities Journal of University of Zakho 9, no. 4 (December 30, 2021): 1011–19. http://dx.doi.org/10.26436/hjuoz.2021.9.4.769.
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In this study, I focus primarily on gender and caste issues and their effects on the agonized inner mind of the repressed female and child characters in the novel The God of Small Things (1997) by Arundhati Roy. In this novel, Indian woman novelist Arundhati Roy focused primarily on the existential psychological predicaments and travails in the lives of the subjugated Indian women who were imperiled by the psychological and physical abuse in a male-dominated society ruled by rigid social and religious conventions and constraints. In other words, Roy sought to appraise the aberrant psychology of men and women in the conventional Indian social climate. She focused on the traumatic experiences of her women characters under the impact of social class and gender discrimination. She employed Freud's psychoanalytic theory to reveal the disturbed psyche of her women characters. The methodology of this study concerns two major directions: close-text analysis and cultural studies. It deals with sociological and psychological problems, which analyze and expose the symbolism of man’s behavior particularized in a patriarchal society.
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Naikar, Basavaraj. "Translator as Cultural Ambassador." Dialogue: A Journal Devoted to Literary Appreciation 15, no. 1-2 (December 30, 2019): 15–22. http://dx.doi.org/10.30949/dajdtla.v14i1-2.3.
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In this article I have examined Dr. C.R.Yaravintelimath's adventurous translation of Allamaprabhu's Kannada vacanas, which are said to be the most difficult ones to understand and interpret, as they are loaded with obscure symbolism derived from the mystical and metaphysical tradition of Virasaivism in particular and of pan-Hinduism in general. I have analyzed this translation in the light of modern theory of translation and shown hoe the element of foreignization outweighs that of domestication and suggested the need for the interpretation of Allamaprabhu's vacanas in translation from a larger perspective of Comparative Indian and World Literature, especially mystic literature.
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Dutta Ain, Anwesha. "A Reading of Satyajit’s Pather Panchali and Agantuk as Subtexts of Fictional Ethnography." Revista Canaria de Estudios Ingleses, no. 83 (2021): 77–90. http://dx.doi.org/10.25145/j.recaesin.2021.83.06.
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This essay focuses on Pather Panchali (Song of the Little Road, 1955) and Agantuk (The Stranger, 1991) and discusses the style of Satyajit Ray’s filmmaking which combined the aesthetics of European verisimilitude with suggestive symbolism based on conventional Indian iconography. The paper will concentrate on the authentic representation of a poor family in rural Bengal in Pather Panchali and the urban setting, in his last film Agantuk. The main aim is to explore how the detailing of the shots and the dialogues in these films engage in the ethnographic study of the Bengali society through these cinematographic fictional narratives
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Demenova, Victoriya V., and Arina M. Loginova. "FEATURES OF THE PAINTED PORTRAITS OF RABINDRANATH TAGORE. ICONOGRAPHY AND SYMBOLISM." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 3 (2020): 150–64. http://dx.doi.org/10.28995/2073-6401-2020-3-150-164.
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The article examines numerous portraits of the outstanding Indian writer and philosopher of the twentieth century Rabindranath Tagore as a special phenomenon. The famous thinker was painted by dozens of artists, including Abanindranath Tagore, Gaganedranath Tagore, Mukul Chandra Dey, Atul Bose, William Rothenstein, Muirhead Bon, Boris Georgiev, Xu Beihun. Artists’ interest in the figure of the poet increased markedly after the award of the Nobel Prize to R. Tagore in 1913. Gradually, in the period of the 1920s – 1930s certain “rules” for the image of the thinker were formed tacitly. The authors of the article highlight the prerequisites for that phenomenon and analyze the existing iconography, which was especially actively manifested in the posthumous portraits of the poet. The article stresses several aspects and possible causes of the phenomenon. One of which is associated with the transition of Tagore’s artistic image into the symbol field: having gone beyond the boundaries of his native culture, R. Tagore’s portraits gradually began to carry a corpus of ideas related to the achievements in the field of science and art not only in India but also in the whole East, personifying its wisdom
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Goonetilleke, D. C. R. A. "J. G. Farrell's Indian Works: His Majesty's Subjects?" Modern Asian Studies 37, no. 2 (May 2003): 407–27. http://dx.doi.org/10.1017/s0026749x03002063.
