#kayastha style

[thesplenor]

Rhythms of Mithila: The Spirit of Madhubani Art

Madhubani art, also known as Mithila painting, is one of the most celebrated forms of traditional Indian folk art. Originating from the Mithila region, which spans parts of Bihar, India, and Nepal, this art form is renowned for its unique style, intricate detailing, and vibrant use of colors.  The name "Madhubani" translates to "forest of honey," which reflects the rich cultural and natural environment that inspires these artworks.

Historical Background

The origins of Madhubani art are deeply rooted in Indian mythology and history. It is believed that this art form dates to the time of the Ramayana, an ancient Indian epic. According to legend, King Janak of Mithila commissioned artists to create paintings on his daughter Sita's wedding to Lord Rama. This royal patronage helped establish the tradition of creating auspicious images to mark special occasions, a practice that continues to this day.

Traditionally, Madhubani paintings were made on the walls of homes during festivals, rituals, and important life events such as weddings and births. These paintings served as an expression of devotion, a means of preserving cultural narratives, and a way of bringing good fortune. Over time, the medium expanded from walls to cloth, paper, and canvas, making the art more accessible and portable.

Techniques and Materials*

Tools and Materials:

Madhubani art is characterized by its use of simple tools and natural materials. Artists traditionally use fingers, twigs, brushes, matchsticks, and even nib pens to create intricate designs. The natural pigments and dyes used in these paintings are derived from a variety of sources. For instance, yellow is obtained from turmeric, blue from indigo, red from the Kusum flower or red sandalwood, green from leaves, and black from burnt rice. Cow dung and mud are often mixed to prepare the base of the wall paintings, providing a natural texture and background.

Techniques:

The technique involves outlining the designs with bold lines using a mixture of cow dung and mud or black from burnt rice husk. This is followed by filling the spaces with bright, vibrant colors. The paintings often feature a double line border filled with intricate patterns and motifs such as flowers, animals, and geometric shapes. The figures in the paintings are typically depicted in profile, and the faces are drawn with elongated eyes, which is a distinctive feature of this art form.

Madhubani art does not leave any empty space in the composition; every inch is filled with intricate patterns and symbols. This technique of filling the entire space is known as Kachani or Bharni.The detailing and the use of geometric patterns are not just aesthetic choices but also hold cultural and symbolic meanings, reflecting the artists' connection to their cultural heritage.

Styles of Madhubani Art

Madhubani art is not monolithic; it encompasses several distinct styles, each with its own characteristics and thematic focus. The primary styles include:

Kachani Style:

Kachani style of Madhubani painting is style which comes from the Kayastha community by its intricate line work and fine detailing. Kachani is primarily monochromatic, using a minimal palette with black and white being predominant. This style focuses more on the detailing of the figures and the use of fine lines to create patterns. It often represents scenes from nature and daily life.

2. Bharni Style:

The Bharni style is known for its bold, vibrant use of colors and the depiction of mythological figures, nature, and animals. Traditionally practiced by Brahmin women, this style often portrays Hindu deities like Krishna, Rama, Durga, and Saraswati. The emphasis is on filling the central subject with solid colors, while the background may be decorated with intricate patterns.

3. Tantrik Style:

 The Tantrik style is heavily influenced by tantric symbolism and motifs. It involves the depiction of tantric deities and yantras (geometric diagrams used in worship). This style is spiritual and esoteric, often featuring complex and abstract patterns that are rich in symbolic meaning.

4. Godna Style:

 The Godna style is inspired by traditional tattoo patterns. This style incorporates symbols and motifs that are culturally significant and often linked to social beliefs and practices. It is characterized using repetitive patterns and motifs such as flowers, animals, and geometric shapes.

5. Kohbar Style:

 The Kohbar style is specifically associated with marriage rituals. These paintings are created on the walls of the nuptial chamber and depict themes related to love, fertility, and prosperity. The central motif often includes a lotus flower, symbolic of fertility, surrounded by fish, birds, and other auspicious symbols.

Themes and Motifs

Madhubani paintings are rich in symbolism and cultural narratives. The themes can vary widely, but they often revolve around mythology, nature, and everyday life. Common motifs include:

- Mythological Figures: Depictions of Hindu gods and goddesses, such as Lord Krishna with Radha, Lord Rama with Sita, and various forms of the goddess Durga, are prevalent. These figures are often portrayed in vibrant, dynamic compositions that narrate stories from Indian epics and scriptures.

- Nature and Animals: The natural world is a significant inspiration in Madhubani art. Trees, flowers, birds, and animals like elephants, peacocks, and fish are commonly featured. These elements are not just enhancing but are also infused with cultural and spiritual symbolism. For example, the fish symbolizes fertility and prosperity, while the peacock represents beauty and love.

- Social and Cultural Practices: Madhubani art also captures scenes from daily life, such as agricultural activities, festivals, and social gatherings. These depictions provide a glimpse into the cultural practices and traditions of the Mithila region.

- Abstract and Symbolic Patterns: Geometric patterns, tantric symbols, and abstract designs are also a part of Madhubani art. These elements often carry deeper meanings and are used to convey philosophical and spiritual concepts.

Cultural Significance

Madhubani art is not just an artistic expression; it is a vital part of the cultural and social fabric of the Mithila region. The art form is deeply intertwined with the community's rituals, festivals, and social practices. For instance, the Kohbar paintings are an integral part of wedding ceremonies, symbolizing blessings for a happy and prosperous married life. Similarly, paintings of deities are created during festivals to invoke divine blessings.

The art form also serves as a medium for preserving and transmitting cultural knowledge and values. Through the depictions of mythological stories and traditional practices, Madhubani art helps keep the cultural heritage of the Mithila region alive.

Modern Adaptations and Global Recognition

In recent years, Madhubani art has acquired global appreciation and gratitude. The art form has transcended its traditional boundaries and found new expressions in contemporary contexts. Artists are now creating Madhubani-inspired designs on textiles, pottery, home decor items, and even fashion accessories. The use of modern materials and techniques has also expanded the scope of this art form.

The Indian government and various non-governmental organizations have played a crucial role in promoting Madhubani art. Initiatives such as exhibitions, workshops, and cultural exchange programs have helped bring Madhubani artists into the limelight. Additionally, the art form has found a place in international art markets, with collectors and art enthusiasts from around the world appreciating its unique aesthetic and cultural depth.

Economic and Social Impact

The commercialization of Madhubani art has provided a significant source of income for the artists, many of whom are women from rural backgrounds. This economic empowerment has had a positive impact on the community, enabling better access to education, healthcare, and other resources. Moreover, the recognition of Madhubani art on global platforms has instilled a sense of pride and cultural identity among the artists and their communities.

Challenges and Preservation Efforts

Despite its popularity, Madhubani art faces challenges, including the risk of losing traditional techniques and motifs to modernization. The younger generation's inclination towards urban life and modern professions has led to a decline in the number of traditional artists. Additionally, the influx of synthetic materials and commercialization has sometimes compromised the authenticity and quality of the artwork.

To address these challenges, several organizations and art enthusiasts are working towards preserving the traditional aspects of Madhubani art. Efforts include documentation of traditional techniques, promotion of natural dyes, and providing training and support to upcoming artists. Educational programs and workshops are also conducted to create awareness and appreciation for this art form among the younger generation.

