Culture of Kutch

People in Kutch have different religious, different occupations and different beliefs, but they are one as Kutchis. Through their culture they remain together. Almost all people of Kutch believe in Brahmans and start any new work, on the advice of Brahman. If anyone breaks rule of its community is severely punished. And if injustice happens, they won't hesitate to fight against it. Kutchis can give their lives to fulfil their promise.

Whenever a new village is established or a place is bought for new building, in Kutch, the people so Puja of that land. After the puja only, they start building new buildings. They also do puja by Brahmin when farmers buy new farm or buy cows. In Kutch's culture they also worship and so puja of trees like banyan, pipal, and Tulsi. They also worship cows and snakes.

Almost every part of Kutch, you come across the cremated stones called 'Palia' that are the symbol of bravery of the people around that area. Here they protect women and if any problems or crisis occurs, then they mostly solved with the help of their elders instead of going in court. In many casts of Kutch, cattle are more important than education. There is religion in the base of Kutchi culture. People keep fasts on many religious days and festivals. They also feed cows on such occasions. Many people in Kutch believe in ghosts and supernatural beings. If somebody falls sick without any particular reason then they go to phycic for help.

In Kutch we find many places and buildings that are the examples of local cultures and artistry. It includes religious places, forts, God and Goddesses' place, etc.

In religious places, Lakhpat's Pir Gosh Mahommad's Kuba and Lakhpat's Pir's dargah are the examples of art and it also dipicted in Nakhatrana's Vadi Medi . Lakhpat's fort is also an example of an artistic architecture. Bhuj's Bhjiya Hill's fort is built for the protective reasons. There is also artistic work done in the fort.

In contrast to Dargahs and forts and other religious places, the Sthanks of God and Goddesses' are quiet simple. With these Sthanks wells are also connected. Mata's Madh's architecture is similar to that of well with stairs. Jakkhas' places are built on high hills or on a high terrace and their statues are made along with their horses. In every village of Kutch we find Kuldevi's Deris and that are built for the protection of the village.

In the West Side of any village resides Hanuman's Deri and out of village we find Vachradada's Sthanaks. At the entrance we find Nagdev's Deri. Among Dargahs, Hajipir's dargah is very famous. Other is Murdapir's Dargah. In old times when Kings died, they used to build their Chatardis.

Kutch's civilizations and their architectures of houses are also very different and artistic. There are basically 3 kinds of habitats. First is Maldharis' habitat; second is farmers' habitat, fishermen's habitat.

Maldharis have huts made out of clay with the help of bamboo. These huts are made in such a way that it keeps it cool in summer and protects it from rain and cold. There huts' ceilings are made out of bamboo and artistically designed. Farmers' architecture is like any little village. They have lanes and their houses on the side of the lanes. They call their houses "Delis". In Banni and farmers' habitat, the architecture of kitchen is almost similar. They are artistic and well defined. Fishermen's habitats have their houses built in sands that they call "Dhango". Kharva, Bhdalas, and Muslims Vadheros resides here.

The main feature of Kutchi culture is tattoo. Kutchi women of Banni, Harijan, Aahir, Rabari, Bhunashli casts have tattoos done on their hands, on the back side of palm, between their eye brows, neck, chest, legs, etc. They tattoo any kinds of shapes and figures.

Another feature of Kutchi culture is its musical instruments. Dhol is a kind of an instrument like drum that has an important place in the culture. They are used for many reasons and in many events like fairs, wars, in announcing a public meeting, etc. There are also instruments that are used in religious songs called Bhjans like Ramsagar, Zaz-Pakhvaj, Manjira and Dholak. Maldharis have their own kinds of musical instruments like Morchang, Nalvadan and Algoza .

In Kutch the painter is called "Kamangar" and the painting is called "Kamagari". In this type of artistry they paint walls with brushes made out of Khajuri's leaves. Instead of boring life of everyday people here have artistic features in every aspect of their lives like their houses, their clothes and paintings

All these aspects and features of Kutch keeps the culture alive

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Introduction

Bandhani-tie and dye is the most important traditional handiwork of Kutchi people. Bandhanis are very closely associated with deep rooted social customs. It is treated as a symbol of married life. It is a must in the marriages of Hindus and Muslims. Discovery of dyed cotton fabric dating back to the Indus valley civilization shows that the art of dyeing using penetrating was well known to the dyers about 5000 years ago. Tie-dye still continues to have an important position in Gujarat.