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. . . There had always been some corner of the Empire where His Majesty's subjects were causing trouble . . .J. G. Farrell, Troubles (London: Cape, 1990) p. 215.J. G. Farrell has, in common with Paul Scott, an admiration for Joseph Conrad (obvious in their use of symbolism, topographical and otherwise), a fascination with the decline of Empire as a subject for fiction; a reputation that rests on a series of historical novels on this subject. Farrell died at the age of 44 whereas Paul Scott did so at 58; therefore it is not fair to compare their overall achievement. Yet it is necessary to observe that, whereas Scott portrayed one country during a single short period in his major work, Farrell's view was global and spanned virtually a century, lighting upon three important crises in three different countries during three different periods: Troubles (1970), set in the context of the Irish disturbances of 1919-21; The Siege of Krishnapur (1973), located during the 1857 ‘Mutiny’ in India; The Singapore Grip (1978), focusing on the period leading up to the surrender of Singapore to the Japanese during the Second World War, the first signal defeat of the might of the British Empire by an Asian power.
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Dahl, Michał. "India’s foreign policy towards Central and Eastern Europe in 2014-2019." Przegląd Wschodnioeuropejski 12, no. 1 (September 24, 2021): 179–94. http://dx.doi.org/10.31648/pw.6469.
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It has been said that Central and Eastern Europe can be seen as an interesting direction for Indian political and economic expansion. Both the data on diplomatic activity and India’s trade with the countries of CEE, however, prove that the region is not of key importance for New Delhi’s foreign policy. On the other hand, a steadily growing trade turnover allows assuming that the current situation will gradually change. The conclusions may be confirmed by the analysis of New Delhi’s diplomacy directions in the region. The Indian leaders (not the most important figures, taking into account symbolism and real significance) visited in the years 2014-2019 the CEE countries with the highest trade turnover with India, namely Poland, the Czech Republic, Hungary and Romania. They also paid visits to Bulgaria, Croatia and Serbia, that is countries with which India’s trade turnover is relatively low, but steadily growing. It may indicate a desire to establish more active diplomatic and economic involvement in this region than previously.
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CORRITORE, CARLY. "A Vedic Approach to Environmental Injustice: An Exploration into the Nature of the Ganga and Interconnected Consciousness." Dev Sanskriti Interdisciplinary International Journal 5 (January 15, 2015): 65–70. http://dx.doi.org/10.36018/dsiij.v5i0.59.
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Nature has traditionally been a vital complement of human life in Indian tradition. The sacred river Ganges holds deep spiritual and mythological symbolism and has earned the reverence and worship of Indians for centuries. Now there is a mentality developing in India in which new hierarchies of values are being created and traditional teachings and core ethics are compromised. The current scenario in India speaks of a disconnection from ancient intrinsic values of the interconnected roles of humans and nature. By using the Ganges as a case study this study will explore the shift and renewal of the spiritual essence of the interconnection. In an attempt to understand the shift of values, this study will examine the human-nature relationship given in Vedic philosophy and core values and ethics existing in this interconnectedness. The study will investigate how and why the relationship between human beings and nature has changed, what ethics and values have been undermined, and how the ethics necessary for coexistence can be rediscovered and renewed today.
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Duggal, Ekta, and Harsh V. Verma. "Cool perspectives, Indian cool and branding." South Asian Journal of Business Studies 8, no. 2 (June 3, 2019): 130–45. http://dx.doi.org/10.1108/sajbs-07-2018-0083.