Conclusion

Madhubani art is a timeless expression of cultural heritage, artistic excellence, and social narratives. It is a testament to the rich cultural tapestry of the Mithila region and an invaluable part of India's artistic legacy. As this art form continues to evolve and adapt to modern times, it retains its essence and continues to inspire and captivate audiences worldwide. The ongoing efforts to preserve and promote Madhubani art ensure that this beautiful tradition will continue to thrive and enrich the cultural landscape for generations to come.

[penkraft123]

5 Distinctive Styles of Madhubani Painting

5 DISTINCTIVE STYLES OF MADHUBANI PAINTING

Madhubani painting is one of the most famous Indian art forms. It was traditionally created by women. Women were from the Mithila region of Bihar and that's why it is known as Mithila painting or Madhubani painting. The colors used in Madhubani paintings are mainly made from plants and other natural sources. This painting can be drawn on canvas, cloth, and handmade paper. Following are five styles of Madhubani painting. Bharni Style Bharni means filling. This is one of the most famous styles of Madhubani painting. In Madhubani painting, vibrant colors are mostly used on canvas. It was practiced mainly by upper caste people which depicted mythological characters in epics, especially the Ramayana and Mahabharata which the womenfolk knew from the continued recital. Mostly the enclosed areas are filled with vibrant colors like blue, yellow, pink, green, orange colors etc. and the subject is outlined in black. Tantrik Style Tantrik painting is distinguished from another style of Madhubani painting. It solely depicts religious texts and characters related to them. Tantrik subjects include manifestations of  Maha Kali, Maha Durga, Maha Saraswati, Maha Lakshmi, and Maha Ganesh along with other tantrik symbols. Katchni Style In this style of painting, only one or two colors are used. The finest details are created and the fine pattern is made with hatching and stippling. This painting is still practiced by Kayasthas of the society. As Katchni means lines, they optimize muted hues, mostly the figures. Godna Style This is a simple style of Madhubani painting. Godna is commonly known as a tattoo in today's life and it was first done by Chano Devi. It was done on arms and legs. At the first initiative, a pointed bamboo pen with lampblack ink was used. This style has concentric circles of flowers, fields, animals, figures, and spirit. Kohbar The painting which is painted on the wall of a kohbar is known as Kohbar. The Kohbar painting is filled with rich details, each contributing significantly to the meaning of the whole. This is practiced by the lower class of society. They wash the paper with cow dung and paintings are done using earth colors.

Penkraft conducts classes, course, online courses, live courses, workshops, teachers' training & online teachers' training in Handwriting Improvement, Calligraphy, Abacus Maths, Vedic Maths, Phonics and various Craft & Artforms - Madhubani, Mandala, Warli, Gond, Lippan Art, Kalighat, Kalamkari, Pichwai, Cheriyal, Kerala Mural, Pattachitra, Tanjore Painting, One Stroke Painting, Decoupage, Image Transfer, Resin Art, Fluid Art, Alcohol Ink Art, Pop Art, Knife Painting, Scandinavian Art, Water Colors, Coffee Painting, Pencil Shading, Resin Art Advanced etc. at pan-India locations. With our mission to inspire, educate, empower & uplift people through our endeavours, we have trained & operationally supported (and continue to support) 1500+ home-makers to become Penkraft Certified Teachers? in various disciplines.  

[craftfurnish-blog]

Magical Mithila Art

MADHUBANI PAINTINGS: THE MAGICAL WORLD OF STORYTELLING

India is a plethora of rich cultural heritage and traditional art and craft. From every nook and cranny of this vast country, art seems to be oozing in abundance. The influence of various kingdoms and empires can be invariably seen in its varied art forms. One of the most popular among them is Madhubani paintings that originated in the Mithila region of Bihar as wall paintings. Owing to their origin Madhubani paintings are also famously known as Mithila art.

The first mention of the art form is believed to come from the time of Ramayana when King Janak, father of Goddess Sita, ordered the artisans to decorate the walls of the kingdom with this beautiful artwork for the wedding of his daughter with Lord Ram. During ancient times, the walls of the houses in the Madhubani area were decorated with fascinating designs from Madhubani art as a symbol of peace and prosperity.

Earlier confined to the local region of Madhubani, these paintings were exposed to the outside world in 1934. After massive destruction due to the earthquake in the Mithila region in 1934, a British officer, William G. Archer visited Madhubani district and while inspecting the damage caused, he discovered some magnificent paintings on the walls of the houses of the region. He took some pictures of these paintings and mentioned Mithila art in an international art magazine.

Madhubani or Mithila paintings are done using fingers, twigs, matchsticks, brushes, and even pen nibs. The paintings on the walls are known as Bhitti Chitra while the ones on the floor are known as Aripana. The outline for these paintings is done using rice paste and then colours are filled inside the framework. To give a better texture to the walls, a paste of cow dung and mud is used. One would not find any blank spaces left in these paintings. The spaces were filled artistically with geometrical and floral patterns, figures of animals, and birds. Natural colours are used extensively in these paintings. The juice of Kusum flower is often used for pink, indigo for blue, turmeric extract for yellow, sandalwood for red, tesu flowers from Palash tree for orange, charcoal, and soot for black and so on.

Madhubani paintings mostly depict nature and Hindu devotional events, and their themes generally revolve around Hindu deities like Krishna, Ram, Sita, Shiva, Durga, Lakshmi, and Saraswati. Nature and its forms like the sun, moon, and religious plants like tulsi are also commonly painted, along with the scenes from the royal courts and social events like weddings, religious rituals, festival celebrations, etc.

TYPES OF MADHUBANI PAINTINGS

Madhubani paintings are classified under three categories, namely:

BRAHMIN STYLE

The main subject of these paintings were the stories from Hindu mythology that depicted Hindu deities such as Ram, Sita, Krishna, Durga, Kali, and Vishnu among others. These paintings found the extensive use of vibrant colours.

KAYASTHA STYLE

This special form of Madhubani art depicts the characteristics such as fertility, procreation, and life. These types of Madhubani Paintings can be seen on the wall art of Kohbar Ghar (The Nuptial Chamber). The artists generally used a single colour for this form of paintings.

TATOO STYLE

The tatoo form of Madhubani paintings was conceived by the lower caste group of the society. The theme of this style was majorly Moon, Sun, Rahu, flora and fauna of the area, and stories from the lives of the local heroes.

Gradually, the Madhubani painting of India due to the efforts of award-winning artists like Jagdamba Devi, Sita Devi, Godavari Dutta, Mahasundari Devi, etc. found acceptance among the connoisseurs of art at both national and international level. Today, Madhubani art is exported to different countries like the USA, Australia, UK, and Russia. Today, these paintings are not confined to the walls or floors of the houses but patterns from this art form are made on various items like bags, cushion covers, coasters, trays, mugs, crockery, and even wall clocks. Madhubani art is also used to design textile products like saris, stoles, dupattas, shirts, tops, and salwar suits.

Madhubani or Mithila painting has been given the much acclaimed Geographical Indication (G.I.) status in the year 2007. Having been passed from one generation to the other, the content, style, and flavour of these regional Madhubani or Mithila paintings still remain intact and preserved. 