Bandhani tie and dye is found in some forms in almost all parts of the world. ‘Bandhani' is also called as ‘Bandhej' came originally from the word ‘Bandhana' (to tie). Today, most of the Bandhani produced in India is made in Kutch, Saurastra and in other neighbouring districts.

Production Process

The process of tie-dye is relatively simple, but it is very difficult and time consuming. The material to be used is folded more than a few times until reduced to a square or rectangular piece. It is spread on wooden table and desired designs are marked on it with a wooden block (An even nail block) using ‘Gheru' (Red oxide) mixed with water. Then, it is taken off the table given to a Bandhani craftsperson, who purposely allows the thumb and the finger nail to grow long so as to use them as a pair of tongs for trying the marked portions into tiny knots. The decorative designs indicated by the block are sized and skillfully tied with thread thus retaining the original colour of the material in that portion. Then, it is dyed in a light colour generally yellow. The area requiring yellow is once again tied and later dyed in red or another required dark colour. Thus, the different colours required are introduced into the materials. After the process of tying and dyeing, the cloth is washed with soft water to remove the colour impurities. Then, to remove the colour knots, the process of hitching is done. Two ends of the cloth material are caught by two persons. It is a little hitched in the open air or in the sunlight so that the knots are automatically removed and the tied parts are free. The traditional motifs used are like Sikar, Kori, Badam, Champakali, Kharek etc. Bandhani is used in main products like sarees, Punjabi dresses, cloth, skirts and shawls etc. Tie-dye Odhanis are produced in cotton, silk and georgette. Mandvi, Bhuj, Khavda, Dhamanka, Tera, Bara and Anjar are main centres of tie-dye. According to the survey of tie-dyeing held in 1961, the completion of a piece of the ‘Bandhani' takes almost eight hours. Red knots can also be removed or lightened or even eliminated by submerging the cloth in a solution of caustic soda and sodium hydrosulphite.

The finished piece is then washed and decent. Bandhani textiles are regularly sold still tied up so that the customer can be sure that it is not a printed artificial and perhaps also so that the customer can have pleasure of seeing the pattern exposed when the cloth which appears to be all in one colour after its final dyeing is pulled separately from its folds and the binding cotton falls away from the plane. While Chunari with a design made up of small dots is possibly the most attribute type of Indian tie dye material, the banded or zig zag ‘Laharia' is also extensively seen in Kutch today. The method is equally one of enfold oppose but in this case the whole cloth is rotated up and tied at intervals to shape stripes. Only tremendous cloth, usually thin cotton of ‘malmal' (Kutchi word) can be used for this process as the dye must go through the whole tightly rolled material. The cloth is rolled crossways from one corner to form a striped pattern or folded like a fan, usually in four to create a zigzag as in ‘Chunari' dyeing, consecutive tied and engagement in dye baths produce a succession of colours. If the cloth is untied and re-rolled from the opposite diagonal, a checked effect results called ‘Mothara'.
The dyes of all types of Bandhani work used today are always artificial. The widespread dyes were originally thought from the ancestry of Morinda Cordifolia, in combination with an double sulphate of Aluminium and Potassium caustic for the fast (Pakka) red, Kasum from the petals of sunflowers, Carthamus Tintorius for Kutch red, Haldi from the tuber of Curcuma Domestica with Chhach for yellow and Gali, Indigo from the leaves of Indigofera Tintria for blue. Their financial records of sloping sharply with the cloths of difference of several days and strong with the simple summary are required for chemical dyes to create the result. The difficult work of collecting the dye plants and obtaining their dyes are not referenced by either of 19th Century writers but it is hardly surprising that current dyers enthusiastically took up the opportunely tinned colours that took their place.
Bandhani is done with cotton, gajji silk, fur, muslin etc. in Gujarat. The smooth weave known as gajji which was used for more costly Bandhani textiles up to the early 20th Century gives richness to the delicately worked designs which are distinctive of Gujarati tie and dye skills.

