The City of Eternity: a visual narrative of philosophy, faith and cultureMihir Bholey, PhD Assoc. Senior Faculty, National Institute of DesignPaldi, Ahmedabad, INDIA E-mail: bholey.mihir@gmail.comP A R T 2

Banarasi Sari: the Art in Silk and GoldThe story of this ancient city is rather incomplete without the reference of its exquisite craftsmanship which finds expression in Banarasi Sari

Its the ceremonial and most often a bridal attire for the women of the Indian sub-continent and a prized possession too!

Word Sariis derived fromSanskritword meaning 'strip of cloth

In another ancient Indian language Prakrit it was called

From Prakrit sor it was corrupted tosin Hindi

The history of Sari is traced back to theIndus Valley Civilisation (28001800 BC) where a priest is depicted wearing draped cloth presumably the earliest form of Sari

Silappadhikaram the ancientTamilpoetry, describes women in exquisite drapery or Sari

As per Natya Shastra, worlds earliest treatise on drama, navelof the deity is regarded the source of life and creativity, hence, to be left bare. Sari lets the midriff bare

Gandhara,MathuraandGuptasculptures (1st6th century AD) depict goddesses and dancers wearing something similar in the "fishtail" version which loosely covers the legs and flows into a long, decorative drape

Ralph Fitch (1550 1611) British merchant and traveller describes Benares as a thriving centre of cotton textile in medieval IndiaIn 14th century during theMughal period, Benares specialized in weaving ofbrocadeswith intricate designs using gold and silver threads The process strengthened following the migration of silk weavers from Gujarat during the 1603 famine Silk brocade weaving started in Banaras in the 17th century and excelled during the 18th and 19th century. The weavers are mostly remarkably skilled Muslim craftsmen of the Julaha community

Jangla, Tanchoi, Vaskat, Cutwork, Tishu, and Butidar the exclusive varieties of the Banarasi saris made of silk warp and silk weft

The base is plain/satin ground brocaded with extra weft patterns in different layouts

Motifs include Buties, Bells, creepers, Buttas in ground, border and Anchal for enhanced beauty

In the epics Ramayana and Mahabharata one finds references of Hiranya Vastra similar to that of Banarasi Sari and fabric

The MakersThe weavers are predominantly poor Muslims and Dalits with little or no education. Three types of weavers Individual, Master and Weaver of the Cooperative Society. Individual weavers, the most marginalized lot, use their own material, loom, design and colour. Depend on middleman or Gaddidar who controls production and marketing. Its a family business spread over the entire Varanasi district. Skill is passed on from generation. Nearly eighty percent looms are manual thus take close to a week or fortnight to finish one piece of sari.

And the Piece of ArtRed Bridal Banarasi SariAn expensive Banarasi Sari

Festivity Whats life without festivity if not a wasteland of futile existence? Festivals and festivities revive and rejuvenate life. Holi, Dussehra, Diwali announce not only the beginning of a new season, but also invite to celebrate the changing mood of the season. Dussehra procession in Benares. (Pic Source: Wilson, Henry. Benares)

Who has seen God? Surely none. But who has experienced God? Probably many. God is often believed to have incarnated: sometimes as Rama, sometimes as Krishna and as many more. Their life and deeds become part of the cultural narrative, lives in the social consciousness, inspires and sustains the generations. People emulate God to reiterate their faith in Godhood. In Picture, a Ramlila artiste. (Pic Source: Wilson, Henry. Benares)

Indian folk narrative presents an amazing range of characters whichre human and animals, animate and inanimate. Theyre revered and disliked for their attributes - virtuous and vicious. In Ramayana the epic and the folk narrative the Godly hero Ramas omnipotent yet most faithful commander is the Monkey King Hanuman who is worshipped as much as Rama himself is . But he never supersedes him. In picture, the mask of Hanuman during Ramlila at Benares. (Pic Source: Wilson, Henry. Benares)

Rama in the Indian consciousness is Maryada Purushottam or the epitome of virtues. He sets the ideal for the fellow human beings as a dutiful son, dedicated husband, caring brother, virtuous king and a brave warrior. The narrative of Rama sets the standard of the ideal society Ramarajya which even Gandhi considered the best form of state. By enacting Ramas story society reaffirms its faith in those ideals. Picture shows the Ramlila scene at Benares at the end of Dussehra celebrated as a festival of the victory of Rama over Ravana. Also considered the victory of truth over falsehood. (Pic Source: Wilson, Henry. Benares)

Tulsidas: the Master Craftsman of Folk NarrativeFew stories of the world literature have been retold at as many times and in as many ways as the story of Rama. Its being told and narrated over thousands of years in many parts od South and Southeast Asia. The original version of Ramayan is in Sanskrit and is attributed to the ancient sage Valmiki. However, Tulsidas, the 16th century poet whose period coincides with the Muslim rule under the great Mughals, retold the story in the form of Ramcharitmanas. Tulsi belongs to the league of the saint poets of the Bhakti movement who believed in utmost devotion and shunned Brahminical rituals. As against Valmikis Rama, who is a heroic persona but certainly not a God, Tulsis Rama is a divinity incarnated and an exemplary righteous ideal for all. Valmikis Rama is not meant to be worshipped but to emulate. Tulsis Rama has a metaphysical focus on Dharma. Tulsi is also associated with Benares.