Indian handicrafts online

[laddooh]

Preserving legacies By Chef Sugandha Saxena

Chef Sugandha Saxena tells Ayushi Sharma that one cannot experiment a lot with the ingredients and flavours of traditional cuisine, but can master the old techniques and present them to the world in one’s own signature style

How different do you find the Kayastha cuisine from others? Kayastha cuisine is an adapted cuisine, not a regional one. Kayasthas brought the royal Mughal cuisine to the locals, hence creating their own adapted version of these dishes. It doesn’t belong to any particular region of India as the Kayasthas are spread all over the country. These factors probably make it one of the most unique cuisines of the country.

How do you think such traditional cuisines should be encouraged to bring them to the level of other global cuisines? India being the country which is vast in culture, always has space for all. I do believe a global exposure through social media showcasing the beauty of this cuisine will be helpful. Whether through food enthusiasts writing more about this or food critics giving their valuable feedback on these dishes. Through chef tables that I organise, my prime goal is to bring forth this cuisine to as many as I can, making sure the legacy of my ancestors is carried forward respectfully.

Original Source By The Pioneer

[versionweekly]

National Youth Day: 25 inspirational quotes by Swami Vivekananda on his 157th birth anniversary

National Youth Day: 25 inspirational quotes by Swami Vivekananda on his 157th birth anniversary

Swami Vivekananda, born Narendranath Datta, hailed from an aristocratic Bengali Kayastha family. He is credited with bringing Hinduism to the status of a major world religion in the late 19th century. Born on January 12, 1863, he played an important role in introducing the Indian Vedanta and philosophies of yoga to the western world, which put India on the world’s spiritual map. It was Swami…

[thebegusarai]

कायस्थ समागम में देश-प्रदेश से शामिल होंगी कई दिग्गज हस्तियां

कायस्थ समागम में देश-प्रदेश से शामिल होंगी कई दिग्गज हस्तियां

बेगूसराय। बेगूसराय के दिनकर कला भवन में 17 नवंबर रविवार दिन कायस्थ लोगों का मिलन समारोह का आयोजन किया गया है ।इस समागम समारोह में कई चित्रांश परिवार के दिग्गजों के भाग लेने की पूरी संभावना है। इस समारोह का उद्देश्य देश के विकास में चित्रांश की बेहतर भागीदारी कायस्थों की राजनीतिक, सामाजिक एवं आर्थिक समस्याओं के समाधान के लिए इस समारोह में विशेष रूप से चर्चा की जाएगी ।

यह समारोह अखिल भारतीय…

[utsavatime]

Short Essay & Speech On Swami Vivekananda In English & Hindi

Short Essay & Speech On Swami Vivekananda In English & Hindi

Swami Vivekanandawas born on 12th January 1863 in Calcutta on the occasion of Makar Sankranti festival, in the traditional Kayastha Bengali family. Swami Vivekananda’s childhood name was Narendranath Dutt (also known as Narendra or Narayan). He was one of the 9 children of his parents. His father name was Vishwanath Dutt & he was an advocate in the Calcutta High Court. His Mother name was…

[penkraft123]

Why is Madhubani Art so trendy?

The age of post-modernization is not just definitive of rapid technological advancement, but also a revival of the rich ancient past. One of the most influential and distinctive art forms to have ever emerged out of India undoubtedly is Madhubani painting. Mostly associated with regions around Nepal, Bihar, and the Mithila region, it is also known as Mithila Art. Madhubani Art often makes use of unique characteristics of complex geometrical patterns. This is so integral to people’s lifestyle who practice it, that women decorate their house walls and doors with this art so as to seek the blessings of God for peace and prosperity. Origin: There is no definite reference to when did Madhubani Art come into being, however, mythology claims that it came into being around the time of Ramayana when Janaka, the king of Nepal, wanted to decorate his kingdom to celebrate his daughter Princess Sita's wedding to Lord Rama, King of Ayodhya. Going by material evidence, elaborate wall paintings or Bhitti-Chitra in Nepal and Bihar played a prominent role in the emergence of Madhubani Art. Etymologically, Madhubani means Forest Honey 'Madhu' - honey, 'Ban' -forester the wild) is still a region in Mithila and still a dialect and identity in common currency believed to date as back as 2500 years. Furthermore, the original inspiration for Madhubani Art emerged from the womenfolk’s craving for religiosity and an intense urge to be in union with God. With the belief that painting something divine would achieve that desire, women began to paint pictures of gods and goddesses with an interpretation so divine that it captured the hearts of many. These paintings that were traditionally created by the women of the Brahmin, Dusadh, and Kayastha communities in the Mithila region evolved an art form that originated in the Madhubani village of the capital city of Ancient Mithila, known as Janakpur and has remained confined to a compact geographical area with the skills passed on through generations and centuries. Even the content and the style of this art form have largely remained the same. Style design: Madhubani painting traditionally involves fingers, twigs, and matchsticks. In recent, pen nibs have also come into use. It is painted with natural bright colors which are often made using a paste of cow dung and mud to develop in it a better texture. The outline of the painting usually has its frame made from rice paste. The juice of Kusum flower is often used for crimson hue, blue from indigo, turmeric extract for yellow, red from sandalwood, and so on. The artists often use different natural materials for their color needs. This process of using natural colors adds to it a natural texture that can be felt on closely watching Madhubani paintings. Art social formation: Madhubani Art has five distinctive styles, namely, Bharni, Katchni, Tantrik, Nepali, and Kohbar. In the 1960s, Bharni, Kachni, and Tantrik styles were mainly done by Brahman and Kayasth women (considered upper-castes) in India and Nepal. Their themes were mainly religious and they depicted Gods and Goddesses in their paintings. On the other hand, people of lower castes and classes included aspects of their daily life in their paintings. The Godna and Kohbar styles, for instance, are the preserve of the Dalit and Dushadh communities. Kohbar paintings are usually made by a to-be bride's family as a present to a to-be groom's family. Revival:The domestic ritual activity, Madhubani painting, unknown to the outside world come to public attention only after the 1934 India-Nepal border earthquake. Poetically, the quake brought houses down and the artistic relics out in the open to the public eye. It was the British colonial officer posted in Madhubani at the time, William G. Archer, who discovered the paintings while inspecting the site on the otherwise hidden walls of the homes there. His observations about the paintings claimed to find a stark resemblance between Madhubani Art and paintings of artists like Miro and Picasso as found in Western domestic households. He took black and white photos of some of these paintings, which today are the earliest images of the art. In addition, William G. Archer also wrote about the paintings in a 1949 article in 'Marg' an Indo-Nepal Art Journal. Thus began the spread of Madhubani Art. Years later, the drought from 1966 to 1968 crippled the agricultural economy of the region. As part of a larger initiative to bring economic relief to the stricken people, Ms. Pupul Jayakar, the then Director of the All Indo-Nepal Handicrafts Board, sent the Bombay-based artist Mr. Bhaskar Kulkarni to Mithila to encourage women there to replicate their mural paintings on paper in order to facilitate sales as a source of income to ensure survival. The contribution of foreign scholars in promoting the art form internationally has also been immense. Yves Vequad, a French novelist and journalist, wrote a book in the early 1970s on the basis of his research on Mithila painting and produced a film 'The Women Painters of Mithila' Since the 1990s, Japan has also shown a keen interest in Madhubani paintings, mainly because of the initiatives of Tokyo Hasegawa, who set up the Mithila Museum in Tokamachi, where around 850 Madhubani paintings are exhibited on a regular basis. As a result of all these initiatives, Madhubani Art is well known all over the world today. Recognition: In 1975, Madhubani painting received official recognition when the President of India awarded the Padma Shri to Jagdamba Devi, a resident of Jitwarpur village near Madhubani. This was around the time when Madhubani painting had started to receive acceptance. In 1981, Sita Devi was awarded the Padma Shri. In 1990, Ganga Devi of Mithila was awarded the Padma Shri. Mahasundari Devi was awarded the Padma Shri in 2011. Furthermore, Baoa Devi, Yamuna Devi, Shanti Devi, Chano Devi, Bindeshwari Devi, Chandrakala Devi, Shashikala Devi, Leela Devi, Godavari Dutta, Bharti Dayal, Chandrabhushan, Ambika Devi and Manisha Jha were also given National Awards. Art cannot be measured by tangible means like State awards, however, with official recognition, Madhubani painting has been successful in spreading its word around the world. Today Madhubani painting makes India proud by representing to the world its rich cultural heritage.