Although the impressive silk sarees and odhanis decorated with peacocks, flowers, dances or a ‘Rasamandala, designs used as cheerful dress. The high-quality kind of bandhani in Gujarat is most recurrently made not of silk but of cotton. It is popular as ‘Gharcholu', the traditional wedding ‘Odhani' of the Hindus bride now also legally taken by Jain women and even worn as sarees by guests at weddings. The fine cotton is divided into separated by the partitions by natural fiber stripes of gold brocade, the gold checkered fabric being made in Porbandar, although it was formerly imported from Varanasi. The most important ‘gharcholu' design are called ‘Bar Bhag' (12 sections) of ‘Bavan Bhag' (52 sections) controlling on the number of decorative designs and squares. To save cost, the designs may be tie-dyed into a plain red cotton cloth without the gold rich fabric woven. The buyers having enough money for the zari chowk Saree is more attractive. Another negotiation can be achieved by stitching gold ribbon in strips on the tie dyed Sari, yet another step down the steps of traditional methods is taken when the design itself is roller printed.
The ‘Gharcholu' designs are given to a girl by her husband at the time of their wedding. She usually arranges it over her head. It is exclusively covered during the ceremony, while she wears under the traditional white silk saree called ‘Panetar' with a red border.
According to the survey, more complicated designs in Bandhanis are finished in villages of Kutch. Many of them are sent to Jamnagar for dyeing and advertising. As stated in the survey of 1961, there were about 4000 people functioning in the tie-dye industry in Kutch mostly in Bhuj and Anjar. The leading persons in Kutch are ‘Khatris' who have expended a effective monopoly on textile production since middle aged times. It is said that the Khatris have been came from Sind.
The tie-dyed silk fabrics worn by the Khatri Muslims are completely different from the Hindus. The Hindus and the Muslims country communities normally make extensive use of Bandhani textiles, both as ‘Chunaris' and ‘skirts'. Their fairly basic linear designs are originally from Sind. The waterless areas of Northen Kutch and Banni are just like deserts and many communities describe their origins to Sind. Complex embroidered patterns are often added over the basic tie dye fabric and a practice is also seen in more difficult level both in designs and techniques among the Khatri Muslims.

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Culture of Kutch

Sea, desert, farming and cattle raising are included in Kutch's culture. It also includes people's dress ups, their festivals, their habits and their artistic side.

The clothes worn by Kutchis are more similar to the people of Rajasthan and Sindh. The old style Kutchi clothes really depicts its culture. Villagers here wear 'Cheni'. On 'Cheni', they ware black, yellow and red border thin 'Khes', and on 'Cheni' they wear 'Abho' and put 'Ajrakh' on their shoulders. In old times people (men) used to wear a cap called 'Paagh'. They wear it with different styles. Man without 'Paagh' was considered shameful. If they don't wear 'Cheni', they wear 'Dhoti' made out of thick cloths. Men wear high heel, sharp pointed embroiders shoes. Rabari women wear hot 'Comdi'. Charan women wear 'Dhibdo' that is a blouse fully open from backside. They call Charan women 'Matama' or 'Fui'.

Jewelry of Kutch's Jat, Rabari, Aahir and Charan women depict their culture. Aahir women and children wear 'Haydi' whereas Jat women's women wear 'Vadlo' or 'Mkoda Chakkar' around their neck. 'Huldo' is wear by all women of Kutch.

Muslim women wear artistic ankle bangals called 'Ghunla'. Rabari women's main jewel is 'Akota' that they wear in their nose. It is too heavy and so is supported by a look of hair. Men also wear 'Kadku' in ear.

Many God and Goddess cultural festivals are included in Kutch's life. They believe in 'Mataji's different 'Avatars'. They also worship pirs and Jakkhas. Religion and religious fairs are co-connected in Kutch's culture. One of such fair is at the time of Navratri. Is Navaratri they have fair in Mata's Madh. People come walking for this fair. Among the biggest religious fairs, one is of Jakkha's fair that is the center of Kutch's culture. People from all over the Kutch come here in their traditional dresses.

They all sing songs in fair in night times. In Hajipir's fair not only Muslims but all kinds of people participates in here. Among other religious fair is Bhujya's fair on the day of Nagpachami. Talvana's Ruknshapir's fair, Dhangadra's Dada Mekan's fair and Ramdevpir's fair near Vongh.

In the fair of Dhangadra, people around the world come to watch camel safari that is its main attraction.

Mandvi's Ravadi fair is held on the day of Janamasthami. On the second day they have 'Rathyatra' and at the end of the fair they have a big Rath'. There is one more Ravadi fair of Kharvar. Both of these are famous for Kutch's rural culture.

People do aerobatics shifts, wrestling , play dandiya raas and other kinds of sports.

