Tuesday, January 2, 2018

Ivory- Carvings of Rajasthan in Northern India

( Disclaimer : All images featured in this Blog-post, are the property of their respective owners. Our deepest sense of gratitude to all of them for making this gigantic project a reality. If you see your picture anywhere in this Blog and don't want it here, send us a message with the details and the link to the picture, and we will remove it right away. But at the outset, I just want to let my dearest readers know, that the noble purpose of this Blog, is to promote 'The Glorious Cultural Heritage of India' worldwide, to every nook & corner of the planet, and I would immensely love to see every single one of us, of Indian origin, passionately participating in this Mega-Project. I am right now in the process of adding the web-links to the sources of the innumerable images in this Blog. Till the work reaches completion, I would request the readers to use 'Google Image Search' to trace the source / multiple sources of these images on the web. So Long, Mala Chandrashekhar )

Rajasthan is counted among the aesthetically richest states of India, which boasts of dazzling arts and crafts. Whether it is lac, stone, leather work or ivory-carving, Rajasthan always has the best of best to offer as a souvenir. 









Ivory-carving, using the tusks of elephants, is the most delicate craft-form that has flourished under the regal patronage in few historical cities of Rajasthan including Udaipur, Jaipur, Bharatpur and Jodhpur. One can find numerous samples of this kind of art-form in the form of cute delicate ivory figures of Hindu gods and goddesses with very minute carving. On top of all this, Jali-work of lace like intricacy is the testimony to the brilliance of ivory carvers.

Ivory carving is not a new craft for India; it has been around for more than 4000 years in this country. Ivory Carving was popular even in the era of ancient and medieval princely states. The texture of ivory is very smooth, and whatever designs the craftsmen desire to create can be easily carved on ivory.

Apart from mesmerizing decorative items for display in living rooms, ivory bangles are yet another prominent and popular item in use.

The historic craft of Ivory carving, now banned and for a good reason too, was perhaps one of the most beautiful part of Rajasthan’s craft culture. As already mentioned, it is also perhaps one of the oldest form of art, as old as 4000 years old at the very least, to have survived till modern era. In fact, mention of ivory carving is even found in the oldest Vedic scriptures of India.

Ivory carving being a soft material is ideal for carving. However, the softness of ivory also makes the carving task difficult for the craftsmen, as the material is prone to easy damage. Nevertheless, the beautiful color of ivory has surpassed all these disadvantages, making the art very popular amongst affluent people of all ages.

Though usually considered a traditional art-form of Rajasthan, ivory-carving has been popular art across the globe since ages. Nevertheless, the art-form remains synonymous with Rajasthan, the state having several princely capitals once upon a time like Bharatpur, Udaipur, Jaipur, Jodhpur and Pali. These historical cities were in fact the hub of this amazingly beautiful art-form.

The recent ban however, winded up the whole of this industry. Many artifacts like showpieces, chess pieces, weapon handles, jewelleries, and even idols of Hindu deities made of ivory, though unusually expensive, were available in abundance in the places mentioned above.

After the ban on ivory by the government, the artisans moved on today to carving artifacts using horn and bone.

Monday, January 1, 2018

The Sacred Vaikuntha Ekadashi Observed By The Hindus In The Holy Hindu Month of Margaasheersha (Dec-Jan)

VAIKUNTA Ekadashi falls in the month of Marga-seersha (December-January) every year. This is observed with all solemnity in the temples of Lord Vishnu. Fasting is prescribed on all Ekadashis, that is, the 11th day of the lunar fortnight, twice a month. 

Hindu Preserver God MahaVishnu In The Ocean Of Milk In Vaikuntha

Vaikuntha Ekadashi Celebration in tirumala Tirupathi

Vaikuntha Ekadashi Celebrations in Srirangam

Vaikuntha Ekadashi Celebrations in Srirangam

Vaikuntha Ekadashi Celebrations in Srirangam


In this Kali Yuga, even if just one Ekadashi is observed with dispassion, faith and devotion, and if the mind is wholly fixed on Hari, one is freed from the rounds of birth and death. There is no doubt about this. The Hindu Scriptures give us their assurance on this point.

Devotees fast on this day, observe vigil the whole night and do Japa, Hari Kirtan and meditation. Some do not take even a drop of water. Those who are unable to fast completely take some light fruit and milk.

No rice should be taken on Ekadashi days. This is very important. The sweat that fell down from the head of Brahma, the creator in Hinduism, assumed the form of a demon and said to the Lord, “O Lord! now give me an abode to dwell.”

