(For lack of activity on this blog, I had to chapofy from gosumag)
Owing to my contracted imagination, poor memory, undeclared frustration and utter lack of knowledge, I request to be excused for writing on what you might find to be a mundane subject. Sarcasm, it seems to me, is the right medium to describe this delightful place which I am fortunate to tolerate everyday.
Out of the many avenues of entering Sewri, I choose the Railway Station. Even with blaring sinusitis I have managed to identify the arrival of this station, owing to the enchanting (mal)odour of dried fish. It always strikes my consciousness hard enough to catch me off guard – every time. I get off the train only to hear the monotonous crackles of an unseen antique speaker which I have come to associate over the past three years with (un)timely railway announcements. Two policemen (one of the many kinds of men you will meet soon) stand guarding something, about which I have been curious for a long time. They occasionally pester the hawkers to reinstate their authority in the public’s eyes. I find them irritating because apart from their royal moustaches and pot bellies, they have nothing else descriptive about them, reducing the size of my article by a few lines.
I also unavoidably spot the Polyuric-men standing around the periphery of the station. These men have residual cave-men instincts and mark their territory sincerely everyday in their favourite niches. (Sometimes, I feel they are necessary as their large scale generation of ammoniacal odour neutralizes that of the dried fish.) I find this ironical as Sewri has the highest density of public toilets than anywhere else. (‘Anywhere’ being the finger-countable places I have been to in my whole life.) It makes the typical morning of Sewri a riot of colours – colours of buckets of all sizes and shapes, meant for different purposes and lined under different taps.
Leaving the station behind, I encounter my first dose of major excitement. It is time for some serious athletic activity. Every year in the three months of monsoon, the narrowest pavement leading out of the station has its tiles freed from cementing bondage. Anyone who dares to step on them is thrown off balance and is swathed in mud from knee to toe. So an aerial view of this pavement probably resembles a large number of adults engrossed in a difficult game of hopscotch. Of course, to make this game more exciting, there are overhanging tarpaulin roofs which cave in as rainwater accumulates and give away without any warning. It drenches me in gallons of water especially when Murphy knows that I have unedited Gosumag articles in a vulnerable canvas bag.
In these regions, you encounter the first signs of any wildlife in Sewri. The wildlife is quite sparse, mostly comprising of colourless strong willed mongrels with inhuman canines and odd mating habits. Another constant four legged species is the friendly cow tied in an unfriendly fashion to the old woman who owns it. Day after day, the cow stands ruminating respectfully with its derriere exposed to the hundred hands which take its blessings regularly.
In Sewri, I never fail to get a Gutkha-carpet welcome. Here, every man and woman revels not only in consuming gutkha but also in watching its tiny plastic packet flutter innocently onto the street. Also, the gutkha chewing-men staunchly believe that the world is their spittoon. I always guard myself from sudden spurts of blood-red well-masticated betel leaves striking from unexpected directions. I am fortunate to witness the process of the formation of some of the largest stains on the street. (You get the best results if you spit off a speeding motorbike.) These paan stains along with the gutkha packets adorn the streets of Sewri which get converted into a wild canvas of the modern artist.
I apologise for introducing the most proactive member of Sewri’s active social life towards the end of the article. I call him the Leering-man. This man (who I am sure is found in many other places) provides hundred percent entertainment on my way to the 8 o’clock morning lecture. Be it calling me “Garam garam murgi...” or the occasional grope or shove, he becomes another victim of the cave-man instincts lurking in these areas.
All this and much more have made me an ardent admirer of life here. But what I wish to share with you is the philosophy of life in Sewri — ‘If life comes to a standstill and you ruminate too long, they will touch your rear. So don’t chew too much, just spit...’
Tuesday, September 4, 2007
Sunday, April 22, 2007
Friday, April 6, 2007
sari
BEHENJIS PAINTING THE DEAN'S LAWN RED- The colour of Joy and Celebration.this has obviously been sourced from a website....