Penkraft conducts classes, course, online courses, live courses, workshops, teachers' training & online teachers' training in Handwriting Improvement, Calligraphy, Abacus Maths, Vedic Maths, Phonics and various Craft & Artforms - Madhubani, Mandala, Warli, Gond, Lippan Art, Kalighat, Kalamkari, Pichwai, Cheriyal, Kerala Mural, Pattachitra, Tanjore Painting, One Stroke Painting, Decoupage, Image Transfer, Resin Art, Fluid Art, Alcohol Ink Art, Pop Art, Knife Painting, Scandinavian Art, Water Colors, Coffee Painting, Pencil Shading, Resin Art Advanced etc. at pan-India locations. With our mission to inspire, educate, empower & uplift people through our endeavours, we have trained & operationally supported (and continue to support) 1500+ home-makers to become Penkraft Certified Teachers? in various disciplines.

[theorchidlove]

Lucknow is known for its food cuisine. I have come here  for 2 days,  which I know are not enough to explore the history or food trail of the city. Due to time constraint, I had listed some well known and old eateries of Lucknow.

Royal Cafe in Hazratganj was already on the list. My husband, RB had visited this place almost half a century ago as a young boy. “Bajpayi kachori” of Hazratganj was another eatery on the list. Sharma ji ki chai, bati chokha , Aliganj and a good local awadhi biryani. These were on my wish list or call it hit list. 😛

After spending around 4 hours in Residency complex, we chose to go to “Bajpayi Kachori in Hazratganj. It’s one place  everyone has recommended. “Everyone” – who has visited Lucknow or has belonged to Lucknow and is on any whatsapp group, of whom I am a member. 🙂

Bajpayee ji ki Kachori stall and queue of customers

Again Uber was booked for Bajpayee ki Kachori. As we reached a shop named Bajpayee ki kachori, my husband recognised that we are not in Hazratganj. The Uber driver said, this was the location selected. We checked and found that it was our mistake. There are two shops of the same name and no one can tell us if this is an extension of the original or not.

Any way, by this time, we were awfully hungry. We booked another Uber , this time for Bajpayee ki Kachori, Hazratganj. We got down at “Ramasre” Sweet shop in Hazratganj, opposite to Bajpayee’s. RB remembered Ramasre for his food cart in Hazratganj on his last visit decades ago. His food was good and very popular in those days. Just opposite to “Ramasre”, we saw a hole in the wall kind of shop, which was “Bajpayee ki Kachori. Few tables were kept outside for people to eat their fare, bang on a very busy and narrow road. It has a long queue. I detest the idea of queuing up for food. There were few delivery men from swiggy and zomato. We decided to use technology and get them home delivered rather than wasting time queuing up.

We walked towards the Royal Cafe. Google maps are a big help in a new city. One can reach the destination without any human intervention. It gives so much  independence, freedom and feel of safety to travelers. 

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As RB has seen Hazratganj in it’s old glory, he was sad at the condition of the area, afterall Lucknow is his ancestral city.  Old heritage buildings were being demolished and converted into big showrooms. Work was on for the metro and whole area was in shambles.

Royal Cafe, Hazratganj, Lucknow

We had “basket chat” from Royal cafe as it has samples of almost everything which is “chat”. It’s simply divine. Besides the food served, the tehzeeb of Lucknow is visible in every conversation, which I heard while in Royal Cafe or anywhere else. “Matar tikki” was another item, which we selected from the menu on the advise of the waiter. It has unique blend of spices, soft and “melt in mouth” type and very tasty. I wish, I could have eaten few more of their preparations, but my stomach was full. My heart was still longing for more. 

I am biased towards UP ka khana, being a kayastha. Who can ever forget the taste of “Aloo puri and jalebi breakfast” from the nearest corner shop? Every mohalla has their favourite and “best” “aloo-puri-jalebi” nashta. 🙂

We took a stroll in the hazratganj. Going to hazratganj in good old days was referred to as “Ganjing” . It was the most happening place then.

The “bajpayi ki kachori” was the next morning breakfast. 

The “Swiggy” aggregator for home delivery of local food came to our rescue from the queuing at the outlet. We booked and got the food delivered within 28 minutes flat. Hot and piping kachories and sabzi. 

Bajpayee ki Kachori

We were expecting the soft urad daal kachories with hing wale aloo. What we got were thick maida ki poori with aloo-chana topped with kachcha pyaaz. Disappointed somewhat. But then checked the rating of Bajpayi ji. Some confidence there. 🙂 The first bite made some change in our opinion about kachories. The food was good. Very spicy though. From the look of the shop/ outlet, we were worried about the hygiene. Bajpayi ji passed the hygiene test too as none of us had any stomach upset episodes. RB’s system is sensitive and his system okayed the Bajpayee’s hygiene. The kachories were actually poories. There was no fillings. I ordered kachories and poories both, as it was there in the menu. Thick maida poories , not swelled but hard and crispy which may be acceptable in a remote panjab location but not in UP, where poori- kachori are swelled and thin. It was tasty but nothing like UP style poori, kachori and hing aloo. I guess, I am disappointed as my expectations were not met. But it  was tasty, very spicy.

The last dish on the list was awadhi biryani. It’s a difficult option for a vegetarian. For non-vegetarian foodies, there are vast varieties available. We decided that we will go for biryani, where ever we will be during lunch time. We were in chowk market to do some chikankari shopping. Chowk area is the  wholesale market and one of the recommended places for hand made chikankari clothing. We reached Chowk only at lunch time after visiting the Imambaras and surrounding monuments like ghanta ghar, Roomi Darwaaza etc. An electric rickshaw took us there in Rs. 50 and 15 minutes.

Vegetable biryani

Matka Kulfi

Mocktail

Lemonade

We looked around and zeroed in on “Aryan Family Delight”. It’s rating on Zomato was 3.5/5. A casual dining place with nice ambience. We ordered Awadhi Vegetarian Biryani and chaach. The biryani was delicious. It was served with raita. Masala chach was equally good. Biryani was very light, rightly spiced and less oily. The vegetables and rice quantities were balanced and aroma of herbs were inviting.

We also had matka kulfi at Aryans. It was mildly sweet, with saffron flavour and was different than the kulfi served here in Ahmedabad. 

After having our stomach full, we had enough energy for shopping and bargaining . Finally, with big shopping bags, we reached our guest house by late evening. We had our dinner in the guest house.

