Clothing in India

Clothing in India varies from region to region depending on the ethnicity, geography, climate and cultural traditions of the people of that region. Historically, men and women clothing has evolved from simple Langotas, and loincloths to cover the body to elaborate costumes not only used in daily wear but also on festive occasions as well as rituals and dance performances. In urban areas, western clothing is common and uniformly worn by people of all strata. India also has a great diversity in terms of weaves, fibers, colours and material of clothing. Colour codes are followed in clothing based on the religion and ritual concerned. For instance, Hindu ladies wear white clothes to indicate mourning, while Parsis and Christians wear white to weddings.
India's recorded history of clothing goes back to the 5th millennium BC in the Indus Valley civilization where cotton was spun, woven and dyed. Bone needles and wooden spindles have been unearthed in excavations at the site. The cotton industry in ancient India was well developed, and several of the methods survive until today. Herodotus, an ancient Greek historian described Indian cotton as "a wool exceeding in beauty and goodness that of sheep".[2] Indian cotton clothing was well adapted to the dry, hot summers of the subcontinent. The grand epic Mahabharata, estimated to be written between >10000 BC, has a mention of an uneding saree gifted to Draupadi to protect her dignity. Most of the present knowledge of ancient Indian clothing comes from rock sculptures and paintings in cave monuments such as Ellora. These images show dancers and goddesses wearing what appears to be a dhoti wrap, a predecessor to the modern sari.The upper castes dressed themselves in fine muslin and wore gold ornaments The Indus civilisation also knew the process of silk production. Recent analysis of Harappan silk fibres in beads have shown that silk was made by the process of reeling, a process known only to China until the early centuries AD.
According to the Greek historian Arrian:
The Buddha, in Greco-Buddhist style, 1st–2nd century CE, Gandhara(Modern eastern Afghanistan).
"The Indians use linen clothing, as says Nearchus, made from the flax taken from the trees,.And this flax is either whiter in colour than any other flax, or the people being black make the flax appear whiter. They have a linen frock reaching down halfway between the knee and the ankle, and a garment which is partly thrown round the shoulders and partly rolled round the head. The Indians who are very well-off wear earrings of ivory; for they do not all wear them. Nearchus says that the Indians dye their beards various colours; some that they may appear white as the whitest, others dark blue; others have them red, others purple, and others green. Those who are of any rank have umbrellas held over them in the summer. They wear shoes of white leather, elaborately worked, and the soles of their shoes are many-coloured and raised high, in order that they may appear taller."
During the Maurya and Gupta period, the people continued to wear the three piece unstitched clothing as in Vedic times. The main items of clothing were the Antariya made of white cotton or muslin, tied to the waist by a sash called Kayabandh and a scarf called the Uttariya used to drape the top half of the body.
Our Incredible India, even in attire is colorful, uselful, even elegant, and sophisticated.

