Saranya vibes

                                                                              THE NOTE ON INDIAN COSTUMES                                                               THE FIRST IMPRESSION IS THE LAST IMPRESSION, "THE SAYING, THOUGH MODERN, CAN BE HELD FOR THE TRADITIONAL HINDU COSTUMES ALSO. THE REASON, BEING IN SPITE OF WESTERN INFLUENCES ON THE MODERN FASHION INDUSTRY, THE ETHNIC ELEMENT AND THE TRADITIONAL TOUCH TO ANY INDIAN COSTUME IS STILL ALIVE. THE BHARATIYA TEST ITSELF IS RESPONSIBLE FOR MAINTAINING THIS TRADITION.                  INDIANS HAVE BEEN VERY FASHIONABLE FROM THE VERY ANCIENT TIMES. THE SCULPTURE EVIDENCE FOUND SO FAR DEPICT THAT COTTON CLOTH HAS ALWAYS BEEN WORN IN INDIA BY THE MASSES WHILE THE RICH FAVORED THE USE OF SILKS.                 ELABORATE HEAD-DRESSES AND JEWELLERY WERE EVEN SPORTED BY MEN. THE EARLIER DRESS CODE REVOLVED AROUND WRAPPING THE BODY WITH VARIED LENGTHS OF CLOTH. FROM THE EARLIEST PERIOD OF INDIAN PROTO-HISTORY, THE HARAPPAN CULTURE,

                                      THE METAL CRAFT WORK IN INDIA                                INDIAN ARTISANS KNEW THE ART OF METALWORKING SINCE 3000 B.C. THE BEAUTIFUL FIGURINE OF THE DANCING GIRL BELONGING TO THE INDUS VALLEY CIVILIZATION INDICATES THE HIGH LEVEL OF WORKMANCHIP ATTAINED BY ANCIENT CRAFTMEN. THE OTHER HIGH POINTS REACHED BY THE CRAFTMEN IN THE FIELD OF METALWORKING ARE BRONZE SCULPTURES BELONGING TO THE CHOLA RULERS AND THE IRON PILLAR ARE MEHRAULI, IN DELHI, WHICH WAS MADE DURING THE TIME OF KING ASHOK.                 METAL CRAFT IN INDIA : IN INDIA CRAFTMEN USE DIFFERENT METALS LIKE IRON, COPPER, SILVER AND ALLOYS LIKE BRONZE, BELL METAL, WHITE METAL ETC. TO MAKE A VARIETY OF ITEMS SUCH AS POTS, PANS, UTENSILS, PHOTO FRAMES, SCULPTURE OF DEITIES, MYTHOLOGICAL FIGURES AND ANIMALS ETC. ITEMS LIKE DOORKNOBS, TAPS, KEY CHAINS, BOXES ETC. ARE ALSO MADE, USING DIFFERENT METALS.                                                                                  👀    

                                ARCHITECTURAL STYLE OF THE MUGHALS                  MUGHAL ARCHITECTURE IS THE STYLE THAT DEVELOPED IN INDIA UNDER THE MUGHAL DYNASTY IN THE 16TH AND 17TH CENTURIES. THIS IS A BLEND OF ISLAMIC, PERSIAN AND INDIAN ARCHITECTURE. TEH BUILDINGS OF MUGHAL ARCHITECTURE REFLECTS NOT ON THE ARCHITECTURAL TECHNIQUES AND WEALTH BUT ALSO THEIR LOVE FOR POETRY, PERSONALITY AND OTHER ARISTIC INCLINATIONS. MUGHAL ARCHITECTURE HAS ITS ORIGIN IN ITS RELIGION, ISLAM. THE CONCEPTS APPARENT IN ISLAM LIKE POWER, PLEASURE AND DEATH ARE REFLECTED IN THE FORTS, DURBARS, MOSQUES, TOMBS, GARDENS AND SO ON.              EARLY MUGHAL ARCHITECTURE : THE MUGHALS WERE AN INDIAN ISLAMIC DYNASTY WHICH RULED MOST OF NORTHERN INDIA FROM THE BEGINNING OF THE SIXTEENTH TO THE MID-EIGHTEENTH CENTURY. MUGHAL ARCHITECTURE CAME INTO PROMINENCE WITH THE RULE OF BABUR WHO WAS THE FIRST MUGHAL EMPEROR IN INDIA IN 1526. BAHUR'S VICTORY OVER IBRAHIM LODI, INITIATED THE ERECTION OF A MOSQUE AT P