On the day before Janmasthmi Dhebaias, Rabaris, Machoya, and Aahir casts' people organized Gokulia Weddings. The atmosphere becomes like a festival. The wedding ceremony is held during 11 to 12 in the morning and is performed by Pandit or the elders of the family. In the afternoon, after the wedding they start celebrating Janamasthmi.

The groom is dressed up like a king. He wears traditional dress which is embroider and with the embroider sword in his had.

Fishermen in Kutch do not have fairs, since they have to work most of the time in sea; they sing songs of courage and hard work when they leave for their jobs. Their wives farewells their husbands and breaks coconut as a good omen, and asks sea to protect their husbands. Even the Maldharis that are a kind of gypsies can't fix a fair, as they have to move from one place to another. Any guest to their place is time of festival for them. They cook good food for guests, sings, dance and merry whole night.

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History of kutch

History Of Kutch

The honest and trust worthy Sundarji Saudagar was the messenger of all Indian Kings, Nawabs, Emperors and all. He was the native of Gundiyadi of Kutch. In the fights of British's and Nawabs, or the family crisis of Gayakwads', Sundarji worked for compromise and helped in stopping those fights and quarrels.

Swami Sahajanand came in Kutch in these times and started the Swaminarayan, the religious sector. Because of business with western world through ship, Kutch's history and thoughts were almost seemed similar of those of many European countries.

After the death of Rav Raydhanji in 1813, Ravshri Bharmalji ruled Kutch for seven years. During his time, Britain's Union Jack came and ruled them. Captain MacMardo imposed British rule on the Royal of Kutch. He made Royal to fight among themselves and ruled them. He also discarded Rav Bharmalji and gave the thorn to Rav Deshlaji in 1819. British's' involvement affected the business of Kutch and they became a hindrance in the progress of industries and in the progress of farming. British's put some rules against the rights of Maharavs and during the times of Lakhpatiji and Rav Godji, Kutch industrial progress stopped.

Education started in the time of Pragmalji the second, who came after Deshalji. He appointed non-Kutchi minister called Krushnaji Tulkar, Pandurang Shivram and police commisionar and Shirr Vinayakrao Bhagavat as judge in his ministry. He ruled from 1860 to 1875. The first municipality was established in Bhuj in his time. Kutch was becoming modern

After Pragmalji came Sir Khengarji to rule Kutch for a very long time. This was the time of freedom fights and revolutions in India. Communist personal Yusuf Maherali fought for Kutchi people's rights and led his revolution against the government of Sir Khengarji. Sir Khengarji ruled from 1876 to 1942 and in his ruling time he banned cutting of trees and even grass and brought back the green revolution. After independence Kutch was now a part of India. After the death of Khengarji, the Kutchadipati Vijayravji and Ravshri Madansighji's rule came to an end, as Kutch became the part of India in 1948. In 1956, Kutch was became a part of Mumbai and then in 1st May 1960, a part of Gujrat.

Kutch's last ruler Shirr Madansighji became Indian ambassador to Norway under the democratic government of Jawaharlal Nehru. In 1962 general elections Kutch elected members from its region and sent them in Indian parliament. In 1960 Premjibhai Thakkar elected and became minister.

Dr.Mahipat Maheta fought for Kutch's Independent Development Board against the central government and against hi own party (Congress I) through out his life. Kutch came in scene of Gujrat's politics as its contender Shirr Kundanlal Dholakia who became minister in central government and became the first Kutchi Vidhansabha Speaker. In 2051, according to Hindu calendar, Kutch's BJP's Shirr Sureshchandra Rupshankar Maheta , became the state's chief minister. This was very important event in Kutch's history. Kutch's Bhavanjibhai Arjan Khimji and Mumbai's K.T.Shah became the part of Indian constitution. International Hej Court after the 1965 and 1971 war between India and Pakistan gave some part of the Kutch to Pakistan.

This progress from the cave man to the modern democratic Kutch is standing like a highest peak which is ready to welcome 21st century.