Brahma replied, “O demon! go and dwell in the rice particles eaten by men on Ekadashi day and become worms in their stomach.”

For this reason rice is prohibited on Ekadashi. If one observes the Ekadashi fast regularly, all sins are destroyed. The mind is purified. Devotion gradually develops. Love for God becomes intense. Orthodox people in India observe complete fasting and vigil even on ordinary Ekadashi days. For the devotees of Lord Vishnu, every Ekadashi is a very sacred day.


Fasting controls passion. It checks the emotions. It controls the senses also. It is a great penance. It purifies the mind and the heart. It destroys a multitude of sins. Fasting controls the tongue in particular which is the deadliest enemy of man. Fasting overhauls the respiratory, circulatory, digestive and urinary systems. It destroys all the impurities of the body and all sorts of poisons. It eliminates uric acid deposits. Just as impure gold is rendered pure by melting it in the crucible again and again, so also this impure mind is rendered purer by repeated fasting.

Youngsters are advised to observe fasting whenever passion troubles them. Only then will they have very good meditation, as the mind will be rendered calm. The chief object of fasting is to render the system calm so that one is able to practise meditation rigorously during that period.

Fasting is one of the ten canons of Yoga. However excessive fasting should always be avoided. It will produce weakness. Common sense has to be used.

Diseases that are pronounced incurable by doctors are cured by fasting. Occasionally, a complete fast is greatly desirable for all to keep up good health, to give adequate rest to the internal organs and maintain celibacy. All diseases have their origin in overeating and verily fasting is the only method to cure this.

Complete fasting helps to control sleep. Taking recourse to tea or coffee to control sleep during fasting is not desirable. We will not gain any spiritual strength if we depend on an external agent. During fasting all company should be avoided and time utilised in spiritual practises for our evolution.

Saturday, December 30, 2017

Allahabad Kumbha Mela (Sacred River Festival of India ) : Greatest Congregation of Humans on Earth

Kumbha Mela ( River Festivals of India ) Introduction
Kumbha Mela inscribed on the UNESCO's Representative List of Intangible Cultural Heritage of Humanity, is a mass Hindu Pilgrimage of faith in which Hindus gather to bathe in a sacred or holy river. Traditionally, four fairs in India, held once in 12 years, are widely recognized as the Kumbha Melas; the Haridwar Kumbh Mela, the Allahabad Kumbh Mela, the Nashik-Trimbakeshwar Simhastha, and Ujjain Simhastha. These four fairs are held periodically at one of the following places by rotation: Haridwar, Allahabad (Prayag), Nashik  (Trimbak), and Ujjain. The main festival site is located on the banks of a river: the Ganges (Ganga) at Haridwar; the confluence (Sangam) of the Ganges, Yamuna and the invisible Sarasvati at Allahabad; the Godavari at Nashik; and the Shipra at Ujjain. Bathing in these rivers is believed in Hinduism to cleanse a person of all sins.







The exact date of Kumbha is determined as per Vikram Samvat calendar and the principles of Jyotisha of the Hindus.

The priests at other places have also claimed their local River Festivals to be Kumbh Melas. For example, the Mahamaham festival at Kumbakonam, held once in 12 years, is also portrayed as a Kumbh Mela.

The exact age of the Kumbha Melas is uncertain. According to Hindu mythology, Lord Vishnu, the Hindu God of preservation dropped drops of Amrita (Nectar) at four places, while transporting it in a Kumbha (Pot). These four places are identified as the present-day sites of the Kumbh Mela

These festivals are amongst the highest congregation of religious pilgrims on the planet. There is no precise method of ascertaining the number of pilgrims, and the estimates of the number of pilgrims bathing on the most auspicious day may vary. An estimated 120 million people visited Maha Kumbh Mela in 2013 in Allahabad.


The Allahabad Kumbh Mela is a festival held every 12 years at Prayag (Allahabad) in India. The exact date of Kumbh, as already mentioned, is determined according to Hindu astrology. The Mela is held when Jupiter is in Taurus and the Sun and the Moon are in Capricorn. The fair involves ritual bathing at Triveni Sangam, the confluence of three rivers Ganga, Yamuna and the mythical Sarasvati. The last Allahabad Kumbh Mela took place in 2013; the next one is scheduled in 2025.

The Mela is one of the four fairs (River Festivals) held in India, traditionally recognized as Kumbh Melas.