Om-mystic sound and sign

Om is a world wide sound.
The origin of the syllable OM is lost in the misty past. Its not being specific to any one country or civilization is indicative of its being an universally perceptible sound for the human race. This reason for this universal perceptibility possibly lies in the fact that AAAH is the most natural sound that issues from the human larynx. This is evident when a man cries out naturally in extreme pain, anger or fear. When emotions reach an extreme pitch the articulate sounds evolved by man are not the ones that are heard, but the syllable natural to man which is AAAH
a devout people we normally do not go into the meaning and interpretation of our many beliefs. It is sufficient for most of us to know that they are part of the heritage handed down to us by our ancestors and in deference to tradition it becomes our duty to scrupulously and meticulously adhere to them. But by doing things without knowing the meaning behind them do we not deprive ourselves of an insight into our heritage?
Culture can be well appreciated and adapted to changing times if the meaning behind its different constituents is well understood. To develop this understanding one has to look upon all human actions as having originated in human society. While answers to all questions cannot be obtained, the acceptance of this approach at least opens the door to inquiry into the circumstances which gave rise to our revered traditions.
An attempt to interpret our religious beliefs and symbols is a challenging task. Many of these issues defy analysis and call for a judicious combination of the study of the social environment, etymology, aesthetics and philosophy. As far as aesthetics and philosophy go there exists a good deal of subjectivism and value judgement. While talking about etymology and the social environment we are on relatively firmer ground. In this chapter we have taken a set of symbols, beliefs and rituals and have attempted to examine the possible meaning behind them and the reasons which could lie behind their origin. The first religious symbol we take up is that of Om or Omkar.
OM or Omkar
The syllable OM is quite familiar to a Hindu. It occurs in every prayer. Invocation to most gods begin with this syllable. For instance we have Om Namaha Shivaya, Hari Om, Om Shanti etc. OM is also pronounced as AUM.
In Arabic the first alphabet is pronounced as aliph. In Greek it is alpha, in the Roman script it is A. Thus in many languages the first letter in the alphabet has the syllable A, with which the word AUM or OM begins. In the Greek alphabet the last letter is Omega which comes very close to OM. Thus the significance of the syllable OM as the beginning and end finds a parallel in many of the scripts associated with ancient languages.
The different ways in which Omkar is depicted. The syllable OM is not specific to Indian culture. It has religious significance in other religions also. The word Amen used among Christians at the end of a prayer is also said to be derived from the the syllable OM. Although OM is not given any specific definition and is considered to be a cosmic sound, a primordial sound, the totality of all sounds etc., Amen is said to mean 'May it be so'.
  In Arabic a similar term 'Ameen' has a religious significance.
This indicates some link between the various symbols and perhaps a common origin. Even in the English language the syllable �m occurs in words having a similar meaning. for instance; Omniscience means infinite knowledge, Omnipotent means having infinite powers Omnivorous means eating or reading every thing. This syllable also occurs in words such as Omen which means a sign of something that is to occur in future, Ombudsman means a person having authority to pronounce a verdict. Thus Om is also used to signify divinity and authority.
The syllable OM is not specific to Indian culture. It has religious significance in other religions also. The word Amen used among Christians at the end of a prayer is also said to be derived from the the syllable OM. Although OM is not given any specific definition and is considered to be a cosmic sound, a primordial sound, the totality of all sounds etc., Amen is said to mean 'May it be so'.
This is believed to be the original depiction of the syllable OM. We can see how similar it is to the English Latin) letter 'M' as also to the Geek letter 'Omega'.
Thus the origin of the syllable OM is lost in the misty past. Its not being specific to any one country or civilization is indicative of its being an universally perceptible sound for the human race. This reason for this universal perceptibility possibly lies in the fact that AAAH is the most natural sound that issues from the human larynx. This is evident when a man cries out naturally in extreme pain, anger or fear. When emotions reach an extreme pitch the articulate sounds evolved by man are not the ones that are heard, but the syllable natural to man which is AAAH.
This sound it can be said would have been associated with man, in absence of articulate speech, as are the various sounds of barking, meowing, bellowing that we associate with different animals. This perhaps is the reason why the syllable beginning with the letter 'A' is the first one in most alphabets. And this perhaps is also the reason for the Deification of the syllable AUM or OM
http://www.hindubooks.org/sudheer_…/hindu_history/omkar.html

significance of wearing bangles in India

The significance of wearing bangles in India.
Women wearing bracelets,in most countries of the world have no special significance, for Indian women and girls, it is different, even the colors of the bracelets means something.
Bangles were worn as decorative accessories during the pre- and post-Vedic periods, and they had little or no ceremonial association.
The excavated remains of the Indus Valley civilization bear proof to the fact that women wore bangles on their arms and forearms to make themselves look more attractive.
It is said that medieval India included bangles in various customs and gave the ornament a ritualistic significance. As a result, married women and young girls customarily wear bangles today.
It is considered inauspicious, by those who choose to believe so, to have arms bereft of the colourful adornment. and yes, it is coloured bangles that are deemed to be more propitious than the gold or silver ones. Green and red glass bangles are auspicious for married women. In Maharashtra, women wear these on all important and special occasions in the family. As a matter of fact, pregnant women are given green glass bangles to wear on both their arms.
In Northern India and in the South, red assumes ritualistic relevance. In Bengal, married women wear red and white bangles.
The white bangle is beautifully crafted from conch while the red is made either of coral or lac.
While the red and white ones are quite important as a symbol of matrimony, what is crucial is the loha or iron kada that is worn along with them. Some Bengalis get the loha gold-plated rather skillfully, giving it a more contemporary look.
The custom of the bride wearing ivory bangles extends from Punjab to Gujarat and Rajasthan. In Gujarat, the bride receives an ivory bangle from her family just before marriage.
The saptapadi (or the seven rounds around the sacred fire) cannot be carried out without her wearing this bangle. Rajasthani brides wear ivory bangles on their arms and forearms, right up to their shoulders.
In Punjab, the bride is given very slender and delicate red and white bangles in ivory, in multiples of four. These are called choodas. Of course, these have now been replaced with white plastic and red lac bangles, while the Bengalis still stand by tradition.
Bangles are vital not just during weddings, but also on the occasion of baby shower, which in the Indian context can be referred to as the bangle ceremony.
It is believed to be an event held to ward off evil spirits that might be lurking around the mother-to-be or the baby in the womb.
The mother-to-be, full of health and radiance, diverts the evil spirits' attention to her arms full of bangles (glass, silver, conch, or shell bangles, depending on the region and community), thereby deflecting danger to her or the baby.
The only time that a married woman removes her bangles is either at labour while having a baby or when she is widowed.
While the former is significant of an easy delivery, the latter has tragic connotations.
That is why, when glass bangles break, it is thought to portend ill luck.
Bangles (the word having been derived from the Hindi bangri or bangali, which in Sanskrit means the ornament which adorns the arm) have become a fashion statement today. Young women wear bangles for their jingling sound and for value as a trendy accessory. They wear them by the dozen and even match them with their clothes. They do not restrict themselves to glass, gold, or silver, but buy lac, metal, beaded, stone, conch, terracotta, wooden, pearl, and plastic bangles, as well as those studded with gems and precious stones.
Hyderabad and Firozabad are the favourite haunts for those looking for an amazing variety of strikingly beautiful bangles. If you happen to visit these places, you just might chance upon Kasars there, who specialise in the art of making bangles.
So, when you see beautiful arms with strikingly pretty bangles resting delicately on their wrists, make sure you give them a second look. You might just be inspired to wear some yourself.