Awadhi Biryani Vs Hyderabadi Biryani

When we talk about biryani, comparison between awadhi and hyderabadi biryani is natural. Both the biryanis are cooked in “dumpukht”style. In “dum” cooking style, rice and meat/ vegetables are cooked in a sealed handi on low heat.Their similarities end here.

Awadhi biryani is also known as paki (पकी) biryani or cooked biryani.  The meat/ vegetables and rice are cooked separately, layered and then baked in dum.This is less spicy, less oily and light on stomach. While hyderabadi biryani is known as kachchi/raw/uncooked (कच्ची) biryani.The meat / vegetables are marinated in a mixture of spices for a few hours and then mixed with the cooked Biryani rice.This is cooked in sealed handi in “dum” style.Hyderabadi biryani is more spicy and tangy.It has more oil as compared to Awadhi biryani and is not as light as awadhi. Actually, it’s heavy on stomach.

Whatever may be the style, biryani has made a special place in our plates. It was first introduced in India, when Mughals captured the region, and the Arabs introduced it to some parts of South India.

Sunset at Gomti Nagar

With this, our time in Lucknow came to an end. A memorable trip came to an happy ending.

Lakhnawi Dastrakhan (Lucknow Food Trail) Lucknow is known for its food cuisine. I have come here  for 2 days,  which I know are not enough to explore the history or food trail of the city.

[celebsbooks]

Sonu Nigam is an Indian Singer, Actor and TV Anchor. He was conceived on 30 July 1973 in Faridabad, Haryana, India. Sonu Nigam works in Bollywood Film Industry. He Has Also sung in Bengali, Gujarati, Telugu, Tamil, Marathi, Tulu, Assamese, Odia, Nepali, Maithili and different Indian Language film melodies. He built up himself as the main and Commercial effective Singer of India. Sonu Nigam Net Worth is $8 million and His Salary 7-8 Lakh Rupee for every melody. Sonu Nigam Film Song Debut Bewafa Sanam (1990, Bollywood) and Album Debut Rafi Ki Yaadein Vol 10-20 (1993). He made his on-screen lead part Hindi Movie Jaani Dushman: Ek Anokhi Kahani (2002).

Sonu Nigam

 Sonu Nigam Age 45 Years Old, He conceived in Faridabad, Haryana, India. His Father is a Singer named, Agam Kumar Nigam and His mom Shobha Nigam. He has two more youthful sisters Meenal and Neekita. Sonu Nigam is moved on from University of Delhi, New Delhi. Sonu Nigam Married to Madhurima Nigam and they have one child Nevaan. He is Hindu by Religion, Sun Sign Leo and Nationality Indian. Nigam is a sub-position of Kayastha, an upper-level Shudra of North India. 

Sonu Nigam Height 5 ft 7 in (170 cm) and Weight 65 Kg (143 lbs). His Body Measurements are 38-30-12 Inches. Sonu Nigam Chest Size 38 Inches, Waist Size 30 Inches and Biceps Size 12 Inches. He has Black Color Hair and Dark Brown Color Eye.

Sonu Nigam is an exceedingly acclaimed Indian playback vocalist whose melodies have been highlighted in various Bollywood and Kannada films. He has likewise discharged various Indi-pop collections and acted in a couple of Hindi component films. He as of late changed the spelling of his last name from 'Nigam' to 'Niigaam' as per numerology. 

Early Years⤵ 

Sonu Nigam started his singing vocation at three years old when he joined his dad in front of an audience to sing Mohammad Rafi's "Kya Hua Tera Wada". At that point on, he went with his dad on his singing assignments at weddings and gatherings. He moved to Mumbai with his dad to start his Bollywood singing vocation at 18 years old. 

His first film tune as a playback artist was in the motion picture, "Janum" (1990), which was never authoritatively discharged. He got a break as a playback vocalist in Gulshan Kumar's motion picture, "Aaja Meri Jaan". He at that point sang the melody, "Accha Sila Diya", for the collection, "Bewafa Sanam" (1995), which gave him the acknowledgment as a built-up playback artist. 

Melodic Education⤵ 

It is said that music keeps running in the veins of certain fortunate people. That is by all accounts the case with Sonu Nigam also. Sonu's dad, Agam Kumar Nigam used to perform in arrange appears. Little Sonu used to go with his dad to his shows and his enthusiasm for music developed from that point. When he was four years of age, he had a fit in one of the shows saying that he needed to sing. He sang the superhit tune of Mohammed Rafi "Kya Hua Tera Wada" of the motion picture "Murmur Kisi Se Kum Nahi". That was the start of what has ended up being one extraordinary melodic trip. 

Sonu's preparation started at home. He grew up taking in the subtleties of music from his dad. He took preparing of established music from Ustad Maha Kanjar Naveed in Delhi. His enthusiasm for music superseded each other intrigue and he sought after it with a resolute core interest. As a young person, he participated in various local and national music rivalries and won the vast majority of them. It was then that the possibility of turning into a popular playback vocalist in Bollywood jumped out at him. He chose to move to Mumbai when he was 18 and was joined by his dad. He proceeded with his melodic preparing while he was chasing for circumstances under the tutelage the amazing traditional music maestro Ustad Ghulam Mustafa Khan. 

Music, Sonu says, is a ceaseless adventure. One needs to put in a ton of his spirit into it and learn constantly. Keeping up quietude and regard is a key part of being a decent education and concentrate the greatest learning 

Profession⤵ 

Playback Singing⤵ 

Sonu got his first break for playback singing in a motion picture Janam in 1990 however shockingly the motion picture wasn't discharged. He put a considerable measure of confidence in the agreement from T-arrangement yet was disturbed when his tunes were dismissed for S. P. Balasubramaniam. Inspired by his ability, T-arrangement proprietor, Gulshan Kumar offered him a singing contract for his forthcoming venture 'Bewafa Sanam'. The tune 'Achha Sila Diya Tune' turned into a colossal hit and individuals began sitting up and pay heed to this skilled artist. 

He battled amid his underlying days in Mumbai as he was not getting numerous playback openings. He did some radio plugs. His principle wellspring of salary was from organizing appears as a Mohammed Rafi voice twofold. He likewise did some forgettable playback work in films like 'Aaja Meri Jaan' (1992), 'Shabnam' (1993), 'Aag' (1994), 'Khuddar' (1994), 'Hulchul' (1994), 'Double' (1994) and 'Slam Jaane' (1995). 

His profession took off when he sang consecutive hits like 'Sandese Aate Hain' in the 1997 film 'Outskirt' for which he won the Zee Cine Award. He rearranged among different melodic classes and styles with tunes like 'YehDil' in 'Pardes' (1999) toward one side and the title track of the 2004 film 'Kal Ho Na Ho' at the other. With time he turned into the most trial vocalist in Bollywood playback industry, taking up exceptional undertakings with all the best arrangers including A.R. Rahman in 'Sathiyaa'. Coordinated efforts with current arrangers like the Shankar-Ehsaan-Loy trio, for the melody 'Tanhayee' in the super fruitful 'Dil Chahta Hai', showed his stunning reach and adaptability. He caught the gathering of people's souls with his smooth sentimental versions of melodies like 'Suraj Hua Madhyam' from the motion picture 'Kabhi Khushi Kabhi Gham', or deep 'Dheere Jalna' from the film 'Paheli', both of which won him Zee Cine Awards for Best Playback Singer Male. 