This Kumbh is considered to be the most significant of all, as it marks the direction of Wisdom and Light. This is the place of Hindus where the Sun, symbolizing wisdom rises. Creation of the universe is supposed to have originated here and it is supposed to be the center of the earth, as per ancient Hindu beliefs.


Kumbha History :
According to Hindu mythology, its origin is found in one of the most popular Puranas, the Bhagavata Purana. The Samudra Manthan (Churning of the ocean of milk) of the Hindu gods and demons, is mentioned in the Hindu mythologies Bhagavata Purana, Vishnu Purana, the Mahabharata, and the great epic Ramayana. Finally after this entire churning process, God Dhanwantari appeared with a Kumbha (Pot) of nectar in his palms. However, when the Kumbha appeared, a fight ensued between the gods and the demons. To prevent the elixir of immortality from the demons, the gods ran away with the Kumbha to hide it away and they were chased by the demons. For twelve days and twelve nights the Devas (gods) and Asuras (demons) fought in the sky for the pot of Nectar. It is believed that during the battle, the drops of Nectar fell down from the Kumbha at four places; Allahabad (Prayag), Haridwar, Ujjain and Nashik. Because 12 days of gods are believed to be equal to 12 years for humans in Hinduism, the Kumbh Mela is celebrated once every 12 years in each of the four places; banks of river Godavari in Nasik, river Shipra in Ujjain, river Ganges at Haridwar, and at the  confluence of Ganges, Yamuna and Saraswati in Allahabad, where the drops are believed to have fallen.



Several stampedes have occurred at the Allahabad Kumbha Mela in 1840, 1906, 1954, 1986 and 2013. The deadliest of these was the 1954 stampede, which left 800 people dead.

Tuesday, October 17, 2017

* Vedic Mathematics, Ancient Indian Mathematics, & Some Of India's Greatest Mathematicians

( Disclaimer : All images featured in this Blog-post, are the property of their respective owners. Our deepest sense of gratitude to all of them for making this gigantic project a reality. If you see your picture anywhere in this Blog and don't want it here, send us a message with the details and the link to the picture, and we will remove it right away. But at the outset, I just want to let my dearest readers know, that the noble purpose of this Blog, is to promote 'The Glorious Cultural Heritage of India' worldwide, to every nook & corner of the planet, and I would immensely love to see every single one of us, of Indian origin, passionately participating in this Mega-Project. I am right now in the process of adding the web-links to the sources of the innumerable images in this Blog. Till the work reaches completion, I would request the readers to use 'Google Image Search' to trace the source / multiple sources of these images on the web. So Long, Mala Chandrashekhar )



Sri Bharati Krishna Tirthaji Maharaj : Shankaracharya of Govardhan Math Puri

Vedic Mathematics is the name given to an ancient Indian system of calculation, which was rediscovered from the Immortal Hindu Scriptures Vedas between 1911 and 1918, by His Holiness Sri Bharati Krishna Tirthaji Maharaj (1884-1960), Shankaracharya (Pontiff) of Govardhan Math, Puri. According to Tirthaji, the whole of Vedic Mathematics is based on sixteen Sutras, or Word-Formulae. For example, "Vertically and Crosswise" is one of these Sutras. These formulae are intended to describe the way the mind naturally works, and are therefore supposed to be a great help in directing the student to the appropriate method of solution. The Western Scholars say, none of these Sutras has ever been found in Vedic literature, nor are its methods consistent with known Mathematical Knowledge from the Vedic Era.

Perhaps the most striking feature of Tirthaji's system is its coherence. The whole system is interrelated and unified. The general multiplication method, for example, is easily reversed to allow one-line divisions, and the simple squaring method can be reversed to give one-line square roots. And, these are all easily understood. This unifying quality is very satisfying, it makes arithmetic easy and enjoyable, and it encourages innovation.

Difficult mathematical problems and huge sums can often be solved immediately by Tirthaji's methods. These striking and beautiful methods are a part of a system of mathematics, which Tirthaji claims to be far more methodical than the modern system. 

Vedic Mathematics is said to manifest the coherent and unified structure of arithmetic, and its methods are complementary, direct and easy.

The simplicity of Tirthaji system means that calculations can be carried out mentally, though the methods can also be written down. There are many advantages in using a flexible, mental system. Students can invent their own methods; they are not limited to one method. This leads to more creative, interested and intelligent students.

Interest in the Tirthaji's system is growing in education, where mathematics teachers are looking for something better, and finding the Vedic system to be the answer. Research is being carried out in many areas, including the effects learning the Tirthaji system has on children; developing new, powerful but easy applications of these Sutras in arithmetic and algebra.