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Purpose Cool has been studied mostly in consumer samples drawn from Western countries. This study was inspired by paucity of literature on “cool” in an Indian context. There is certainty that “cool” adds value and bestows desirability but there is uncertainty about what “cool” means. Since “cool” is a cultural phenomenon, the purpose of this paper is to explore its meaning in the Indian context. Design/methodology/approach The data were obtained on an open-ended questionnaire followed by depth probes on a sample of young consumers. The obtained scripts were coded and classified into semantic categories based on the grounded theory. Findings The study found that cool is indicated by seven facets, including being oneself, living life to the fullest, sense of humor and socially networked, and calm disposition. Unlike Western notions, in India, cool is not being deviant and hedonistic. The cultural and religious imprints are palpable in what is construed as cool in India. Research limitations/implications Transplanting the Western notions of cool for brand building is likely to be a risky proposition. It may not resonate with the inner cords of the Indian youth. The implication of this study is that it reveals possible ways in which cool can be incorporated in brand identity. Practical implications Cool is valued because it bestows distinction in subtle ways. Brands can gain traction among consumers by incorporating cool symbolism in their identity. Originality/value This study expands the understanding of cool in the context of an emerging market. This is one of the first studies to have probed the concept of “cool” in India.
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Deshkar, Ankita. "Non-Verbal Communication in Indian Classical Dance Forms." Bodhi: An Interdisciplinary Journal 10, no. 1 (June 18, 2024): 1–16. http://dx.doi.org/10.3126/bodhi.v10i1.66929.
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This study delves into the intricate world of non-verbal communication within the rich mosaics of the Indian classical dance forms. The statement quoted by Noam Chomsky, “Language is not an inborn quality, it is creative and acquired”. The objective of this research is to analyse and focus on the need for humans to communicate, that too using non-verbal communication. Dance will not be relegated to simply a performance genre but will be treated as an essential ingredient of life. The focus would be on identifying the non-verbal elements of the dance that would communicate not just the stories but also social messages if needed through the gestures and other elements in Indian Classical Dance Forms. For this analysis, the researcher has considered, Bharatanatyam, Kuchipudi, Mohiniyattam, and Kathakali, the dance forms that trace their origin to the southern states of India namely, Tamil Nadu, Andhra Pradesh, and Kerala. The research employs a multidisciplinary approach, combining elements of anthropology and performing arts to unravel the communicative nuances in the intricate hand gestures, facial expressions, body postures, and rhythmic footwork inherent in Indian classical dances. By examining the symbolism and cultural significance of gestures (mudras), the utilization of facial expressions (abhinaya), and the synchronization of movements with musical rhythms, the research seeks to unveil the deeper layers of communication that lie beneath the surface of these mesmerizing performances.
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Narain, Prakash. "The Novelistic Art of An IAS in India." International Journal of Advance Research and Innovation 6, no. 4 (2018): 17–21. http://dx.doi.org/10.51976/ijari.641804.
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Upamanyu Chatterjee (born in 1959) is an Indian Administrative Servant who currently serves as Joint Secretary to Government of India on the Petroleum and Natural Gas Regulatory Board. He is a 1983 batch I.A.S from Maharashtra Cadre. He is a published author and best known for his novel ‘English August’ also adapted into a film of the same title. His literary taste is so amazing and appreciating that he could write many realistic novels with his hard and busy duty of an administrative official. It’s another matter that Upamanyu Chatterjee is a novelist of a disillusioned age. He is by his education and heritage, a misfit in the modern world. He had a profound sense of his age. Being an administrative officer Upamanyu Chatterjee digs deep into the root of the Indian administrative system realistically He is pre-eminently concerned with urban life. Though the places in his novels are the tiny cities and villages, but he portrays the features of big cities realistically. His novels are of streets, houses and people and not of the woods, fields and flowers. We are much impressed by his characters and their gross selfishness and sensuality. The novels of Chatterjee are pervaded by symbolism such as dissmelled steak in passage ways, of stale beer, of cocktails and cigarettes, of dusty paper flowers, of females in shuttered. These things altogether show the inevitable gloom as well as the realistic, if not naturalistic picture of a metro city, Delhi, quite apart and away from the life of Madna, the life of insanity and boredom. In a way, he exposes the reality of his contemporary society and politics as well with his own vision that’s his realism and for this purpose,he employs symbolism to express the bitter things indirectly. My research paper has attempted to focus on his novelistic art of the above mentioned I.A.S.