At a certain point around 2010-2011, consistently Bollywood motion picture tune was sung by Sonu Nigam. He has worked with legends of Indian music like Lata Mangeshkar and Khayyam. He has incredible regard for contemporary artists like Sunidhi Chauhan, Shaan, Shreya Ghoshal and Kailash Kher. 

Aside from Hindi, he has had immense achievement in Kannada motion picture industry also. Till date, he has sung more than 600 melodies in the Kannada dialect. Tunes like 'Cheluve Yeke Bande' from 'Majnu', the title track from the film 'Monalisa' and 'Kannale' made by V. Ravichandran from the film 'Aham Premasmi', made much sensation and won him a few honors. 

Music Albums⤵

In 1992, he discharged a collection 'Rafi Ki Yaadein' comprising of fronts of well known Mohammed Rafi melodies. In 2007 he discharged another accumulation of Rafi tunes titled 'Kal Aaj Aur Kal' with over a 100 melodies in a six circle design. He likewise discharged the collection titled 'Rafi Resurrected', a two-plate gathering of Rafi tunes, in 2008. 

He discharged a few collections with unique melodies throughout the years. His collection titled 'Deewana' discharged in 1999 under T-arrangement's mark was an enormous achievement. His other unique collections like 'Jaan' and 'Chanda Ki Doli' were discharged in 2000 and 2005 individually. 

His other essential music collections were 'Traditionally Mild' in 2008 and 'The Music Room' in 2014 as a team with percussionist Bickram Ghosh. 

Author⤵ 

Sonu Nigam is moderately new in the part of a music author and has made music out of a few tracks in standard Bollywood films like, 'Singh Saab the Great' (2013), 'Jal' (2014), 'Glad Anniversary' (2016) and 'Tum Jo Mil Gaye Ho' (2016). 

Joint efforts⤵ 

His ability has pulled in a few cooperative works with famous music identities from everywhere throughout the world. After the demise of the incredible artist Michael Jackson, Sonu contributed a tune in the tribute collection 'The Beat of Our Hearts' which highlighted vocalists like Judith Hill, Mike Thompson, and Quincy Patrick. He sang at the Inauguration Ceremony of Harvard University's 28th President with the Harvard College Sangeet. In 2008 he visited the United Kindom with the City of Birmingham Symphony Orchestra (CBSO), singing Mohammed Rafi melodies which were later changed over into the collection, Rafi Resurrected. Sonu worked together with Britney Spears in 2011 Nigam on a remix of her track 'I Wanna Go'. In 2012 he highlighted in the melody 'Indian Levels' in a collection delivered by DJ Avicii. 

Acting⤵ 

Aside from a pleasant voice, Sonu is additionally honored with glorious great looks. He has included in films like 'Jaani Dushman: EkAnokhiKahani' (2002), 'Kash Aap Hamare Hote' (2003) and 'Love in Nepal' (2004). These films did not toll well in the cinema world and Sonu did not seek after acting further. 

TV and Radio⤵ 

Toward the start of his vocation, Sonu facilitated the singing rivalry demonstrate 'Sa Re Ga Ma' in 1995 which made him an easily recognized name. From that point forward he has shown up in numerous unscripted tv appears as a judge. He has shown up in Indian Idol (seasons 1, 2, 3, 4 and 7), Amul STAR Voice of India (seasons 1 and 2), Chhote Ustaad and X – Factor India. 

Sonu Nigam additionally showed up on a radio show on Radio City 91 FM, known as 'Life Ki Dhun'. 

Honors⤵ 

Till date, Sonu Nigam has had 29 designations of which he has won 15. He has packed away esteemed honors like Film Fare, Zee Cine Awards, and National Film Awards. He won the most extreme number of honors for Best Playback Singer Male for the title track of film 'Kal Ho Na Ho'. A rundown of his assignment and honors might be found in https://ift.tt/2Mfs0Qk. 

Discussions⤵ 

He confronted colossal reaction from the Bollywood music industry for being vocal about issues like Singer's Right and Copyright Act. Gossipy tidbits about issues in marriage had surfaced in the media, in spite of the fact that Sonu and his significant other denied such assertions and are going solid.

Pop Albums And Concerts⤵ 

Sonu has discharged various pop collections, both in Hindi and in Punjabi. The "Traditionally Mild" collection is the best among all. He has likewise discharged a few collections of Mohammad Rafi's tunes and in addition reverential collections. 

TV, Radio, And Acting⤵

Other than "Sa Re Ga Ma," Sonu Nigam has likewise facilitated the TV indicate Kisme Kitna Hai Dum and has been a judge on the show Indian Idol (disclosed on Sony Entertainment Television) seasons 1 and 2. Sonu came back to Indian Idol in its third and fourth seasons as a big name judge. 

Individual Life⤵ 

Sonu was destined to Agam Kumar Nigam and Shobha Nigam on July 30, 1973, in Faridabad, Haryana, India. He went to the J.D. Tytler School. He has two sisters, Meenal and Neekita. 

Sonu is near his folks. The two his dad and mom are great vocalists, and in 2005 and 2007 his dad discharged two profoundly well-known collections, "Bewafaai" and "Phir Bewafaai", individually. 

Neekita is additionally an artist. She has sung a couple of playback tunes and showed up on a couple of stages appears with Sonu. Sonu wedded Madhurima on 15 February 2002. They have a child, Nevaan, conceived on July 25, 2007.

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[laddooh]

Preserving legacies By Chef Sugandha Saxena

Preserving legacies By Chef Sugandha Saxena

Chef Sugandha Saxena tells Ayushi Sharma that one cannot experiment a lot with the ingredients and flavours of traditional cuisine, but can master the old techniques and present them to the world in one’s own signature style How different do you find the Kayastha cuisine from others?Kayastha cuisine is an adapted cuisine, not a regional one. Kayasthas brought the royal Mughal cuisine to the…

[to-n-fro]

MITHILA PAINTING Mithila is the traditional name for the home of Sita, the wife of Rama, and is a region in the Darbhanga district of modern day Bihar. The region’s art forms flourished under the patronage of rulers such as Harisimha Deva, and the various Karnataka dynasties from the 12th - 14th centuries. Women from the Brahmin and Kayastha families traditionally painted on freshly plastered mud walls of homes in the Mithilaor Madhubani style, to signify auspicious occasions such as birth, marriage, and religious rituals. Mithila paintings are instantly recognised by their vibrant imagery. Five discrete styles- Kachni, Bharni, Godna, Kohbar and Tantric-merged toform the technique now synonymous with Mithila or Madhubani paintings. Each family has its own pictorial tradition, passed down from generation to generation. This lends the paintings a distinct style and character. Artists draw inspiration from a wide range of sources including social events, royal courts and the cosmos. Mythology, nature and scenes from quotidian life form the main themes of these paintings. The gods of the Hindu pantheon, namely Rama, Krishna, Lakshmi, Saraswati, Shiva and Durga, are important religious icons. Every part of the background is intricately decorated with flora, fauna and geometric patterns. Figures are simplified and flat, solid colours are used without any shading. Scenes are often set within ornately patterned borders, and crosses and straight lines are used to fill negative space, heightening the vibrancy of the paintings. Like most traditional art, locally available materials are used with precision and a deep knowledge of nature. Figures are outlined using bamboo sticks, and colour is applied by tying cotton to the sticks. The use of natural dyes yields a distinctly earthy palette which is literally rooted to its place of origin. Soot and cow dung are used for black, indigo for blue,rice powder for white, sandal wood or Kusum flowers for red, and turmeric, pollen and lime mixed with extract from Banyan leaves for yellow. Though the art form has existed for centuries, over time, new materials such as paper and canvas were introduced, and the paintings moved out of the confines of dwellings. It was in the late 1960s that Mithila painting garnered widespread recognition. The Mithila paintings in this catalogue belong to this critical period which marks the intersection of the old and the new, where tradition meets modernity.