The real beauty and effectiveness of the Tirthaji's system cannot be fully appreciated without practising the system. One can then see why its enthusiasts claim that it is the most refined and efficient calculating system known.

Vedic Mathematics refers to a technique of calculation based on a set of 16 Sutras, or aphorisms, as algorithms and their Upa-Sutras or corollaries derived from these Sutras. Its enthusiasts advance the claim that any mathematical problem can be solved mentally with these Sutras.

Swami Bharati Krishna Tirthajee Maharaj of Govardhan Mutt, Puri wrote a book on Vedic Mathematics, and first published it in 1965. It contains a list of ancient Indian Mental Calculation Techniques claimed to be based on the sacred Hindu Scriptures Vedas of  India.  Its characterization as Vedic Mathematics has been criticized by many academicians. Scholars emphatically argue that such mathematical Sutras are non-existent in the Vedas, and are not traceable anywhere in these Eternal Scriptures of the Hindus.
Academicians feel that Tirthaji had liberally interpreted three-word Sanskrit phrases to associate them with arithmetic.

Tirthaji claimed that he found the Sutras after years of studying the Vedas & deep meditation. However, the Vedas do not contain any of the Vedic Mathematics Sutras, mentioned in this book. Tirthaji’s description of Mathematics as a Vedic Science is most commonly criticised on the basis that, thus far, none of the Sūtras can be found anywhere in Vedic literature. When challenged by Professor K.S. Shukla to point out the Sutras in question in the Parishishta of the Atharvaveda, Shukla reported that Tirthaji said the sixteen Sutras were not included in standard editions of the Parishishta, and that they occurred in his own Parishishta and not any other.


"The Vedas are Infinite", says Paramacharya Shri Chandrashekharendra Saraswathi Swamigal of Kanchi Kamakoti Peetham, "If the cosmos of sound (Shabda-Prapanca) enfolds all creation and what is beyond it, it must naturally be immensely vast. However voluminous the Vedas are, one might wonder whether it would be right to claim that they embrace all activities of the universe. "Anantah Vai Vedah", the Vedas themselves proclaim so (the Vedas are endless). Only about a thousand Shakhas or recensions belonging to the four Vedas have been revealed to them."

Why is it difficult then for us to believe that a part of the Vedas, which TirthaJee calls 'Vedic Mathematics' was revealed to him during his hours of communion while in silent deep meditation, like some of the Immortal Sages of Vedic times? How do we claim that all the Infinite Vedas have already been revealed to the seers in the perishable volumes that we have in our possession today? On what basis? The arguments of the scholars, with the reason they provide to support their view, sound really funny. With our finite mind & finite intellect, how do we claim to have an answer for everything, for everything in the Cosmos that's INFINITE, without a begining, without an end?

Although the book was first published in 1965, Tirthaji had been propagating the techniques all over the globe since much earlier, through lectures and classes. He wrote the book in 1957. It was published in 1965, five years after his death, as a book of 367 pages in forty chapters. Reprints were made in 1975 and 1978. Several reprints have been made since the 1990s.

Some of the scholars have pointed out that while Tirthaji's methods were not unique, they may have been invented by him independently, as Tirthaji held an MA in mathematics, & also that the term Vedic Mathematics is incorrect, and there are other texts that can be used to teach a correct account of the Indian Mathematics during the Vedic period.


Proponents of Vedic Mathematics however argue that the methods are not merely mathematical tricks and that there is an underlying psychology because the aphorisms describe personal approaches to problem-solving. As pedagogic tools, the methods are useful because they invite students to deal with strategies.


According to Scholars, Indian Mathematics  emerged in the Indian subcontinent from 1200 BC until the end of the 18th century. In the classical period of Indian Mathematics (400 AD to 1200 AD), important contributions were made by Mathematicians & Astronomers like Aryabhata, Brahmagupta, Bhaskara II & Varahamihira. The decimal number system in use today, was first recorded in Indian Mathematics . Indian Mathematicians made early contributions to the study of the concept of zero as a number, negative numbers, arithmetic, and algebra. In addition, trigonometry was further advanced in India, and, in particular, the modern definitions of sine and cosine were developed there. These mathematical concepts were transmitted to the Middle East, China, and Europe and led to further developments that now form the foundations of many areas of mathematics.

