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Varanasi, also commonly known as Banaras or Benares, is a city situated on the banks of the River Ganges in the Indian state of Uttar Pradesh, 320 kilometres (199 mi) southeast of state capital Lucknow. It is regarded as a holy city by Hindus, Buddhists and Jains. It is one of the oldest continuously inhabited cities in the world and the oldest in India.<br/><br/> The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the River Ganges and the river's religious importance. The city has been a cultural and religious centre in North India for several thousand years. The Benares Gharana form of the Indian classical music developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians resided or reside in Varanasi. Gautama Buddha gave his first sermon at Sarnath located near Varanasi (Kashi).<br/><br/> Varanasi is variously referred to as 'the city of temples', 'the city of lights' and 'the city of learning'.
Kutch (often spelled Kachch) is the northwestern part of the Indian state of Gujarat, divided from the main part of the state by the Arabian Sea and a stretch of salt marshes. To its north lies the Pakistani province of Sind. The name Kutch is said to be derived from the Kachelas, a sub-caste of the <i>lohar</i> (blacksmiths’) or <i>soni</i> (goldsmiths’) castes.
The Jain's sacred site of Shatrunjaya contains hundreds of Palitana temples built mostly between the 11th Century and 16th Century CE. The Shatrunjaya Hills were sanctified when Rishabha, the first <i>tirthankara</i> (omniscient Teaching God) of Jainism, gave his first sermon in the temple on the hill top. The ancient history of the hills is also traced to Pundarika Swami, a chief Ganadhara and grandson of Rishabha, who attained salvation here. His shrine located opposite to the main Adinath temple, built by his son Bharata, is also worshiped by pilgrims.
The Jain's sacred site of Shatrunjaya contains hundreds of Palitana temples built mostly between the 11th Century and 16th Century CE. The Shatrunjaya Hills were sanctified when Rishabha, the first <i>tirthankara</i> (omniscient Teaching God) of Jainism, gave his first sermon in the temple on the hill top. The ancient history of the hills is also traced to Pundarika Swami, a chief Ganadhara and grandson of Rishabha, who attained salvation here. His shrine located opposite to the main Adinath temple, built by his son Bharata, is also worshiped by pilgrims.
The Jain's sacred site of Shatrunjaya contains hundreds of Palitana temples built mostly between the 11th Century and 16th Century CE. The Shatrunjaya Hills were sanctified when Rishabha, the first <i>tirthankara</i> (omniscient Teaching God) of Jainism, gave his first sermon in the temple on the hill top. The ancient history of the hills is also traced to Pundarika Swami, a chief Ganadhara and grandson of Rishabha, who attained salvation here. His shrine located opposite to the main Adinath temple, built by his son Bharata, is also worshiped by pilgrims.
The Jain's sacred site of Shatrunjaya contains hundreds of Palitana temples built mostly between the 11th Century and 16th Century CE. The Shatrunjaya Hills were sanctified when Rishabha, the first <i>tirthankara</i> (omniscient Teaching God) of Jainism, gave his first sermon in the temple on the hill top. The ancient history of the hills is also traced to Pundarika Swami, a chief Ganadhara and grandson of Rishabha, who attained salvation here. His shrine located opposite to the main Adinath temple, built by his son Bharata, is also worshiped by pilgrims.
Tavik Frantisek Simon (1877–1942), was a Czech painter, etcher, and woodcut artist. Although based mainly in Europe, his extensive travels took him to Morocco, Ceylon (now Sri Lanka), India, and Japan, images of all of which appear in his artistic work. He died in Prague in 1942. Largely ignored during the Communist era in Czechoslovakia, his work has received greater attention in recent years.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Edwin Lord Weeks (1849 – 1903), American artist and Orientalist, was born at Boston, Massachusetts, in 1849. He was a pupil of Léon Bonnat and of Jean-Léon Gérôme, at Paris. He made many voyages to the East, and was distinguished as a painter of oriental scenes.<br/><br> Weeks' parents were affluent spice and tea merchants from Newton, a suburb of Boston and as such they were able to accept, probably encourage, and certainly finance their son's youthful interest in painting and travelling.<br/><br> As a young man Edwin Lord Weeks visited the Florida Keys to draw and also travelled to Surinam in South America. His earliest known paintings date from 1867 when Edwin Lord Weeks was eighteen years old. In 1895 he wrote and illustrated a book of travels, From the Black Sea through Persia and India.
