Cultural and Historical Implication of Museum Collection: Representation of Regions and Tribes in the Nose Rings of Amrapali Museum of Jaipur, India (original) (raw)
Related papers
2013
CULTURAL ASPECTS OF THE TRIBAL ART IN CENTRAL INDIA: A CASE OF THE BODY DECORATION OF THE BAIGA TRIBE Dr. Basanta Kumar Mohanta Dr. Mohan Lal Chadhar Abstract The tribal arts, crafts and architectures are one of the most fascinating parts of their culture. The knowledge of this art is a hereditary one which transmits from generation to generation through oral tradition. The art of tattooing or body decoration is widely found among the tribal of India in general and the tribals of Central India in particular, which is treated as an integral part of their life and culture. Baiga is one of the Particularly Venerable Tribal Groups (PVTGs) of Central India, known for their traditional method of treatment and shifting cultivation. They live in a particular forested area of Dindori district of Madhya Pradesh, identified as “Baigachawk” and its neighbouring area. Both the male and female Baigas are very fond of body decoration. Besides, the female members like to decorate their body with different kinds of tattoos, known as Godna. Each of these tattoos has a specific cultural significance and tattooed at a particular age and a specific location of the body. It is related to their religion, belief system, health care practice, body decoration, social status, wealth etc. In this present paper an emphasis has been given on the importance of tattoo in the tribal life; symbols used in tattoo and their significance; method of tattooing and the continuity and change in the process, materials and symbols of tattoo. Assistant Professor, Department of Anthropology, Indira Gandhi National Tribal University, Amarkantak (M.P.)-484886. Email: drmohantabk@gmail.com. Mob: 09407343438 Assistant Professor, Department of A.I.H. C & Archaeology, Indira Gandhi National Tribal University, Amarkantak (M.P.)-484886. Mob: 09301599008
Indian Tribal Ornaments; a Hidden Treasure
2016
In early India, people handcrafted jewellery out of natural materials found in abundance all over the country. Seeds, feathers, leaves, berries, fruits, flowers, animal bones, claws and teeth; everything from nature was affectionately gathered and artistically transformed into fine body jewellery. Even today such jewellery is used by the different tribal societies in India. It appears that both men and women of that time wore jewellery made of gold, silver, copper, ivory and precious and semi-precious stones.Jewelry made by India's tribes is attractive in its rustic and earthy way. Using materials available in the local area, it is crafted with the help of primitive tools. The appeal of tribal jewelry lies in its chunky, unrefined appearance. Tribal Jewelry is made by indigenous tribal artisans using local materials to create objects of adornment that contain significant cultural meaning for the wearer. Keywords: Tribal ornaments, Tribal culture, Tribal population , Adornment, A...
Floral Jewellery in Ancient Indian Tradition
Jewellery A Treasure of Symbolism in South Asia , 2018
The general conversation around jewellery tends to focus only on the ornaments made of precious metals viz., gold and silver and precious stone. The present paper is an attempt to study the use of flowers as well foliage patterns as jewellery in the ancient Indian period. The archaeological as well as the literary references clearly corroborate that flower jewellery has been in use since ancient times. Jewellery was generally made of natural materials like feathers, seeds, leaves, flowers, stone beads, wood, ivory, animal bones and claws. The art of adornment goes back to primitive man who used, for decoration, flowers and beads, carved wood, shell, bone and stone. The material used changed in time to ivory, copper and semi-precious stones and then to silver, gold and precious stones, but our rich tribal heritage can be seen in the flower motif which is basic to Indian jewellery designs even today. (Jagannathan 2018) Thus, ethnographic and ethno historic accounts in India indicate that plants have been used more often for human adornment than other durable substance. (Francis 1984: 195)
PERENNIAL JOURNAL OF HISTORY, 2021
Jewelry is main aspect of dressing and Mughal Jewelry is a fascinating theme to explore. Its styles can be traced through the paintings that clearly give accurate information of the style and variety of ornaments that were used during the seventeenth and eighteenth centuries. Jewelry is considered the feminine adornment part but miniature shows the beautiful ornamentation of Mughal emperors also with variation in sizes and design. This article discusses the Mughal male head ornaments and study is focused on the turban ornamentations. As man’s turban is his sacrosanct property and variety of turban ornaments were used by Mughals. This paper is an attempt to understand and examine that how the Mughal turban ornament develops from simple feather to piece of complex jewelry designs and how other culture helps in its development. Why Mughal emperors worn such gemstones in headdress and which techniques were used for its decoration? Is there any specific reason of using such gemstones or ...