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SINGH, UDAY. "India’s Strategic Engagement with the Middle East." Think India 22, no. 1 (January 29, 2019): 43–50. http://dx.doi.org/10.26643/think-india.v22i1.8278.
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On 10 February 2018, Narendra Modi became the first Indian prime minister to visit the Palestinian territories. He arrived in Ramallah in a helicopter from neighbouring Jordan, escorted by Israeli Air Force choppers. The trip to Jordan also marked a milestone as the first prime ministerial visit in 30 years. Next on the four-day agenda was the United Arab Emirates, where Modi was paying a second visit in less than three years, followed by a maiden visit for him to Oman. Aside from the fanfare and symbolism of Modi’s personalised style of diplomacy, there is clear strategic intent behind the efforts to deepen relations with countries to the west of India.
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Bhoot, Dr Vibha. "Dalit Consciousness and Imitative Cultural Symbolism in Coming Out as Dalit by Yashica Dutt." International Journal of English Literature and Social Sciences 8, no. 4 (2023): 063–69. http://dx.doi.org/10.22161/ijels.84.10.
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The social context of traumatic incidents defines, conditions, and propagates socio-cultural prescribed responses to certain types of experience often trying to regulate the strictures of forfeiture, memory, and grieving. Since traumatic events focus the fissures and gaps of the societal oppressive conditions, as well as the expansive limit of demonstrating experiences and incidents of fringes, they give birth to the politics of mourning, which is impelled by the societal prerequisite to surround, domesticate, and regulate any dynamism disturbing its recognized order. She elucidates several modern institutions that foster caste hierarchy in society. The article focuses on how Yashica Dutt's writing aims to create the concept of caste in the Indian socio-cultural aspect. Finally, the article makes the case that imitative cultural symbolism is a part of one’s identity and can be seen as a component of response towards inferiority and identity crisis. The article continues by pointing out how similar synergies are developed with racial discourses.
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N.S.Rajaneesh. "RETREVING KEY INSIGHTS FROM KHUSHWANT SINGH’S SHORT STORIES." Journal of English Language and Literature 10, no. 02 (2023): 65–69. http://dx.doi.org/10.54513/joell.2023.10207.
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Khushwant Singh was a prolific Indian writer, best known for his novels and short stories. Khushwant Singh's short stories often incorporate humor to lighten up serious themes. He uses satire, irony, and wit to criticize social norms and practices. Humor is a key tool in his storytelling, and it helps to engage readers while also conveying a message. Singh's short stories often focus on human nature and the complexities of human relationships. His characters are flawed, and he portrays their struggles, aspirations, and contradictions with empathy and understanding. Singh's short stories often explore social issues, including gender roles, class disparities, and religious tensions. He highlights the problems and challenges faced by individuals and communities in Indian society and sheds light on their experiences. Khushwant Singh's short stories often use symbolism to convey deeper meanings. He uses objects, events, and even characters to represent abstract concepts and ideas. Khushwant Singh’s short stories often deal with sexuality, including taboos and sexual desires. He is known for his frank portrayal of sex and the human body, which was considered controversial in his time.
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Sawhney, Rashmi. "Apotheosis or Apparition?: Bombay and the Village in 1990s Women‘s Cinema." Film Studies 11, no. 1 (2007): 1–13. http://dx.doi.org/10.7227/fs.11.3.
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This article examines the representation of Bombay in Aruna Raje‘s Rihaee (1988) and Sai Paranjpyes Disha (1990). It has been argued here that in both films, Bombay functions as a narrative anchor to the fictive village, which is depicted as the locus of Indian modernity. Symbolism of the village-city trope is used to reorganise the syntagm of modernity-location-gender in new relations of power and also to present alternative visions of national development within the socio-economic context of 1990s liberalisation in India. The dialectic between city and village in these films emphasises the role of memory and migration in women‘s cinema, and also serves as a means to probing the relationship between gender and films in the postcolonial context.
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Singh, Amarjeet. "The Symphony of Red Colour in Indian Art and Advertising: An Aesthetical Approach." Think India 22, no. 3 (September 20, 2019): 1030–35. http://dx.doi.org/10.26643/think-india.v22i3.8441.