Sri Lankan Tamils or Ceylon Tamils, are a section of Tamil people native to the South Asia island state of Sri Lanka. According to anthropological evidence, Sri Lankan Tamils have lived on the island around the 2nd century BCE. Most modern Sri Lankan Tamils claim descent from residents of Jaffna Kingdom, a former kingdom in the north of the island and Vannimai chieftaincies from the east. They constitute a majority in the Northern Province, live in significant numbers in the Eastern Province, and are in the minority throughout the rest of the country. Sri Lankan Tamils are culturally and linguistically distinct from the other two Tamil-speaking minorities in Sri Lanka, the Indian Tamils and the Moors. The Sri Lankan Tamils are mostly Hindus with a significant Christian population.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Pierre Sonnerat (1748-1814) was a French naturalist and explorer who made several voyages to Southeast Asia between 1769 and 1781. He published this two-volume account of his voyage of 1774-81 in 1782.<br/><br/> Volume 1 deals exclusively with India, whose culture Sonnerat very much admired, and is especially noteworthy for its extended discussion of religion in India, Hinduism in particular.<br/><br/> Volume 2 covers Sonnerat’s travels to China, Burma, Madagascar, the Maldives, Mauritius, Ceylon (present-day Sri Lanka), Indonesia, and the Philippines. The book is illustrated with engravings based on Sonnerat’s drawings. Among the most interesting illustrations are Sonnerat’s pictures of various Hindu deities. Sonnerat was also a dedicated ornithologist and bird collector, and the book describes and depicts a number of species that he was the first to identify.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Edwin Lord Weeks (1849 – 1903), American artist and Orientalist, was born at Boston, Massachusetts, in 1849. He was a pupil of Léon Bonnat and of Jean-Léon Gérôme, at Paris. He made many voyages to the East, and was distinguished as a painter of oriental scenes.<br/><br> Weeks' parents were affluent spice and tea merchants from Newton, a suburb of Boston and as such they were able to accept, probably encourage, and certainly finance their son's youthful interest in painting and travelling.<br/><br> As a young man Edwin Lord Weeks visited the Florida Keys to draw and also travelled to Surinam in South America. His earliest known paintings date from 1867 when Edwin Lord Weeks was eighteen years old. In 1895 he wrote and illustrated a book of travels, From the Black Sea through Persia and India.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Edwin Lord Weeks (1849 – 1903), American artist and Orientalist, was born at Boston, Massachusetts, in 1849. He was a pupil of Léon Bonnat and of Jean-Léon Gérôme, at Paris. He made many voyages to the East, and was distinguished as a painter of oriental scenes.<br/><br> Weeks' parents were affluent spice and tea merchants from Newton, a suburb of Boston and as such they were able to accept, probably encourage, and certainly finance their son's youthful interest in painting and travelling.<br/><br> As a young man Edwin Lord Weeks visited the Florida Keys to draw and also travelled to Surinam in South America. His earliest known paintings date from 1867 when Edwin Lord Weeks was eighteen years old. In 1895 he wrote and illustrated a book of travels, From the Black Sea through Persia and India.
Pierre Sonnerat (1748-1814) was a French naturalist and explorer who made several voyages to Southeast Asia between 1769 and 1781. He published this two-volume account of his voyage of 1774-81 in 1782.<br/><br/> Volume 1 deals exclusively with India, whose culture Sonnerat very much admired, and is especially noteworthy for its extended discussion of religion in India, Hinduism in particular.<br/><br/> Volume 2 covers Sonnerat’s travels to China, Burma, Madagascar, the Maldives, Mauritius, Ceylon (present-day Sri Lanka), Indonesia, and the Philippines. The book is illustrated with engravings based on Sonnerat’s drawings. Among the most interesting illustrations are Sonnerat’s pictures of various Hindu deities. Sonnerat was also a dedicated ornithologist and bird collector, and the book describes and depicts a number of species that he was the first to identify.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Edwin Lord Weeks (1849 – 1903), American artist and Orientalist, was born at Boston, Massachusetts, in 1849. He was a pupil of Léon Bonnat and of Jean-Léon Gérôme, at Paris. He made many voyages to the East, and was distinguished as a painter of oriental scenes.<br/><br> Weeks' parents were affluent spice and tea merchants from Newton, a suburb of Boston and as such they were able to accept, probably encourage, and certainly finance their son's youthful interest in painting and travelling.<br/><br> As a young man Edwin Lord Weeks visited the Florida Keys to draw and also travelled to Surinam in South America. His earliest known paintings date from 1867 when Edwin Lord Weeks was eighteen years old. In 1895 he wrote and illustrated a book of travels, From the Black Sea through Persia and India.