Beautiful Indian woman outfit may be spelled either "sari" or "saree". The etymology of the word "sari" is from the Sanskrit word 'sati', which means strip of cloth. This evolved into the Prakrit "sadi" and was later anglicized into "sari".
This wrapped and draped dress is worn by women from India in its various incarnations. Sari is not just a national dress but also a symbol of Indian culture and essential part of India as the country. If you are asked to describe an Indian woman, you will definitely mention sari and Indian bangles. Besides, you will picture a dancing Indian woman(a bit ridiculous statement though), and you will be absolutely right.
Sari plays a significant role in Indian culture. There are a number of myths and tales dedicated to sari. One of them says the following. When the beauteous Draupadi - wife of the Pandavas, was lost to the Kauravas in a gambling duel, the lecherous victors, intent on humiliating and harassing Draupadi, caught one end of the diaphanous material that draped her demurely, yet seductively. They continued to pull and unravel, but could not reach the end, and thus undrape her. Virtue triumphed yet again in this 5,000 year old Indian epic, the Mahabharata. Legend, fantasy, history or fact, it is the first recorded reference to the enduringly attractive Sari - the longest running 'in fashion' item of feminine apparel in the world.
In a metaphysical sense the Kauravas symbolize the forces of chaos and destruction, trying to unwind what is in effect, infinity. They are finally forced to stop, frustrated and defeated.
There is ample evidence of the sari in the earliest examples of Indian art. Sculptures from the Gandhara, Mathura and Gupta schools (1st- 6th century AD), suggest that the sari in its earlier form was a briefer garment, with a veil, and usually no discernable bodice (oops).
In extant North Indian miniature paintings, (particularly Jain, Rajasthani and Pahari schools from the 13th to the 19th centuries) it seems to consist of the diaphanous skirt and an equally diaphanous veil draped over a tiny bodice(oops again). This style still survives as the more voluminous lehanga of Rajasthan and Gujarat. Gradually this skirt and veil were amalgamated into one garment, but when and how this happened is not precisely clear. One theory, not fully substantiated, is that the style was created by Noor Jahan (d. 1645) wife of the Mughal emperor Jehangir (reigned. 1605-27).
Indian civilization has always placed a tremendous importance on unstitched fabrics like the sari and dhoti, which are given sacred overtones. The belief was that such a fabric was pure; perhaps because in the distant past needles of bone were used for stitching. Hence even to the present day, while attending pujas or other sacred ceremonies, the men dress up in dhotis while women wear the sari.
What is actually a sari and how to wear it? The sari is a multi-purpose garment that enhances the perfect figure and covers well the not so perfect ones(hehe... note the point your honour...). In fact the Indian woman's figure seems to fit in so much better with the sari as compared her western counterpart.
Sari is an untailored length of cloth, the fabric is highly structured and its design vocabulary very sophisticated. The material always light enough not to interfere with the fluidity of the drape is another source of varied tactile delight - cottons, silks, cottons mixed with silk, chiffons and tissues are some of the preferred mediums. The saris are embellished with medallions, fine floral 'butis', scrolled leaves, branches and creepers, stylized peacocks and parrots. Experiments with the endless designs and materials are unlimited. Sari is complemented with jewelry, for example bangles.
Sari can be worn in many ways. Underneath the sari one wears a waist-to-floor length skirt, tied tightly (agreed) at the waist by a drawstring and a blouse that ends just below the bust. A distinct part of the indian sari is gently or a 'pallav', the one end of the sari that goes across one shoulder to fall down the back, which differs in look as compared to the other end of sari. The blouse or a 'choli' has never been as versatile and trendy as it is now. There are embroidered blouses, cholis, some with strings for greater ventilation(strings....ventilation??), some with high cuts that are deep both in the front and in the back, all of which gives the wearer a look that can range from confident to sexy.
Opulent women outfit makes Indian women even more beautiful. (behenjis Rejoice!!!)