Ancient and medieval Indian mathematical works, all composed in Sanskrit, usually consisted of a section of Sutras in which a set of rules or problems were stated with great economy in verse, in order to aid memorization by a student. This was followed by a second section consisting of a prose commentary (sometimes multiple commentaries ) that explained the problem in more detail and provided justification for the solution. In the prose section, the form (and therefore its memorization) was not considered so important as the ideas involved. All mathematical works were orally transmitted until approximately 500 BCE; thereafter, they were transmitted both orally and in manuscript form.

* Hitopadesha : Ancient Indian Fables Of Worldly Wisdom & Morals On Political Affairs In Simple Elegant Sanskrit Language

( Disclaimer : All images featured in this Blog-post, are the property of their respective owners. Our deepest sense of gratitude to all of them for making this gigantic project a reality. If you see your picture anywhere in this Blog and don't want it here, send us a message with the details and the link to the picture, and we will remove it right away. But at the outset, I just want to let my dearest readers know, that the noble purpose of this Blog, is to promote 'The Glorious Cultural Heritage of India' worldwide, to every nook & corner of the planet, and I would immensely love to see every single one of us, of Indian origin, passionately participating in this Mega-Project. I am right now in the process of adding the web-links to the sources of the innumerable images in this Blog. Till the work reaches completion, I would request the readers to use 'Google Image Search' to trace the source / multiple sources of these images on the web. So Long, Mala Chandrashekhar )

Hitopadesha (Sanskrit: हितोपदेश) meaning "Beneficial Advice" ) is an Indian text in Sanskrit language consisting of enjoyable stories with animal and human characters. It incorporates maxims, worldly wisdom and morals on political affairs in a simple and elegant language. This Hindu text has been very popular, widely translated into many Indian languages, as well as languages found in Southeast Asia, Middle East and Europe.

Little is known about the origin of Hitopadesha. The surviving text is believed to be from the 12th-century. Its oldest manuscript found in Nepal has been dated to the 14th-century, and its content and style has been traced to the ancient Sanskrit treatise called Panchatantra from 100 BCE to 500 CE. Dating this ancient work has been very problematic.

The purpose of creating Hitopadesha has been to encourage proficiency in Sanskrit language, and knowledge of wise behaviour in life. This is done through the telling of moral stories, in which we see birds, beasts and humans interacting in the body of the stories. Interest is maintained through the device of enclosed narratives in which a story is interrupted by an illustrative tale before resuming the story once again.

The Hitopadesha is quite similar to the ancient classic Sanskrit text Panchatantra, another widely popular collection of fables with morals. Many scholars consider Hitopadesha to be a version or derivative work of the Panchatantra.

The Hitopadesha is organized into four books, with a preface section called Prastavika. The opening verse expresses reverence to the Hindu God Ganesha and Goddess of Learning Saraswati. There are several versions of the text available today, though the versions are quite similar unlike the other ancient and medieval period Hindu texts, wherein the versions vary significantly. The shortest version has 655 verses, while the longest has 749 verses. 

In his own introductory verses, Narayana, who is believed by many to be the author of Hitopadesha, acknowledges and attributes his work to the older text Panchatantra. In his ninth verse, he states that he is indebted to the Panchatantra and 'Another Work'. The latter is unknown but possibly it's Hindu Dharmasastras
 
Hitopadesha differs by having only four divisions to the Panchatantra's five.


















Monday, October 16, 2017

* Vishnu Sharma's Panchatantra : Immortal Stories of Good Governance & Practical Wisdom From The Most Ancient Land Of India; Stories That Have Always Enchanted Both Children & Grown-Ups Alike

( Disclaimer : All images featured in this Blog-post, are the property of their respective owners. Our deepest sense of gratitude to all of them for making this gigantic project a reality. If you see your picture anywhere in this Blog and don't want it here, send us a message with the details and the link to the picture, and we will remove it right away. But at the outset, I just want to let my dearest readers know, that the noble purpose of this Blog, is to promote 'The Glorious Cultural Heritage of India' worldwide, to every nook & corner of the planet, and I would immensely love to see every single one of us, of Indian origin, passionately participating in this Mega-Project. I am right now in the process of adding the web-links to the sources of the innumerable images in this Blog. Till the work reaches completion, I would request the readers to use 'Google Image Search' to trace the source / multiple sources of these images on the web. So Long, Mala Chandrashekhar )

The Panchatantra ( Sanskrit: पञ्चतन्त्र, "Five Treatises") is an ancient Indian collection of interrelated animal fables in Sanskrit verse and prose, arranged within a frame story. Panchatantra is dated to about 300 BCE, but the fables are in all probability far far more ancient, as many of the knowledgeable Indians believe. The text's author has been attributed to Vishnu Sharma in some recensions and Vasubhaga in a few others, both of which may be fictitious pen names, according to Western Scholars. In all probability, Panchatantra Stories are based on older oral traditions with animal fables, that are as old & ancient as we are able to imagine.