The legend of Rama created by Tulsidas found expression in many folk narrative and folk art forms including the one above which is the famous folk art form known as Madhubani painting. This pictorial art depicts the story of Rama and Sita as the central theme. This painting narrates the marriage of Rama with Sita

Tulsi in history and social psycheRamvilas Sharma (1995) writes: When the sun of Hindu culture was setting the moon of Islamic culture appeared on the horizon. Tulisdas (born 1532 circa.) is one of the frontrunners of the Bhakti period. The Hindu society was going through a terrible phase of the loss of cultural identity due to Islamic political hegemony. In this period of cultural crisis Tulsidas reinvented Rama as the icon of Hindu faith and identity. Rama and Krishna are the two most revered incarnations of Lord Vishnu and both of them have been the main protagonist of the Bhakti literature in India. While Krishna is considered to be endowed with all qualities (both worldly and divine which make him a complete persona). Rama of Tulsidas is an endowment of virtues alone. His Ramcharitamanas is like a biographical account of an inspirational cultural icon. Tulsidas celebrates Rama from his birth till his victory over the formidable demon king Ravana of Lanka. Tulsi is devoted to Rama and inspires others too.

Gracefully walks Ramachandra and the anklets jingle!Joyously gets up and runs and falls on the ground stumbling!The mother runs and takes him on the lap, the pride of Dashratha!The lips which are more red than coral speak sweet wordson the auspicious notes and beautiful diamondsTulsidasa is very happy seeing the Lotus faced!The beauty of rama is equalled only by the beauty of lisping!

http://www.youtube.com/watch?v=KQ_L9B2F140 -

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When Rama, the lord of Janaki, helps youO! Man! Who can mess up your affairs?The Sun, Mars, Moon and VenusMercury and Jupiter will confer boons on youRahu and Ketu will not approach youalong with Saturn they will be favorable to you!Evil Dussasan, prodded by evil designs, removed the robe of stainless Draupadi.

Kabir: the Simple Voice of Mysticism , ,

As long as 'I' (self or ego) existed, God did not exist, ever since God has arrived 'I' don't existThe alley of love (devotion) is extremely narrow in which both cannot fit in.

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Painting: Dr. Sanjay Sharma

Painting: Dr. Sanjay Sharma

Painting: Dr. Sanjay Sharma

, , The mysticism is in the layers of meaning; the obvious and the veiled. The mystery is though one can see the drop of the ocean falling in the ocean and becoming one with it. But in the reverse manner, can one see the ocean entering the drop. A metaphoric exposition of the journey of the soul to the supreme being and the supreme being entering the soul. We know the visible but remain ignorant about the invisible.

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We dont have to stay, this is a foreign land This world is like a bag of paperThat will witherAt the touch of a dropIt is like a garden of thorny shrubs we shall get entangled and dieThis world is like wild bushes which will burn to ashessays Kabir, in such a land Only name of Preceptor is the abode

Kabir in Narrative and Social PsycheEven after a lapse of five centuries Kabir (1440-1518 AD) lives in Indias social consciousness. A mystic, a poet, a social critique and a Bhakta (devotee), Kabir in the traditional narrative is believed to have descended rather that born. His lineage is often disputed as both Hindus and Muslims lay claim over Kabir. Kabir descended form heaven to earth. The lotus flower was blooming in the place where Kabir was born. The bees were tired of humming. Peacocks, Larks and other kinds of birds in their flight passed circling around the tank. Thunder and lightning were in the air when Kabir became manifest in the heart of a lotus flower, in the midst of the Lahar tank. A feeling of thirst overcame Nima, the newly wedded bride of Niru the weaver, as after the marriage ceremony she was making her way to her husbands house. She approached the tank but was much afraid when there she beheld the child.(Sadarangani 2004:90) The story goes on.

BibliographyAltman, Rick. A Theory of Narrative. New York: Columbia University Press, 2008.

Richman, Paula (Ed.). Many Rmyaas: The Diversity of a Narrative Tradition in South Asia. California: University of California Press, 1991.

Wilson, Henry. Benares. London: Thames & Hudson, 1985.

Singh, Raghubir. Banaras. London: Thames & Hudson, 1987.

Sikora, Jack. Religions of India. US: Writers Club Press, 2002.

Leslie, Julia. Authority and Meaning in Indian Religions: Hinduism and the Case of Vlmki. Hants: Ashgate Publishing Ltd., 2003.

Herman, Luc & Vervaeck, Bart. Handbook of Narrative Analysis. Lincoln and London: University of Nebraska Press, 2005.

Das, G N. Mystic Songs of Kabir. Delhi: Abhinav Publications, 1996 .

Sadarangani, Neeti, M. Bhakti Poetry in Medieval India: Its Inception, Cultural Encounter and Impact. Delhi: Sarup & Sons, 2004.

Subramanian, V.K. Hymns of Tulsidas. New Delhi: Abhinav Publications, 2008.

Nirala, Suryakant Tripathi. Tulsidas. (Hindi) Delhi: Rajkamal Prakashan, 2002.

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