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History Of Kutch

Incidents happened in Gujrat during 0725 to 0734 has connections to Kutch. Bhavads have defeated Jayshikari and established his rule that was called Solankis' age. Mulraj Solanki's son-in-law Lakha Ghurara was on rule in Kutch and was very strong. After him his son Lakha Fulani came on rule. Lakha Ghurara established Aangargadh in Kutch. Then later from 0950 onward Chalukyas ruled in Kutch till 1257, approximately 350 years. During his period with Jainism many Hindu sub-religions like Shaiv, Saya and Vashiav came into being in Kutch. After Chlukyas end, Vaghela ruled in Kutch till 1304 when Mogul sultan Allahuddin Khilji came on rule. In 1147, Jam Lakha started his rule of Jadeja and it ends in 1947 with Mahravshri Vijayraji Jadeja. After Jam Lakha, Jam Rayshan came on rule. During his times, the rule of Vaghelas came to an end, not only in Kutch but also in Gujrat. During this period many wars and jealous intentions of Gujrat and Kutch's rulers made ways for Mugals to come here Sindhi Samas, Kathis, Sumaras and Mugal Sultans who attacked Sindh and Kutch, made great impact on the history of Kutch. Before the Middle Ages, the ruler of the king of Kutch doesn't really had anything like kings. He was just a leader who looks after cattle and he didn't have any kind of army as such.

After Raidhanji, Jam Odha came in rule from 1215 to 1255. The great famine of 1259 produced great personals like Seth Jagadusha who helped people of Kutch during the Famine. He distributed grains and foods items from his personal godowns.

He also built wells and water stands in many places in Kutch. After jam Odha's rule, his brothers and sons fought against each other for the thorn, and Jadejas' were divided and Abada conquered one region and it was called Abdasa. During this time Muslim rules started ruling Kutch and Gujrat.

The present proper rule of Kutch was came into being with Khengarji the first . Sultan Ahemadhah gave him the title of 'Rav' and gave his Morbi to rule. He defeated Jam Raval and became the first Rav king of Kutch in1548. He ruled till 1585 when he died at the age of 90. After him Rav Bharmal fought couple of times against the Mugals but couldn't do anything and accepted their sovereignty over him.

When Jahangir came to Ahemdabad in 1617, Bharmalji Presented him 100 horses and 100 golden coins and made him so happy that he let his taxes forgiven. After him, in the times of Rav Bhojraji, Rav Shri Khengarji the second, Ravshri Tamachiji, Rav Shri Raydhanji the first, Ravshri Pragmalji the first and Ravshri Godji the first; nothing much happened.

Mughal Emperors, Muslim Pirs, Sultans, fakirs, oliyas, and army personals have affected political history of Kutch. They became one with the leaders of Kutch and worked with them for the benefits of Kutch. In the times of Ravshri Devalji , with the help of his minister Devkaran, fought against Muslim attackers from other foreign countries and saved Kutch.

After him Rav Lakhapatji ruled Kutch well. He encouraged business with foreign, industries and shipping activities. But history says that he lost all his treasures in artistic literature and music and dance.

Ramsingh Malam started Glass factory, clock factory, foundry for melting pharos iron. He also started technology institute in Bhuj. Rav Raydhanji ruled Kutch from 1778 to 1786. People of his family spoiled him but he respected whatever his father Rav Devlji did for Kutch.

Rav Devlji developed the shipping business of Kucth and enriched the economy through farming. Anjar's Meghji Seth rose his voice first against Rav Raydhanji's self-willed orthodoxy and violence. Army personal like Dosalven and Fatehmahommad served the state honestly and without any religious prejudice that helped to stop the bloody revolution.

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History Of Kutch

For thousand years, the people of Kutch migrated in and out of Kutch to countries like Sindh, Afganisthan, Britain and Africa. Many foreigners who came here have depictions of Kutch in their journals. One of the army personal of Alexander The Great called it 'Abhir', which means the shape of tortoise. It was always remained a place of a less population, especially in the 9th century.

Kutch was existent in the time of Mahabharat and some reports indicate that it existed even before that, in the time of Rama and Ravana. On the basis of ancient literature, it can be said that the changes in the history of Kutch has many similarities with the western revolutions especially with French revolution. According to the historian Mr. Mavji Kanji Maheta of Kutch, Krishna was from the family of Yadu and his son Samb was the first man of Jadeja family which was the first family of Kutch. But according to Dulerai Karani, a poet and a supervisor, Samb was not the initiator of the Jadeja family instead it was Krishna's grandson Vajranabh. He drew his conclusion on the basis of Shrimad Bhagvat Harivansh and Mahabhart's ancient literature. Through ancient and pre-historical evidence and proofs, which are mostly found in Kutch, it is clear that human cultural evolution passed through all its phases. The ancient civilization's authentication is found in and around Bhuj, Madhapr, Kukma and Nakhtra districts. Weapons made out of rocks have also been excavated, which indicates that the cave man civilization also existed here. This proves that during the ancient civilization of Kutch self made weapons, wer used to cut grass with the andto do basic farming.