http://www.saffronart.com/customauctions/PostWork.aspx?l=26012

#saffronart #bauadevi #mithilaart #ramandsita

[nepal123]

AIG Kayastha stresses public support to curb crime

Nepal Police AIG Bijayalal Kayastha inaugurating a newly-constructed building of Kanchanpur Area Police Office, in Saptari, on Monday, December 25, 2017. Photo: THT Rajbiraj, December 25 Province 2 Police Chief AIG Bijaya Lal Kayastha today said it was challenging for security agencies to curb criminal activities due to lack of mutual cooperation between security personnel and the general public.…

[anujtikku1974]

INDIAN CUISINE BY STATE

INDIAN CUISINE BY STATE

The 29 states of India have their individual distinctive cuisines. For example, by state, like Goan; regionally, like Chettinad; by traditional style of preparation such as Dum Pukht; as a description, like Wazwan; by caste, such as Kayastha; or simply named after the community, like Parsi or Jain cuisine. Highlighting characteristics of cuisines of some states, the following is a thumbprint…

[ezhuthachancaste-blog]

EZHUTHACHANS — KERALA

Thunchaththu Ramanujan Ezhuthachan

(

Malayalam

: തുഞ്ചത്ത് രാമാനുജൻ എഴുത്തച്ഛൻ,

Tuñcattŭ Rāmānujan Eḻuttacchan

) was a

Malayalam

devotional poet and linguist from around the 16th century. Today he is known as the father of

Malayalam language

– the principal language of the Indian state

Kerala

and the union territory of

Lakshadweep

– and its literature.

[1]

[2]

Ezhuthachan was born in Trikkantiyur, near the present day

Tirur

municipality. After the birth of his daughter, Ezhuthachan became a monk and wandered throughout southern India before finally building his monastery at modern day

Chittoor

,

Palghat

.

[3]

Ezhuthachan’s contribution to the Malayalam languag

[4]

e is widely considered as unparalleled. He brought massive changes and standardisation in the language through his works. He translated the two Hindu epics, the

Ramayana

and

Mahabharata

, to Malayalam for the common man with the mingling of the

Sanskrit

and

Dravidian languages

.

[5]

According to historians and linguists, Ezhuthachan refined the “style” of Malayalam language and it was during his period that Malayalam literature attained its “individuality” and Malayalam became a “fully fledged” independent language. He also brought the language to the level of the non-Brahmins’s understanding. Ezhuthachan used Malayalam language to challenge the prevailing social conditions. He is known for using his literary works as a powerful tool against the rule of privileged.

[6]

Ezhuthachan is also considered as a significant voice of the Bhakti movement in Kerala.

[7]

Ezhuthachan’s other major contribution has been in establishing an (51 character) alphabet system equivalent to Sanskrit instead of

Vattezhuthu

, the 30-letter script of Malayalam.

[2]

The highest literary honour instituted by the Kerala Government is known as the “Ezhuthachan Award”.

[8]

Eminent Malayalam writer and filmmaker C. Radhakrishnan has been chosen for Ezhuthachan Award 2016..Caste of Ezhuthachan[

edit

]The main disciples of Tunjath Ezhuthachan were Karunakaran Ezhuthachan (Nair), Suryanarayanan Ezhuthachan (Tharakan), Devu Ezhuthachan (Tharakan), Gopalan Ezhuthachan (Menon) etc. They taught Vattezhuthu. Tunjath Ezhuthachan is said to have married into a family in Amakkavu in Koottanad, the Edappal House, and he had a daughter. The lineage still lives there they are of the Nair caste.a) The Kozhikkode Grandhavari: The one who takes care of records is Pattolachan, one who writes is Ezhuthachan, and the minister is Mangattachan. None of these are caste names.Mangatt elder Achan is Mangatt Unniramamenon in a document pertaining to Pattathanam (A.D. 1679) in the Kovilakom grandhavari. The Ezhuthachan of that time is Kalathil Ittikkarunakara Menon.In a document of 1583 A.D., there is a description of punishment given to Mangattachan for selling the Zamorin’s elephant without his knowledge, to one Choorichetti. This Mangattachan is Mangatt Unniramamenon.In kollavarsham 1075, there is a record relating to the shift of palatial residence of the Zamorin from Kottakkal to Thirunavaya. The Kovilakom record keeper (Pattolachan) is Ozhukil Chathu Menon. He is the one noted as managing the proceedings.It is evident that people belonging to the Menon caste were appointed in all these posts.There is NOTHING in the Kozhikkode Grandhavari that mentions the ‘Ezhuthachan caste’, or the Kaduppattan, contrary to the claims of the ‘Ezhuthachan caste’ leaders.b) William Logan’s Malabar Manual, (New Edition) pages 139 and 92 – States that Thunjath Ezhuthachan was Nair and Suryanarayanan Ezhuthachan was Tharakan.It is well known that Ezhuthachan was the name used to denote teachers and learned people in olden days. (Ezhuthamma – female counterpart.) People who performed Shaktheya puja were also called by the same name. Ezhuthachans used to copy important grandhas also, in the thaliyola. We can see their names in the end of the old thaliyolas or grandhas. The castes of many of these teachers may be thus inferred. The names of traditional Ezhuthachans who initiate children to the alphabets in Thunjan parambu in Tirur even today during the Vijayadashami festival are printed in all leading newspapers like the Malayala Manorama and Mathrubhumi every year. They belong to the Nair and Menon castes.

CULTURAL CONTRIBUTIONS[EDIT]

Ezhuthachan – although he lived around 16th century AD – is considered as the father of Malayalam language and Malayalam literature. No original compositions are attributed to Ezhuthachan. However, his contribution to the Malayalam language through

Adhyatma Ramayanam

is considered unparalleled.

Adhyatma Ramayanam

, written in

Kilippattu

style, is considered as a landmark of Malayalam literature.

[12]

Ezhuthachan used different Dravidian metres in the cantos of his poems: “Keka” for Bala Kanda and Aranya Kanda; “Kakali” for Ayodhya, Kishkindha and Yuddha Kanda; and “Kalakanchi” for Sundara Kanda.

[2]

[3]

Throughout the Malayalam month of Karkkidakam,

Adhyatma Ramayanam

is still recited – as a religious practice – in Hindu homes in Kerala. According to critic K. Ayyappa Panicker, those who see

Adhyatma Ramayanam

merely as a devotional work “belittle” Ezhuthachan.

[2]

Adhyatma Ramayanam

, his other major work

Sri Mahabharatam

(translation of Hindu epic poem

Mahabharata

), and shorter pieces

Irupathinalu Vrittam

and

Harinama Kirtanam

mark the confluence of Sanskrit and Dravidian linguistic streams.