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Red is not only a colour but is a language of art and creativity from the dawn of civilization. The aroma of the red colour has the extravaganza of life with its fullest energy. In India art and architecture, variety of application of colour red can be seen as having multiple associations. Consequently, the approach can be seen in the art and architecture, the folk and tribal art practices too. This very genesis of red colour has been adopted in Indian art and advertising too. The symbolic association of red and its religious values which are usually associated with deities and ritualistic performances have been taken as a tool to manipulate the minds of the consumer. In various countries the same symbolic and organic temperaments of red colour have been taken as a semiotic for the coding of physiological approach in the consumer and art lovers. The paper aims to discuss the effective role symbolism of red colour in the creative process and productions. The paper has been based on two major aspects i.e. the approach of art and advertising with the significance of red colours with a special reference to Indian art.
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Chatterjee, Shibashis, and Udayan Das. "India's civilizational arguments in south Asia: from Nehruvianism to Hindutva." International Affairs 99, no. 2 (March 6, 2023): 475–94. http://dx.doi.org/10.1093/ia/iiad020.
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Abstract India has used civilizational discourses as part of its foreign policy to articulate its rise and rightful place in the world order. This article primarily examines India's civilizational arguments in south Asia. India's civilizational arguments in the region demand scrutiny as the neighbourhood is a theatre of contestation between territorial India and the claims of its civilizational space. Analysing historical accounts on Indian civilization, official documents and domestic narratives in India about south Asia, the article makes three points. First, India's civilizational articulation oscillates between two paradigmatic and contrasting representations of Nehruvianism and Hindutva variants. Second, it is argued that despite the ascendancy of Hindutva's civilizational symbolism since 2014, India's south Asia policy shows no paradigmatic change. Finally, it points to how the Hindutva project may be detrimental to India's self-image and dealings in south Asia. The article argues that while there is no official corroboration of Hindutva's claims in India's south Asia policy, the increasing salience of the domestic discussions around Akhand Bharat (undivided India) invites complications for India in its neighbourhood. India's Hindutva-driven civilizational claims raise anxieties of an Indian cultural hegemony in an asymmetric region splintered across territorial and nationalistic lines.
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Paşcalău, Cristian. "Representations of Non-Being in David Lynch’s Eraserhead, Edmund Elias Merhige’s Begotten, and Darren Aronofsky’s Pi: A Comparative Analysis from Indian Philosophy Perspectives." American, British and Canadian Studies 41, no. 1 (December 1, 2023): 162–85. http://dx.doi.org/10.2478/abcsj-2023-0024.
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Abstract Cinema, as an artistic medium, has often explored profound existential questions and deeply inquired themes such as the relationship between Being and Non-Being. This study centers on three enigmatic films: Eraserhead, Begotten, and Pi, known for their surreal and contemplative nature. I investigate how these films convey representations of Non-Being and examine their potential ties to Indian philosophical perspectives on existence. The discussion will encompass various elements such as narrative, cinematography, symbolism, and motifs which contribute to the exploration of Non-Being. I explore common threads and distinct approaches to the theme, providing a broader understanding of how filmmakers use their art to grapple with existential questions. The analysis deals with the notions of reality, illusion, emptiness, and the interconnectedness of all existence. Exploring how these films offer unique insights into ontological themes and the nature of existence through a comparative approach, I aim to elucidate the filmmakers’ creative depictions of Non-Being and their potential connections to Eastern philosophical thought, either aligning with or challenging Indian philosophical perspectives (such as Advaita Vedanta, Buddhism, and Jainism) on the human experience and the nature of reality.
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Banerjee, Ranjana. "The Story of Vsevolod Ivanov’s “Return of the Buddha”: Symbolism of the Title." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 63–71. http://dx.doi.org/10.25205/2410-7883-2020-2-63-71.