A bindi (Hindi: बिंदी,

Bindi, and what it means.
A bindi (Hindi: बिंदी, from Sanskrit bindu, meaning "a drop, small particle, dot";
Traditionally, the area between the eyebrows (where the bindi is placed) is said to be the sixth chakra, ajna, the seat of "concealed wisdom". The bindi is said to retain energy and strengthen concentration. The bindi also represents the third eye.[2] The Nasadiya Sukta of the Rig Veda, the earliest known Sanskrit text, mentions the word vindu/bindu.
In modern times, the bindi is worn by women of many religious dispositions in South Asia and Southeast Asia, and is not restricted to one religion or region. However, the Islamic Research Foundation, located in India, says "wearing a bindi or mangalsutra is a sign of Hindu women. The traditional bindi still represents and preserves the symbolic significance that is integrated into Indian mythology in many parts of India."
Red represents honour, love and prosperity, hence it was worn traditionally by women to symbolize this day.
The red bindi has multiple meanings which are all valid at the same time. It is also a spiritual symbol.
By one simple interpretation it is a cosmetic mark used to enhance beauty.
From Vedic times, the bindi was created as a means to worship one's intellect. Therefore, it was used by both men and women. The worship of intellect was in order to use it to ensure our thoughts, speech, actions, habits and ultimately our character becomes pure. A strong intellect can help one to make noble decisions in life, be able to stand up to challenges in life with courage, and recognize and welcome good thoughts in life. The belief was that on this a strong individual, a strong family and strong society can be formed.
In meditation, this very spot between the eyebrows (Bhrumadhya) is where one focuses his/her sight, so that it helps concentration. Most images of Buddha or Hindu divinities in meditative pose with their eyes nearly closed show the gaze focused between eyebrows (other spot being the tip of the nose – naasikagra).
Swami Muktanand writes 'auspicious Kumkum or sandal wood paste is applied (between the eyebrows) out of respect for inner Guru. It is the Guru's seat. There is a chakra (centre of spiritual energy within human body) here called Ajna (Aadnyaa) chakra meaning 'Command centre'. Here you receive the Guru's command to go higher in Sadhana (spiritual practice) to the 'Sahasraar' (seventh and final chakra) which leads to Self-realisation. The flame seen at the eyebrow is called 'Guru Jyoti'. (From Finite to Infinite, by Swami Muktananda, SYDA Foundation, S. Fallsburg, NY, 1989, pp. 88–89)
The encyclopedic dictionary of Yoga informs that this 'Ajna Chakra' is also called the 'Third eye'. This centre is connected with the sacred syllable 'Om' and presiding it is 'ParaaShiva'. After activation of this centre, the aspirant overcomes 'Ahamkar' (ego or sense of individuality), the last hurdle on the path of spirituality.
Traditional application method.
A traditional bindi is red or maroon in colour. A pinch of vermilion powder applied skilfully with a practised fingertip makes a perfect red dot. It takes considerable practice to achieve the perfect round shape by hand. A small annular disc (perhaps a coin) aids application for beginners. First they apply a sticky wax paste through the empty centre of the disc. This is then covered with kumkum or vermilion and then the disc is removed to get a perfect round bindi. Various materials such as sandal, 'aguru', 'kasturi', 'kumkum' (made of red turmeric) and 'sindoor' (made of zinc oxide and dye) colour the dot. Saffron ground together with 'kusumba' flower can also work.
Related customs
Hindu woman with both bindi and vermilion signifying her marital status
In addition to the bindi, in India, a vermilion mark in the parting of the hair just above the forehead is worn by married women as commitment to long-life and well-being of their husbands. During all Hindu marriage ceremonies, the groom applies sindoor on the parting in the bride's hair.[5] The bride must wipe off her red bindi once she becomes a widow. This can be seen as symbolic and shows her status in society. Widows can continue to wear the black bindi but with a white sari.[citation needed]
Pottu is the application of a black dot kept on the forehead. Pottu can be a form of holistic medicine, in Indian traditions such as Siddha or Ayurveda, wherein herbs are heated until they turn black then made into a paste and applied to the forehead.
Wikipedia
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Sacred Tree Neolamarckia Cadamba