2600 years before Jesus' birth, Harrapan civilization on the Sindh River was excavated. Ghodavira in Kutch is also similar and perfect example of this civilization. There is not much evidence to suggest about the type of civilization which came into being after the Harrapan civilization. However, around the period of 150, there are some inscription on stones found in Junagard made by the king Rudradam and these include the name of Kutch on them. During this time from 78 to 400, Jainism and Buddhism must have been prevalent and these inscriptions indicates towards that.

Rudradam's rule was ended when Abhirs defeated him. After the end of Abhirs' rule came Guptas' to rule Kutch. The proofs of this are the coins they found in this place. Valabhis came on rule after Guptas. According to legend, Arabs attacked Kutch along with Sindh, Marvad and Ujjain in 0738-39. In that time, Kutch was on independent state and also has business relationship with western countries. Through the Arab attacks and international connection through business, Muslims came in Kutch.

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Kutchi Bharat

‘Kutchi Bharat' with its complicated microscopic designs in attractive colours is considered to be the most outstanding and superb among the different types of Kutchi embroideries. This instructs derive its name from that vast extend of semi-desert land called Banni. It is represented by the Lohanas of Khavda, Jats, Mutvas, Harijans etc. of Banni. The Lohanas of Khavda dedicate themselves into skirt work and coverlets. The embroidery of Jats is extremely advanced. The different types of Kutchi embroideries called as Kacho Bharat, Pako Bharat, Niran, Bharat, Kharek Bharat, Kambari Bharat, Chopad Bharat, Gufuo Bharat and Tanka Bharat. When the men set out with their cattle and group, the women sit in the shades of their homes with needles and threads and they embroider and embroider and embroider. The young ones start to embroider articles which are kept till they come of age and carry of to there son-in-laws. They even have an offering sack (kothalo) in which they take all they have embroidered. The festival blouses known as ‘Kanchali', the grant sack (Kothalo), the groom's marriage bags, the ‘Pothu', the doorways long curtains, the torans and a host of many other articles that are daily or for certain cheerful and special events and yet sold in the markets of many cities today. The Sodhas are known for their soof embroidey and the Ahirs are well known for their chain sews up and the Jats' subgroups have their own styles of embroidery. The Rabaris and the jats have their own individual embroideries. The most characteristic embroidery is the clothes of men, women and children of Kutch. Though, the styles are different from community to community and based on them alone can communities be well-known from each other. The finest needle work today comes from many communities living in the Banni zone, a clean semi-desert region situated in the north direction of Bhuj and bordering Pakistan. The area is unreachable during the monsoon. The Harijans' village Hodko and the Muslim groups of Dhordo and Gorevali have been able to produce a large variety of decorative pieces for use in the profit-making municipal market. Rabaris' decorative designs are made of flowers, decorative panels, a geometrical stylized horse and rider, peacocks and scorpions, worked in the chain stitch with round petal shaped and triangular mirrors scattered between them. The Ahirs' chain stitch embroidery is advanced and more elaborate than the Rabaris' style. Young Ahir women wear ornately embroidered skirts in thick handspun cotton, generally green, red, blue or black while their backless bodices are in natural fiber Mashru fabric and heavily embroidered in chain stitch, buttonholes and herringbones stitch with mirrors. The most common decorative designs for their embroidered pieces are parakeets, flowers, women producing buttermilk, fan shaped half flowers or attractively decorated panels worked in rows, separated by bands of narrow geometric borders. Traditional to Kutch is another style of embroidery known as ‘Hurmitch' and inspired from the Bavaliya tree-generally known as ‘thorny acacia'. It is an embroidery style worked almost completely with disconnected interweaving stitches arranged into various geometric patterns. In Hurmitch, stitch fabrics, the reverse surface of the cloth contrasts powerfully with the front. Separated interlacing decorative designs are attached to the base fabric only at the outer edges of the motifs. To create these insignificant separate fabrics, scaffolding twist spun threads are set up on the surface and the woven things are woven into the scaffolding with a needle. This results in small detached and separate designs of interlaced woven fabrics that lie above the surface of the base fabric. The Mutva Jats of Banni embroider in an extremely fine style that is exclusive in Sindh and Kutch. This style of embroidery is characterized by geometrically decorative designs and sometimes white three or five petal flowers, worked in tiny square chain stitching often outlined with white consecutively stitches.