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Since the 19th century, many writers and poets have shown interest in the spiritual values of the East, including India. Buddhism, the religious and philosophical teachings of Gautam Buddha, emerged in India in the First Millennium BC as a reaction against dogmas. It attracted the special attention of many Russian writers, from Leo Tolstoy to the most popular contemporary postmodernist writer, Victor Pelevin; often has been the subject of their creative work. The eminent writer from Siberia, Vsevolod Ivanov, holds a special place among these writers. Throughout his life, he engaged himself in the study of India and Indian spiritual teachings, including Buddhism. His admiration for Eastern philosophy (especially Buddhism) in all probability stemmed from the unique location of his Eurasian native land, which was the merging point of European and Asian culture. In the troubled years of early twentieth century, Vsevolod Ivanov was looking for a solution to the problems of the West (Russia) in Eastern philosophy, and some of his works were woven around this topic. The story “The Return of the Buddha” is one of them. The story deals with the physical and spiritual journey of a few during the turbulent times of the Civil war in Russia. The statue of Buddha is perceived in different ways by the characters accompanying it. For some, the statue signifies the supreme spiritual power, and for others, it is just one of the objects of the material world.
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Parmar, Amisha. "Representation of cities as spaces through symbolist imagery in T.S. Eliot’s The Wasteland and Arun Kolatkar’s Kala Ghoda." International Journal of English Literature and Social Sciences 8, no. 5 (2023): 093–97. http://dx.doi.org/10.22161/ijels.85.16.
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In twentieth-century's poetry, the city has become an important and complex theme because when writing about cities, poets tend to re-formulate and re-define their relation with literary and cultural traditions. The city poses a particular challenge for the modern poets because of their commitment to social and cultural traditions they feel that their role has been fused to simply responding to the social, moral, cultural and psychological transformations that the city symbolizes. Is it right to read a poet, or poetry, as an extension of a place? The answer is may or may not be. The question is to answer the unique narrative description of Bombay in Arun Kolatkar’s Kala Ghoda and the city of London in T.S. Eliot’s The Wasteland that defines the city using imagery and symbolism in the best manner. Walking through Bombay and reading Kala Ghoda Poems recreates a city that is constantly shifting and dancing around, full of noises and colours, all the while exposing those lives that are pushed out of an expanding concrete jungle, hidden under bright lights and tall towers—the triumphs of development. Eliot utilises the ‘unreal city’ London as the main setting for The Wasteland and the city comes to embody the title of the poem that id portrayed as ugly, cruel and grey, lacking any real human warmth or meaningful connections. The study will be centred on a reading and analysis of deconstructive poetry to show how postmodernism is hinted at while also demonstrating continuous sociocultural and socioreligious activities through the use of symbolism and imagery. The study will continue with chapters broken down into many aspects, including a comparative analysis of Eliot and Kolatkar's poetry, studying the issue of experimentalism and symbolism as well as imagery employed in Kolatkar's Kala Ghoda and Eliot's Wasteland. The subjectivities and experimentation in Indian English poetry and Western poetry can be understood and explored through a comparison of Arun Kolatkar and T.S. Eliot.
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A. Rajalakshmi and M. Abinaya. "The Zeitgeisty Erection of Hindu Mythology in Amish Tripathi’s The Shiva Trilogy." Shanlax International Journal of English 12, S1-Dec (December 14, 2023): 212–16. http://dx.doi.org/10.34293/rtdh.v12is1-dec.92.
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The fundamental theme of Amish Tripathi’s writings is spiritual realism. The portrayal of his creations only serves to promote human symbolism toward God. The universe’s morphological alterations are a result of a soul’s link to the universal force. Myths are stories that describe the way of life, habits, and culture of ancient people, which are frequently reflected in the gods they worship. India is well-known around the world for having a rich and diverse cultural legacy. Indian mythology consists of religious and cultural tales that are handed down through the generations with several variations. According to Indian spiritual academics, its suggested meaning is similar to contemporary western philosophy, which holds that there are multiple truths. Amish Tripathi reimagines the entirety of Hindu mythology in order to make it more appropriate for the contemporary era of reasoned decision-making. A mythology is a body of stories or myths concerning a specific person, culture, religion, or any group of people who hold certain beliefs. The majority of people take mythology seriously in terms of their religious beliefs, even when they don’t believe it to be entirely genuine. The goal of this study is to investigate the various aspects of Hindu mythology and philosophy that may be well-suited to leadership-related activities.