Sacred Tree Neolamarckia Cadamba
Commonly called Kadam (Kannada: ಕದಂಬ), (Bengali: কদম/কদম্ব; Assamese:কদম, ৰঘু),(Oriya: କଦମ୍ବ) (Tamil: கடம்பு), Bakmee - බක්මී (Sinhala), and Neepa (Sanskrit), is an evergreen, tropical tree native to South and Southeast Asia. The genus name honours French naturalist Jean-Baptiste Lamarck. The species has been widely but incorrectly called Anthocephalus chinensis. It has scented orange flowers in dense globe-shaped clusters. The flowers are used in perfumes. The tree is grown as an ornamental plant and for timber and paper-making. Kadam features in Indian mythology and religion
The Grama Paddhati, a Kannada work dealing with the history of the Tulu Brahmins, narrates a story that after Parasurama created the Haiga and Tulu countries, Shiva and Parvati came to Sahyadri, and there a child was born to the divine couple. Since the birth took place under a Kadamba tree, the child was named Kadamba, and was placed in charge of the Sahyadri region. Mayursharma belonged to this family and he made Banavasi his capital. Kadamba tree is also mentioned in other mythical stories. It is considered the Tree of Buddhism, and was thought to reunite separated lovers. Kadamba is mentioned in the Bhagavata Purana. In Northern India, it is associated with Krishna while in the south it is known as "Parvathi’s tree". Radha and Krishna are supposed to have conducted their love play in the hospitable and sweet-scented shade of the Kadamba tree. In the Sangam period of Tamil Nadu, Murugan of the Tirupparankundram hill of Madurai was referred to as a centre of nature worship. He was in the form of a spear under a Kadamba tree. In another mythical story, it is stated that Dhruv, son of King Uttanapada and wife Suniti, set out with firm determination to please Vishnu. He arrived in Madhuban (Garden) and took a seat under a Kadamba tree on the bank of the river Yamuna. During the first month he ate roots and tubers. In the second month he ate dried leaves. During the third month he managed with Yamuna river water. During the fourth month he sustained himself on air. Then Dhruv even stopped breathing. Now, standing on one leg only, he was fully concentrating on Vishnu. In Jayadeva’s Gitagovindam, Song of Govinda, (a poetic work on Lord Krishna composed in 1200 AD by Jayadeva of Puri) stanza 1, says “He who is mixed up or mingled in the darkness at a peaceful Kadamba tree, pre-set by me,—deserve supreme love and affection of the Supreme and hence I reminisce about him."

An episode from the life of Lord Krishna narrates of when he stole the garments of gopis when they were bathing in a pond near Vrindavan. Varuna, the sea-god, had forbidden nude bathing in rivers, ponds and other public places, but gopis often resorted to it. One day, to teach them a lesson, Krishna reached the bank of the pond where they were taking a bath and took away their garments and spread them on the branches of nearby Kadamba tree. He himself climbed the tree and hid there behind a branch. After the gopis had bathed, they looked for their garments but found them missing. Suddenly their attention was drawn to the nearby Kadamba tree by the stirring of its branches. When they looked up, they saw Krishna hiding there and their garments scattered all over the branches of the tree. Krishna insisted that they come out naked to receive their garments. This episode is portrayed in song, story, painting and artifacts, in the backdrop of the Kadamba tree.
Kadamba tree at the entrance to the Meenakshi temple