It is certainly the most frequently translated literary work of India, and these stories are among the most widely known stories in the world. It goes by many names in many cultures. There is a version of Panchatantra in nearly every major language of India, and in addition there are 200 versions of the text in more than 50 languages around the world.

The prelude section of the Panchatantra in most places identifies an octogenarian learned Brahmin named Vishnu Sharma (Sanskrit: Viṣṇuśarman) as its author. He is stated to be teaching the principles of good governance & practical wisdom, to the three dud & utterly ignorant princes of the kingdom of Amarasakti in India. Based on the content and mention of the same name in several texts dated to ancient and medieval centuries, most scholars feel that the name 'Vishnu Sharma' is a fictitious name. Regardless of who the author was, Panchatantra stories are one of its kind in the world full of practical wisdom for children & grown-ups alike.
 
As already mentioned, the fables of Panchatantra are found in numerous languages of the world.

In the Indian tradition, The Panchatantra is a Nītiśāstra. Nīti can be roughly translated as "the wise conduct of life" and a Sāstra is a treatise. Thus Panchatantra is considered a treatise on political science and human conduct.  It draws from the Dharma and Artha Sāstras, quoting them extensively. It is also explained in Panchatantra through stories that Nīti represents an admirable attempt to answer the insistent question of 'how to win the utmost possible joy from the life in the practical world', and that Nīti is the harmonious development of the inherent powers of man in life, a life in which security, prosperity, resolute action, friendship, and good learning are so combined as to produce immense joy, and make the life worth living.

 

Panchatantra deploy metaphors of anthropomorphized animals with human virtues and vices. According to its own narrative, it illustrates, for the benefit of three ignorant princes, the central Hindu principles of Nīti. While Nīti is hard to translate, it roughly means prudent worldly conduct, or the wise conduct of life.

Apart from a short introduction, Panchatantra consists of five parts. Each part contains a main story, which in turn contains several stories inserted into it, as one character narrates a story to another. Often these stories contain further inserted stories. The stories thus operate like a succession of  one narrative opening within another, sometimes three or four even. Besides the stories, the characters also quote various epigrammatic verses to make their point indelible in the minds of readers.

The five books of Panchatantra have their own subtitles.




















* Khavda Pottery Of Gujarat in West India

'Khavda' Pottery is an Art-Form of Khavda in the North Kutch Region of Gujarat in West India . While the men do all the throwing in terracotta, the women handle all the surface decoration, which in this northern Kutch village of Ludia, is primarily in the form of painting.   

The Khavda potter gets mud from a specific lake area near village, known as 'Rann ka mitti'. This soft clay is shaped into a pot on a potter’s wheel and left to dry in shade. Then Kumbhar women, the women of potter community, use red, black, and white clay-based paints, to decorate each piece of pottery with distinct designs.   

After a while, the pots are cleaned and put in the sun to dry and then baked in a furnace. The vessels are coated with a thin wash of Geru (Red Colour). The pots of Khavda get their red colour from this red Geru, which is a type of soil. And the black and white dots and stripes on the pots, are also made with natural material.

The Terracotta pots of Khavda are distinct from the ones we may see elsewhere in other parts of India, because of their painting and form, which is the result of repeated cleaning at every stage of the process of their making.

More information on Khavda Pottery of Gujarat, will follow soon. Please stay tuned.

Anyone who requires more information may contact Mala Chandrashekhar at the Email Id :  indianartsandcrafts2008@gmail.com

( Disclaimer : All images featured in this Blog-post, are the property of their respective owners. Our deepest sense of gratitude to all of them for making this gigantic project a reality. If you see your picture anywhere in this Blog and don't want it here, send us a message with the details and the link to the picture, and we will remove it right away. But at the outset, I just want to let my dearest readers know, that the noble purpose of this Blog, is to promote 'The Glorious Cultural Heritage of India' worldwide, to every nook & corner of the planet, and I would immensely love to see every single one of us, of Indian origin, passionately participating in this Mega-Project. I am right now in the process of adding the web-links to the sources of the innumerable images in this Blog. Till the work reaches completion, I would request the readers to use 'Google Image Search' to trace the source / multiple sources of these images on the web. So Long, Mala Chandrashekhar )


Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India

Khavda Pottery Of Gujarat, India