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Anjar

0 people has been here Anjar is a main city near Bhuj and located in the Kutch district of Gujarat state, India. It is 40 km.from Bhuj. The Anjar city was established more than 1,000 years ago as there one the oldest Bhareswar Mahadev Temple. Anjar is really famous for three main temple. Among them one Shree swaminarayan mandir at Sawaser Naka, Bhareswar Mahadev Mandir at devaliya Naka and Jesal-Toral Samadhi, near Ajepal Dada Dharm-Shala. The history of Anjar is really extra ordinari. God Swaminarayan has come in Anjar at Savant 1863. He stayed here many days with great saints and teach the ... read more UNESCO World Heritage sites

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Mandir information

Mandir is the name for a Hindu place of worship and prayer. The word mandir is composed of two words, Man and Dir, whose meanings are mind and still, respectively.  Therefore, a mandir is a place where the mind becomes still; a place where we experience peace from worldly problems.  For centuries, the mandir has remained a spiritual, educational, social and physical cornerstone of Indian society. People from all walks of life spend time growing, interacting, and learning in the mandir.  In addition to being a home for Hindu manifestations of God, a mandir is also an active community space where many social service activities are carried out.  Some mandirs serve not only a community’s spiritual needs, but also their physical needs such as providing relief for victims of natural disasters, providing medical care to the sick, education to the poor, and numerous other services to help fellow mankind.  It is with this to hope to further its philanthropy and spirituality that the BAPS Swaminarayan Sanstha constructs traditionally accurate mandirs in North America.
In the early 1980’s a handful of Swaminarayan devotees in the Atlanta area began meeting at each other’s homes on a weekly basis to hold religious gatherings.  As the number of devotees and the Indian community in the surrounding area steadily increased, a special place of worship was needed, and with the help of devotees from around the southeastern states, a skating rink was purchased in 1988.  Even then, a large BAPS volunteer force completely transformed the old dilapidated rink into a mandir in Clarkston, GA. 
Since 1988 the converted rink has served as a mandir and all that a mandir stands for. Over the years, however, it was evident that a traditional mandir was needed in Atlanta—one that would be able to help Hindus in America of all ages to strengthen their roots.  With this desire, and through the inspiration of Pramukh Swami Maharaj, a decision to build a traditional shikharbaddh (spired) mandir in Atlanta was made. 
With the blessings of Pramukh Swami Maharaj, in February of 2000, a twenty-nine acre plot of land at the intersection of Rockbridge Road and Lawrenceville Highway was purchased in Lilburn, GA, a quiet suburban town of Atlanta.  A puja was also performed this same year by Pramukh Swami Maharaj to sanctify the land so that construction may begin.  BAPS broke ground on the mandir project in September 2005, with land being cleared and ready for the main foundation pouring just four months later in January of 2006. 
In March 2006, a crane was assembled just in time to install the first of what will be a monument with over 106,000 cubic feet of Italian Carrara.  Over 34,000 hand-carved pieces have been shipped from India in what, by completion, will be 346 containers to Atlanta.
The true spirit of seva, or selfless volunteering, continues to live on in this mandir just as it does in every BAPS project.  Some two million man hours of labor have gone into building this special house of worship, with high school and college students foregoing their summer vacations to sweat in the Atlanta summer heat to make this project a success.  Along with the young, many professionals and business people, including both men and women, had temporarily put their lives on hold to ensure that the approximately 30,000 square foot mandir would be completed by the end of August.
BAPS mandirs are a rare and valuable gift to society that aim to imbibe cultural, moral and spiritual values to thousands of people who visit it daily to pray, celebrate, and receive inspiration.
Culture: The cultural roles that mandirs have played throughout history are still visible in today’s mandirs. Mandirs are the haven of cultural education and progress. BAPS mandirs preserve language, music and art by equally serving as teaching centers.

Morality: Through engaging discourses, exhibitions, classes and activities, individuals at a mandir learn of values that will lead to a pious life.  Bad habits, faults and addictions wane in the positive environment of the mandir. Children, youths and adults can freely build a balanced and morally sound life through specialized weekly assemblies which are regularly conducted at all BAPS Mandirs.