 The word Kadamba lends its name to the Kadamba Dynasty which ruled from Banavasi in what is now the state of Karnataka from 345 CE to 525 CE, as per Talagunda inscription of c.450 CE. The Kadamba tree was considered a holy tree by the Kadamba dynasty.
Religious significance[edit]Karam-Kadamba is a popular harvest festival, celebrated on the eleventh Moon day of the month Bhaadra. A twig of the tree is brought and worshipped in the courtyard of the house. Later in the day, young ears of grain are distributed among friends and relatives. This festive custom has been adopted by Tulu people. Onam (Kerala) and Huttari (Kodagu) are regional variants of this festival] Kadambotsava ("The festival of Kadamba") is also the festival that is celebrated every year by the Government of Karnataka in honor of the Kadamba kingdom, the first ruling Kingdom of Karnataka, at Banavasi, as it was here that the Kadamba kings organised the spring festival every year.
The Kadamba tree is also associated with a tree deity called Kadambariyamman. The Kadamba tree, which is considered the ‘sthalavruksham’ (Tree of the place) of the city that is otherwise known as ‘Kadambavanam’ (Kadamba forest) and is present in Meenakshi Temple. A withered relic of the Kadamba tree is also preserved there.
It claimed that the 27 Stars (constellations) constituting 12 Houses (Rasis) and 9 Planets are specifically represented precisely by 27 trees —one for each star. The Kadamba tree is said to represent Shatabhisha (Western star name -γ Aquarii).
In Theravada Buddhism, Kadamba tree is said to have used as the tree for achieved enlightenment, or Bodhi by fourteenth Lord Buddha
called "Sumedha - සුමේධ".
Wikipedia

Agasthyamalai Biosphere Reserve.

Agasthyamalai Biosphere Reserve.
The southernmost reaches of the Western Ghats, i.e. The Agasthyamalai Range extends from Mahendragiri near Kanyakumari in the extreme south to the Ariyankavu Pass near Shenkottai. The Agasthyamalai Range continues into Tamil Nadu, south of the Kerala border. This is the only part of the Western Ghats where some stretch of the western slopes are also in Tamil Nadu.Agasthyamalai Biosphere Reserve straddles the border of Kollam and Thiruvanantha...puram Districts in Kerala and Tirunelveli and Kanyakumari Districts in Tamil Nadu, at the southern end of the Western Ghats. The Biosphere. is composed of Neyyar, Peppara and Shendurney Wildlife Sanctuaries and their adjoining areas of Achencoil,Thenmala, Konni, Punalur, Thiruvananthapuram Divisions and Agasthyavanam Special Division in Kerala. Inclusion of adjoining areas of Kalakkad-Mundanthurai Tiger Reserve in Tamil Nadu has been approved. The reserve now covers parts of Tirunelveli and Kanyakumari Districts in Tamil Nadu and Thiruvananthapuram, Kollam and Pathanamthitta Districts in Kerala.The Reserve includes the Indian Ecoregions of South Western Ghats moist deciduous forests, South Western Ghats montains rain forests and Shola. It is the habitat for 2,000 varieties of medicinal plants, of which at least 50 are rare and endangered species. Rare animals include the tiger, Asian Elephant, and Nilgiri Tahr. Agastyamalai is also home to the Kanikaran, one of the oldest surviving ancient tribes in the world.

The total area of the Bio-sphere reserve is 3500.36 Sq. Km out of which 1828 Sq. Km. is in Kerala and 1672.36 Sq. Km. is in Tamil Nadu. The Bio-sphere Reserve now covers parts of Tirunelveli and Kanyakumari District in Tamil Nadu and Thiruvananthapuram, Kollam and Pathanamthitta District in Kerala.
By Mohan Pai.
https://mohanpai.wordpress.com/…/agasthyamalai-biosphere-r…/

Goa

Goa, Beautiful and interesting, a wonderful place to visit.
This is the smallest state in India, also fourth smallest in population, but Goa has the highest GDP, per capital, two and a half times than the country as a whole.
Goa dates back to 20,000 - 30,000 years ago, there is rock art engraving, on the back of the river Kushavati. Petroglyphs and other artifacts, dating back to 10,000 years ago, have also been found too.. Much later Goa was part of the Maurya Empire., ...then the Delhi Sultanate. In 1510 the Portuguese established a permanent settlement called Velha Goa, means Old Goa, up to this day, a lot of Portuguese influence is still there, even though, the Portuguese left in 1961.

Mining industry is second to tourism. There is the winter and summer seasons. People from all over the world come to visit Goa, the beaches are also an attraction for tourists. There is so much to say about this area, the best is to visit, relax, and enjoy.
images Wikipedia