[2]

However, there is no unanimity of opinion among the scholars about the authorship of certain other works generally attributed to him (such as

Devi Bhagavatam

).

[3]

Adhyatma Ramayanam

is also a spiritual text that gave momentum to the Bhakti cult in Kerala.

[2]

Ezhuthachan, along with

Poonthanam Nambuthiri

, was one of the prominent Bhakti devotional poets in Kerala.

THUNCHAN PARAMBU[EDIT]

Thunchan Parambu – the legendary location of Ezhuthachan’s ancestral home – is now a Hindu pilgrimage centre. People from around Kerala come to take sand from the Thunchan Parambu to use in the initiation of their children to the alphabet (a Hindu ceremony). Every year, hundreds of people bring their children to Thunchan Parambu to write their first letters during the

Vijayadasami

(Dussehra) which falls in the months of October–November. Children are initiated into the “world of letters” by masters, teachers or parents by holding their fingers and writing the letters in a plate filled with rice. The letters will also be written on their tongues with a golden ring. The names of traditional Ezhuthachans who initiate children to the alphabets in Thunjan parambu in Tirur even today during the Vijayadashami festival are printed in all leading newspapers like the Malayala Manorama and Mathrubhumi every year. They belong to the Nair and Menon castes.

It would not be wrong if its said Ezhuthachan are compared as Kayastha by work in North India and East India. As Ezhuthachan formely derived from Nair and Menon Sub-Castes and as per few blogs mentioned below, Menons and Nair are Considered as kayastha.

References : — https://en.wikipedia.org/wiki/Thunchaththu_Ezhuthachan http://c-radhakrishnan.info/ezhuthachancaste.htm http://www.kayasthworld.com/sample-post-for-magazine-theme/Pariwar2.html http://www.astha.net/kayastha/surname.htm

[penkraft123]

The age of post-modernization is not just definitive of rapid technological advancement, but also a revival of the rich ancient past. One of the most influential and distinctive art forms to have ever emerged out of India undoubtedly is Madhubani painting. Mostly associated with regions around Nepal, Bihar and the Mithila region, it is also known as Mithila Art. Madhubani Art often makes use of unique characteristics of complex geometrical patterns. This is so integral to people’s lifestyle who practice it, that women decorate their house walls and doors with this art so as to seek the blessings of God for peace and prosperity.

Origin: There is no definite reference to when did Madhubani Art come into being, however, mythology claims that it came into being around the time of Ramayana when Janaka, the king of Nepal, wanted to decorate his kingdom to celebrate his daughter Princess Sita’s wedding to Lord Rama, King of Ayodhya. Going by material evidence, elaborate wall paintings or Bhitti-Chitra in Nepal and Bihar played a prominent role in the emergence of Madhubani Art. Etymologically, Madhubani means Forest Honey 'Madhu' - honey, 'Ban' -forester the wild) is still a region in Mithila and still a dialect and identity in common currency believed to date as back as 2500 years. Furthermore, the original inspiration for Madhubani Art emerged from the womenfolk’s craving for religiosity and an intense urge to be in union with God. With the belief that painting something divine would achieve that desire, women began to paint pictures of gods and goddesses with an interpretation so divine that it captured the hearts of many. These paintings that were traditionally created by the women of the Brahmin, Dusadh, and Kayastha communities in the Mithila region evolved an art form that originated in the Madhubani village of the capital city of Ancient Mithila, known as Janakpur and has remained confined to a compact geographical area with the skills passed on through generations and centuries. Even the content and the style of this art form have largely remained the same.

Style & design: Madhubani painting traditionally involves fingers, twigs and matchsticks. In recent, pen nibs have also come into use. It is painted with natural bright colors which are often made using a paste of cow dung and mud to develop in it a better texture. The outline of the painting usually has its frame made from rice paste. The juice of Kusum flower is often used for crimson hue, blue from indigo, turmeric extract for yellow, red from sandalwood and so on. The artists often use different natural materials for their color needs. This process of using natural colors adds to it a natural texture that can be felt on closely watching Madhubani paintings.

Art & social formation: Madhubani Art has five distinctive styles, namely, Bharni, Katchni, Tantrik, Nepali and Kohbar. In the 1960s, Bharni, Kachni, and Tantrik style were mainly done by Brahman and Kayasth women (considered upper-castes) in India and Nepal. Their themes were mainly religious and they depicted Gods and Goddesses in their paintings. On the other hand, people of lower castes and classes included aspects of their daily life in their paintings. The Godna and Kohbar styles, for instance, are the preserve of the Dalit and Dushadh communities. Kohbar paintings are usually made by a to-be bride’s family as a present to a to-be groom’s family.

Revival: The domestic ritual activity, Madhubani painting, unknown to the outside world come to public attention only after the 1934 India-Nepal border earthquake. Poetically, the quake brought houses down and the artistic relics out in the open to the public eye. It was the British colonial officer posted in Madhubani at the time, William G. Archer, who discovered the paintings while inspecting the site on the otherwise hidden walls of the homes there. His observations about the paintings claimed to find a stark resemblance between Madhubani Art and paintings of artists like Miro and Picasso as found in Western domestic households.  He took black and white photos of some of these paintings, which today are the earliest images of the art. In addition, William G. Archer also wrote about the paintings in a 1949 article in 'Marg' an Indo-Nepal Art Journal. Thus began the spread of Madhubani Art. Years later, the drought from 1966 to 1968 crippled the agricultural economy of the region. As part of a larger initiative to bring economic relief to the stricken people, Ms. Pupul Jayakar, the then Director of the All Indo-Nepal Handicrafts Board, sent the Bombay-based artist Mr. Bhaskar Kulkarni to Mithila to encourage women there to replicate their mural paintings on paper in order to facilitate sales as a source of income to ensure survival. The contribution of foreign scholars in promoting the art form internationally has also been immense. Yves Vequad, a French novelist and journalist, wrote a book in the early 1970s on the basis of his research on Mithila painting and produced a film 'The Women Painters of Mithila' Since the 1990s, Japan has also shown a keen interest in Madhubani paintings, mainly because of the initiatives of Tokyo Hasegawa, who set up the Mithila Museum in Tokamachi, where around 850 Madhubani paintings are exhibited on a regular basis. As a result of all these initiatives, Madhubani Art is well known all over the world today.

Recognition: In 1975, Madhubani painting received official recognition when the President of India awarded the Padma Shri to Jagdamba Devi, a resident of   Jitwarpur village near Madhubani. This was around the time when Madhubani painting had started to receive acceptance. In 1981, Sita Devi was awarded the Padma Shri. In 1990, Ganga Devi of Mithila was awarded the Padma Shri. Mahasundari Devi was awarded the Padma Shri in 2011. Furthermore, Baoa Devi, Yamuna Devi, Shanti Devi, Chano Devi, Bindeshwari Devi, Chandrakala Devi, Shashikala Devi, Leela Devi, Godavari Dutta, Bharti Dayal, Chandrabhushan, Ambika Devi and Manisha Jha were also given National Awards.

Art cannot be measured by tangible means like State awards, however, with official recognition, Madhubani painting has been successful in spreading its word around the world. Today Madhubani painting makes India proud by representing to the world its rich cultural heritage.