                                                          THE SHORT ON ANCIENT ARCHITECTURE                      INDIAN ARCHITECTURE IS AS OLD AS THE HISTORY OF THE CIVILIZATION. THE EARLIEST REMAINS F RECOGZABLE BUILDING ACTIVITY IN THE INDIA DATES BACK TO THE INDUS VALLEY CITIES. AMONG INDIA'S ANCIENT ARCHITECTURAL REMAINS, THE MOST CHARACTERISTIC ARE THE TEMPLES, CHAITYAS, VIHARAS, STUPAS AND OTHER RELIGIOUS STRUCTRES. IN ANCIENT INDIA, TEMPLE ARCHITECTURE OF HIGH STANDARD DEVELOPED IN ALMOST ALL RELIGIONS. THE DISTINCT ARCHITECTURAL STYLE OF TEMPLE CONSTRUCTION IN DIFFERENT PARTS WAS A RESULT OF GEOGRAPHICAL, CLIMATE, ETHNIC, RACIAL, HISTORICAL AND LINGUISTIC DIVERSITIES.                  THE ROCK-CUT STRUCTURES PRESENT THE MOST SPECTACULAR PIECE OF ANCIENT INDIA ARE SPECIMEN. MOST OF THE ROCT-CUT STRUCTURES WERE RELATED TO VARIOUS RELIGIOUS COMMUNITIES. IN THE BEGINNING, REMARKABLE BUDDHIST AND JAIN MONUMENTS WERE PRODUCED IN AREAS SUCH AS BIHAR IN THE EAST AND MAHARASTRA IN T

                                      THE BRIEF NOTE ON NATYASHASTRA                  THE NATYA SHASTRA (NATYAUASTRA) OF BHARATA, A TREATISE ON GANDHARVAVEDA, IS THE PRINCIPLE WORK OF DRAMATIC THEORY, ENCOMPASSING DANCE AND MUSIC, IN CLASSICAL INDIA BY SAGE BHARATA.                  THE NATYA SHASTRA IS INCREDIBLY WIDE IN ITS SCOPE. IT COVERS STAGE-DESGIGN, MUSIC, DANCE, MAKEUP, VIRTUALLY EVERY ASPECT OF STAGECRAFT. IT IS VERY IMPORTANT TO THE MUSICIAN BECAUSE IT IS THE ONLY TEXT WHICH GIVES SUCH DETAIL ABOUT THE MUSIC AND INSTRUMENTS OF THE PERIOD. THE TEXT CONTAINS A SET OF PRECEPTS ON THE WRITING AND PERFORMANCE OF THEATRE, DANCE AND MUSIC. WHILE IT PRIMARILY DEALS WITH STAGECRAFT, IT HAS COME TO INFLUENCE MUSIC, CLASSICAL INDIAN DANCE, AND LITERATURE AS WELL. THUS, AN ARGUMENT CAN BE MADE THAT THE NATYASASTRA'S THE FOUNDATION OF THE FINE ARETS IN INDIA. AUTHOR OF THIS WORK IS MUNI (SAGE) BHARATA AND IS BELIEVED TO HAVE BEEN WRITTEN DURING THE PERIOD BETWEEN 200 BCE AND 200 CE.

                                           SHORT NOTE ON INDIAN CULTURE                   CULTURE CONSISTS OF DEVELOP INDERSTANDINGS OF LITERATURE, MUSIC, AND VARIOUS ARE FORMS. TYPE OF CIVILIZATION AND THE WAYS OF LIVING HELP TO MAKE UP A CULTURE. THE TERM CULTURE REFERS TO A STATE OF INTELLECTUAL DEVELOPMENT OR MANNERS. THE SOCIAL AS CULTURE. INDIAN CULTURE IS RICH AND DIVERSE AND AS A RESULT UNIQUE IN ITS VERY OWN WAY. OUR MANNERS, WAY OF COMMUNICATING WITH ONE ANOTHER, ETC., ARE ONE OF THE IMPORTANT COMPONENTS OF OUR CULTURE. EVEN THOUGH WE HAVE ACCEPTED MODERN MEANS OF LIVING, IMPROVED OUR LIFESTYLE, OUR VALUES AND BELIEFS STILL REMAIN UNCHANGED. A PERSON CAN CHANGE HIS WAY OF CLOTHING, WAY OF EATING AND LIVING BUT THE RICH VALUES IN A PERSON ALWAYS REMAINS UNCHANGED BECAUSE THEY ARE DEEPLY ROOTED WITHIN OUR HEARTS, MIND, BODY, AND SOUL WHICH WE RECEIVE FROM OUR CULTURE.               INDIAN CULTURE TREATS GUESTS AS GOD AND SERVES THEM AND TAKES CARE OF THEM AS IF THEY ARE A PART