AN ANALYTICAL STUDY OF SARBLOH TRADITIONAL ORNAMENTS OF NIHANG SINGHS
African Jornal of Biological Science, 2024
The present paper attempts to delve into the significance and the dynamics of the traditional ornaments of Sarbloh used as decorative materials in the headgear of the Nihang Sighs which is an integral part of Sikh cultural heritage. The historical background of the significance of Sarbloh in Sikhism is traced in the command of the seventh Guru, Guru Har Rai Sahib in the mid of seventeenth century. The Guru sahib has exhorted the community to use the utensils made of Sarbloh (the wrought Iron) in their day-to-day life. But the utilitarian aspect of Sarbloh gained a new dimension only in the time of the 10th Guru, Guru Gobind Singh Sahib in the last quarter of the 17th century. It was the period when the Guru Sahib laid the foundation of Khalsa panth which is an important socio-cultural, religious, and political institution of Sikhism. The Akali Nihang Singhs who are the custodian and the dedicated and committed warriors of the Khalsa panth, follow a specific dress code and wear a special kind of headgear made of blue colour turban known as Dumala sahib. The Nihang Singhs traditionally decorate Dumala saheb with different Sarbloh ornaments viz. Chakram, Aadchan, Teer, Khanda, Chakrakhanda etc. The colour of the attire and the use of Sarbloh as the decorative and protective materials of the Nihang Singhs signifies bravery, spiritualism, impartiality, martyrdom etc. All these are in accordance with the Khalsa dress code, which is strictly adhered by the Nihang Singhs who are baptized in the fold of Sikhism. To unfold the myriad stories, folk tales etc associated with this important Sikh heritage and to explore the approaches to keep this heritage alive and vibrant in the contemporary times, the researcher has done a meticulous study and followed research methodologies like surveys, interviews, video recordings and photography. KEY WORDS-Sarbloh, Khalsa, Panth, Nihang, Heritage, Dumala, Chakram, Khanda
Eye Beads from the Indus Tradition: Technology, Style and Chronology
2013
AbstractThe "eye-bead" is a distinctive form of bead or pendant that has circular or concentric circular patterns that can be interpreted as representing one or more eyes. This article investigates the origin and development of eye beads in the Indus Tradition of northwestern South Asia. Although the origins of the eye-bead may date to around 7000 BC at sites such as Mehrgarh, the development of numerous different types of eye beads is clearly associated with the urban period of the Indus Civilization. The function of the eye bead cannot be determined from the archaeological record, but ethnohistorical evidence suggests that it was used to protect the wearer from the "evil eye" or malevolent thoughts. The link between the rise of the eye bead and Indus urbanism and the continuity of eye bead used in later periods is an important issue that needs more investigation.IntroductionThe term "eye-bead" is a very general label that can be applied to any bead or...
Beads: Journal of the Society of Bead Researchers , 2020
To reconstruct and understand adornment practices during the Kushana period of Gandhara (1st-3rd centuries CE), this article compares selected examples of beads recovered from the stratigraphically excavated site of Barikot (Swat Valley, Pakistan) with the forms of beads carved into regional iconography, i.e., sculptures of Bodhisattva (Buddhist divine beings) deriving from the Gandharan world. This article evaluates bead shape, size, and style to determine if the carved depictions represent actual ornaments or if they are simply symbolic or imaginative. This analysis can provide new insight into how ornaments were worn in the early historic period of South Asia and into the accuracy of iconographic depictions.
Book Chapter, 2022
The rich and ancient civilization of the Indian sub-continent makes it a treasure trove of monuments, artefacts and ornaments. The rich discoveries of metals like iron, copper and bronze in India had made it a centre of handicrafts in ancient times. The later discoveries of silver, gold and precious and semi-precious stones are all recorded in the traditional utensils, decorations and jewellery of the land. Among all artefacts, jewellery symbolizes wealth, power, and status. It also helps in enhancing one's beauty. For some, jewellery is a form of art that gives vent to creative expression. Then, there are some people for whom jewellery is a part of their tradition and culture. In Indian culture, jewellery plays a symbolic role. It carries ethnic and spiritual meanings, especially during weddings. Among the rich traditions of India, Dogra art, history and heritage also play a significant role although, so far, it has not been explored that much the way it should have been. The present research is an attempt to collect a wide variety of traditional Dogri jewellery. This is an attempt to preserve and archive the rich and glorious traditions of Duggarland which is at the brink of extinction. In addition, this research will also analyze the cross-cultural influences on Dogri jewellery also. During the present research, it is found that most of the traditional ornaments are not easily available. Some pictures are collected from Shashvat Art Gallery, Museum and Manuscript Library, Jammu which is run independently by Dr Suresh Kumar Abrol. Some pictures are collected from the personal repository of Dogra women. Due to the lack of written material on Dogra jewellery, most of the information was gathered in the form of oral history. A number of interviews were conducted to preserve and promote this form of Dogra Heritage.
INTACH Heritage Division, 2018
Tribal Jewellery of Ethnic Gujjar Bakkarwal Nomadic Communities of Jammu and Kashmir