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Tavik Frantisek Simon (1877–1942), was a Czech painter, etcher, and woodcut artist. Although based mainly in Europe, his extensive travels took him to Morocco, Ceylon (now Sri Lanka), India, and Japan, images of all of which appear in his artistic work. He died in Prague in 1942. Largely ignored during the Communist era in Czechoslovakia, his work has received greater attention in recent years.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Edwin Lord Weeks (1849 – 1903), American artist and Orientalist, was born at Boston, Massachusetts, in 1849. He was a pupil of Léon Bonnat and of Jean-Léon Gérôme, at Paris. He made many voyages to the East, and was distinguished as a painter of oriental scenes.<br/><br> Weeks' parents were affluent spice and tea merchants from Newton, a suburb of Boston and as such they were able to accept, probably encourage, and certainly finance their son's youthful interest in painting and travelling.<br/><br> As a young man Edwin Lord Weeks visited the Florida Keys to draw and also travelled to Surinam in South America. His earliest known paintings date from 1867 when Edwin Lord Weeks was eighteen years old. In 1895 he wrote and illustrated a book of travels, From the Black Sea through Persia and India.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
The word Nautch is an anglicized version of nāc, a word found in Hindi and Urdu and several other languages of North India, derived from the Sanskrit, Nritya, via the Prakrit, Nachcha. A simple and literal translation of Nautch is 'dance' or 'dancing'.<br/><br/> The culture of the performing art of Nautch rose to prominence during the later period of Mughal Empire, and the East India Company Rule. Over a period of time, the Nautch traveled outside the confines of the Imperial courts of the Mughals, the palaces of the Nawabs and the Princely states, and the higher echelons of the officials of the British Raj, to the places of smaller Zamindars, and other places.<br/><br/> Some references use the terms Nautch and Nautch girls to describe Devadasis who used to perform Hindu ritual and religious dances in the Hindu temples of India. However, there is not much commonality between the Devadasis and the Nautch girls. The former performed dances in the precincts of the Hindu temples to please the temple deities, whereas Nautch girls performed for the pleasure of men.
Hand-colored image painted on a thin sheet of mica from a manuscript entitled: ‘Seventy-Two Specimens of Caste in India’ (Madura, southern India: 1837). The full manuscript consists of 72 full-color hand-painted images of men and women of the various castes and religious and ethnic groups found in Madura, Tamil Nadu, at that time. The manuscript shows Indian dress and jewelry adornment in the Madura region as they appeared before the onset of Western influences on South Asian dress and style. Each illustrated portrait is captioned in English and in Tamil, and the title page of the work includes English, Tamil, and Telugu.
Edwin Lord Weeks (1849 – 1903), American artist and Orientalist, was born at Boston, Massachusetts, in 1849. He was a pupil of Léon Bonnat and of Jean-Léon Gérôme, at Paris. He made many voyages to the East, and was distinguished as a painter of oriental scenes.<br/><br> Weeks' parents were affluent spice and tea merchants from Newton, a suburb of Boston and as such they were able to accept, probably encourage, and certainly finance their son's youthful interest in painting and travelling.<br/><br> As a young man Edwin Lord Weeks visited the Florida Keys to draw and also travelled to Surinam in South America. His earliest known paintings date from 1867 when Edwin Lord Weeks was eighteen years old. In 1895 he wrote and illustrated a book of travels, From the Black Sea through Persia and India.
Tavik Frantisek Simon (1877–1942), was a Czech painter, etcher, and woodcut artist. Although based mainly in Europe, his extensive travels took him to Morocco, Ceylon (now Sri Lanka), India, and Japan, images of all of which appear in his artistic work. He died in Prague in 1942. Largely ignored during the Communist era in Czechoslovakia, his work has received greater attention in recent years.
Edwin Lord Weeks (1849 – 1903), American artist and Orientalist, was born at Boston, Massachusetts, in 1849. He was a pupil of Léon Bonnat and of Jean-Léon Gérôme, at Paris. He made many voyages to the East, and was distinguished as a painter of oriental scenes.<br/><br> Weeks' parents were affluent spice and tea merchants from Newton, a suburb of Boston and as such they were able to accept, probably encourage, and certainly finance their son's youthful interest in painting and travelling.<br/><br> As a young man Edwin Lord Weeks visited the Florida Keys to draw and also travelled to Surinam in South America. His earliest known paintings date from 1867 when Edwin Lord Weeks was eighteen years old. In 1895 he wrote and illustrated a book of travels, From the Black Sea through Persia and India.