Beautiful Indian woman outfit may be spelled either "sari" or "saree". The etymology of the word "sari" is from the Sanskrit word 'sati', which means strip of cloth. This evolved into the Prakrit "sadi" and was later anglicized into "sari".
This wrapped and draped dress is worn by women from India in its various incarnations. Sari is not just a national dress but also a symbol of Indian culture and essential part of India as the country. If you are asked to describe an Indian woman, you will definitely mention sari and Indian bangles. Besides, you will picture a dancing Indian woman(a bit ridiculous statement though), and you will be absolutely right.
Sari plays a significant role in Indian culture. There are a number of myths and tales dedicated to sari. One of them says the following. When the beauteous Draupadi - wife of the Pandavas, was lost to the Kauravas in a gambling duel, the lecherous victors, intent on humiliating and harassing Draupadi, caught one end of the diaphanous material that draped her demurely, yet seductively. They continued to pull and unravel, but could not reach the end, and thus undrape her. Virtue triumphed yet again in this 5,000 year old Indian epic, the Mahabharata. Legend, fantasy, history or fact, it is the first recorded reference to the enduringly attractive Sari - the longest running 'in fashion' item of feminine apparel in the world.
In a metaphysical sense the Kauravas symbolize the forces of chaos and destruction, trying to unwind what is in effect, infinity. They are finally forced to stop, frustrated and defeated.
There is ample evidence of the sari in the earliest examples of Indian art. Sculptures from the Gandhara, Mathura and Gupta schools (1st- 6th century AD), suggest that the sari in its earlier form was a briefer garment, with a veil, and usually no discernable bodice (oops).
In extant North Indian miniature paintings, (particularly Jain, Rajasthani and Pahari schools from the 13th to the 19th centuries) it seems to consist of the diaphanous skirt and an equally diaphanous veil draped over a tiny bodice(oops again). This style still survives as the more voluminous lehanga of Rajasthan and Gujarat. Gradually this skirt and veil were amalgamated into one garment, but when and how this happened is not precisely clear. One theory, not fully substantiated, is that the style was created by Noor Jahan (d. 1645) wife of the Mughal emperor Jehangir (reigned. 1605-27).
Indian civilization has always placed a tremendous importance on unstitched fabrics like the sari and dhoti, which are given sacred overtones. The belief was that such a fabric was pure; perhaps because in the distant past needles of bone were used for stitching. Hence even to the present day, while attending pujas or other sacred ceremonies, the men dress up in dhotis while women wear the sari.
What is actually a sari and how to wear it? The sari is a multi-purpose garment that enhances the perfect figure and covers well the not so perfect ones(hehe... note the point your honour...). In fact the Indian woman's figure seems to fit in so much better with the sari as compared her western counterpart.
Sari is an untailored length of cloth, the fabric is highly structured and its design vocabulary very sophisticated. The material always light enough not to interfere with the fluidity of the drape is another source of varied tactile delight - cottons, silks, cottons mixed with silk, chiffons and tissues are some of the preferred mediums. The saris are embellished with medallions, fine floral 'butis', scrolled leaves, branches and creepers, stylized peacocks and parrots. Experiments with the endless designs and materials are unlimited. Sari is complemented with jewelry, for example bangles.
Sari can be worn in many ways. Underneath the sari one wears a waist-to-floor length skirt, tied tightly (agreed) at the waist by a drawstring and a blouse that ends just below the bust. A distinct part of the indian sari is gently or a 'pallav', the one end of the sari that goes across one shoulder to fall down the back, which differs in look as compared to the other end of sari. The blouse or a 'choli' has never been as versatile and trendy as it is now. There are embroidered blouses, cholis, some with strings for greater ventilation(strings....ventilation??), some with high cuts that are deep both in the front and in the back, all of which gives the wearer a look that can range from confident to sexy.
Opulent women outfit makes Indian women even more beautiful. (behenjis Rejoice!!!)
Subscribe to:
Posts (Atom)