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SOROCHUK, Liudmyla. "THE CONCEPT OF THE WORLD TREE IN THE UKRAINIAN ETHNO-CULTURAL TRADITION AND IN THE ANCIENT INDIAN CULTURE." Almanac of Ukrainian Studies, no. 31 (2022): 118–23. http://dx.doi.org/10.17721/2520-2626/2022.31.17.
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ThearticleexaminestheconceptoftheWorldTreeas a dominantelementintheUkrainianethno-cult Abstract. The article examines the concept of the World Tree as a dominant element in the Ukrainian ethno-cultural tradition and the culture of Ancient India. The image of the World Tree is the basis of archaic culture and is represented through the prism of mythology and the worldview system of our ancestors. Attention is focused on the fact that the World Tree reflects an ordered model of the universe in space and time, which determines the organization of the cosmic space and has the corresponding symbolism. In many cultures of the world (the proposed work focuses on the culture of Ancient India), the World Tree represents the unity of three worlds - the heavenly (the world of Gods), the earthly (the world of people) and the afterlife (the world of ancestors). The World Tree (Tree of Life) also has temporal symbolism, that is, the roots are the past, the trunk is the present, the crown is the future. In the Ukrainian ethnocultural tradition, the image of the World Tree is characteristical for the mythological consciousness of our ancestors and embodies the universal concept of the world, which is reflected in various manifestations (heavenly tree, tree of life, ancient tree), as well as in transformational images (world pillar, world mountain, paradise tree, willow). Using the examples of folklore texts, it is proved that the World Tree means a sacred point of origin, functioning as an important sphere of fertility cult in various rites of the calendar cycle and family rites. Attention is focused on the position of the universality of the image of the World Tree in the ancient myths of ancient India, which is embodied in the world axis, temple, tree of life, tree of knowledge and, what is interesting, in the image of the great "inner man" that lives inside each individual. In Indian culture, over the centuries, accumulated knowledge about the inner spiritual world of a person, combined with a perfect physical body, made up a whole system of teaching - yoga. In a broad sense, this concept includes a combination of spiritual, psychological and physical practices that were originated in Hinduism and Buddhism. Therefore, the concept of the World Tree acts as a sacred, fixed symbol almost everywhere and had a powerful influence on the formation of the mythological worldview.
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Binumol Tom. "The Physicality and Spirituality of the Hindu Temples of Kerala." Creative Space 1, no. 2 (January 6, 2014): 179–93. http://dx.doi.org/10.15415/cs.2014.12004.
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Every culture can stir a type of architecture that can range from landmarks to everyday homes. History has proved that the various architectural styles have developed in response to climate, lifestyle, geology and geography of a place, religious philosophy of the people and availability of building materials. Religion and lifestyle seem to be the most common influences overall. Culture, in fact, underlines the important role that economics, politics, religion, heritage and the natural environment play in shaping the built environment. Kerala (the southern-most state of India), the land of temples appears unique in this context as the temples here were the pivot of religious, social, economic and cultural life of every Keralite. The typical Hindu temples of Kerala stand out from among the Indian temple typology in its form, structural clarity, stylistic tradition, symbolism and above all, in its construction and craftsmanship in wood. They show a distinctive style which is a local adaptation of the Dravida or the South Indian tradition of temple construction, considerably influenced by the various geographical, religious, cultural and political factors. Most of the temples of Kerala are traditionally neighborhood institutions of worship, rich in both tangible and intangible cultural values. The spatiality of Kerala temples follows the general Indian philosophical concepts of the centre, axis and the human relatedness to cosmic reality, while its implementation in the built form follows the Vedic religious practices. This paper attempts to explore the evolution of the generic built form of temples of Kerala and the philosophical and spatial concepts of their architecture.
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Mallon, Florencia E. "Indian Communities, Political Cultures, and the State in Latin America, 1780–1990." Journal of Latin American Studies 24, S1 (March 1992): 35–53. http://dx.doi.org/10.1017/s0022216x00023762.
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In Tlatelolco, in the symbolically laden Plaza of the Three Cultures, there is a famous plaque commemorating the fall of Tenochtitlán, after a heroic defence organised by Cuauhtemoc. According to the official words there inscribed, that fall ‘was neither a victory nor a defeat’, but the ‘painful birth’ of present-day Mexico, the mestizo Mexico glorified and institutionalised by the Revolution of 1910. Starting with the experiences of 1968 – which added yet another layer to the archaeological sedimentation already present in Tlatelolco – and continuing with greater force in the face of the current wave of indigenous movements throughout Latin America, as well as the crisis of indigenismo and of the postrevolutionary development model, many have begun to doubt the version of Mexican history represented therein.1 Yet it is important to emphasise that the Tlatelolco plaque, fogged and tarnished as it may be today, would never have been an option in the plazas of Lima or La Paz. The purpose of this essay is to define and explain this difference by reference to the modern histories of Peru, Bolivia and Mexico. In so doing, I hope to elucidate some of the past and potential future contributions of indigenous political cultures to the ongoing formation of nation-states in Latin America.As suggested by the plaque in Tlatelolco, the process and symbolism of mestizaje has been central to the Mexican state's project of political and territorial reorganisation. By 1970, only 7.8 % of Mexico's population was defined as Indian, and divided into 59 different linguistic groups.
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Baruah, Sudarshana. "Indian Devotional Music: Its Relation with the Religious Concept of People and Iconography." BL College Journal 4, no. 2 (December 1, 2022): 129–34. http://dx.doi.org/10.62106/blc2022v4i2e5.
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Religion is the driving force behind the evolution of society. Human religious believers have interpreted music as the utterances of gods and lauded it as the purest expression of spirituality. Throughout the majority of human history, religious texts have been sung rather than written, and religious behavior has been expressed through prayer or devotional melodies or music in almost all religious traditions. The values, functions, and genres of religious music are culturally diverse and varied. Religious musical forms can transcend cultural barriers. Some religions, such as Buddhism, use music to prepare the mind for meditation by calming and focusing it. In India, kirtan, also known as Shikh religious music, facilitates connection with one another and with God. Similarly, Vedic hymns in Hinduism were musical. By performing bhajans, devotional songs, Sanskrit mantras, etc. Hindus offer prayers to God. Sufi music, Qawalli, etc., are chanted during prayers in the Muslim faith. In addition, it teaches religious teachings. Religious songs of any faith are characterized as a source of strength and a means of relieving pain, thereby improving one’s mood. The iconography of Indian music contains numerous elements that represent the human religion, culture, traditions, and way of life, thinking, values, customs, costumes, rituals, and behavior throughout the centuries through visual art and symbolism like sculpture, architecture, idol of god etc. Therefore, iconography is a specialized discipline of study that examines images of gods. Indian music and dance are the culmination of one of the world’s finest civilizations’ evolution. The Iconography of Indian music entails the study of figures, images, deities, and pictorial representations of the devotional music’s most prominent deities of music.
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Ghosh, Banhishikha. "Invigorating and Reinventing Sacred Space: Hijra and Non-Hijra Relationships in a Dargah." Indian Journal of Gender Studies 28, no. 2 (March 17, 2021): 209–27. http://dx.doi.org/10.1177/0971521521997963.
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The article juxtaposes the lived realities and perceptions of a hijra gharana connected to a dargah (shrine of a revered religious figure belonging to the Sufi tradition) in a North Indian city, Narayanpura. It addresses how a hijra community interacts and develops interpersonal relationships with their non-hijra neighbours, devotees and shopkeepers, thereby engendering hijra selfhood. The potent element of symbolism enunciated through mythology, rituals and festivals becomes pertinent in constructing and authenticating the hijra identity. Concomitantly, the spiritual pursuits of these groups are intertwined with their material interests in constructing their complex universe. The monument provides a site where shared connotations for each section of people connected to the dargah, hailing from different cultural, religious and gender orientations, are invigorated. The dargah is, therefore, not only part of the religious system, but it is a system in itself. Data for this article have been accumulated through limited participant observation, unobstructed conversations and narratives of the interlocutors.