Spirituality: Through its teachings and activities of prayer and worship, the mandir generates devout faith in God and alleviates mental and physical stress. Moreover, it is the home to Sadhus (ascetics), whose presence is crucial to the transmission of knowledge of Hinduism to the children, youths and adults.
“This mandir will truly serve individuals, families and communities. We welcome everyone to experience this unique monument. It will be a valuable addition to the great city of Atlanta and the surrounding communities,” said spokesperson Mitesh Patel.

Today, BAPS has over 700 mandirs worldwide. Inspired by Pramukh Swami Maharaj, the fifth spiritual successor of Lord Swaminarayan and present leader of BAPS, all of the mandirs are built with the gift of time and labor of hundreds of volunteers. At the age of eighty-seven, paying no attention to his health or schedule, Swamishri dedicates much of his time, planning, organizing, and overseeing every aspect of the mandir’s construction.  He has a unique ability to mentally collate construction updates and make prompt suggestions and changes.
Pramukh Swami stresses why mandirs are essential to humanity:
“A mandir increases moral values. Mandir is such a place where everyone can have equal benefit. Peace of mind will be experienced here. Come to the mandir. Pray. Read. Chant. Sing. That is what it is for; to give peace. The mandir is our true home. The mandir is built for us to make our lives ideal!”

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let me come out..,

mandoo-1

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Bhadreshwar OLD JAIN TEMPLE

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by sciencegroupofindia

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Travel Tip Kutch

How to reach Kutch is the primary question that comes in every tourist's mind before visiting the place. A number of options are at your disposal for reaching the exotic location. However, the most comfortable options are by air or by road. Both the services will ensure a comfortable journey. The journey via road will have an added advantage of providing you an opportunity to have a closer look at the diverse land of the Gujarat. The diversity offered by Kachchh is unique and delightful in true sense.

By Air

For travelling to Kutch by air, you will have to take a flight to Bhuj, the administrative city of Kutch. There are also daily flights to important cities like Mumbai. You can catch any of the below-mentioned airlines for getting into Kutch by air.

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Culture of Kutch

Simple living yet dynamic in thoughts, raring to move forward this the strong belief of the Kutchis. Sturdy in their vision yet completely invaginates. Not afraid to think out of the box and experiment, but firmly anchored to their traditional roots. The Culture of Kutch is so prosperous, vibrant and authentic that will surely mesmerize you in everyway, this is Kutch, weaved in its colourful dream.

Sea, desert, farming and cattle raising are included in Kutch`s culture. It also includes people`s dress ups, their festivals, their habits and their artistic side.

The clothes worn by Kutchis are more similar to the people of Rajasthan and Sindh. The old style Kutchi clothes really depict its culture. Villagers here wear `Cheni`. On `Cheni`, they ware black, yellow and red border thin `Khes`, and on `Cheni` they wear `Abho` and put `Ajrakh` on their shoulders. In old times people (men) used to wear a cap called `Paagh`. They wear it with different styles. Man without `Paagh` was considered shameful. If they don`t wear `Cheni`, they wear `Dhoti` made out of thick cloths. Men wear high heel, sharp pointed embroidery shoes. Rabari women wear hot `Comdi`. Charan women wear `Dhibdo` that is a blouse fully open from backside. They call Charan women `Matama` or `Fui`.

Jewelry of Kutch`s Jat, Rabari, Aahir and Charan women depict their culture. Aahir women and children wear `Haydi` whereas Jat women wear `Vadlo` or `Mkoda Chakkar` around their neck. `Huldo` is wear by all women of Kutch. Muslim women wear artistic ankle bangals called `Ghunla`. Rabari women`s main jewel is `Akota` that they wear in their nose. It is too heavy and so is supported by a look of hair. Men also wear `Kadku` in ear.

Many cultural festivals are included in Kutch`s life. They believe in `Mataji`s different `Avatars`. They also worship pirs and Jakkhas. Religion and religious fairs are co-connected in Kutch`s culture. One of such fair is at the time of Navratri. In Navaratri they have fair in Mata`s Madh. People come walking for this fair. Among the biggest religious fairs, one is of Jakkha`s fair that is the center of Kutch`s culture. People from all over the Kutch come here in their traditional dresses.

They all sing songs in fair in night times. In Hajipir`s fair not only Muslims but all kinds of people participate here. Among other religious fair is Bhujya`s fair on the day of Nagpachami. Talvana`s Ruknshapir`s fair, Dhangadra`s Dada Mekan`s fair and Ramdevpir`s fair near Vongh.

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Navratri Greetings!

 

May the blessings of Maa Durga be with you on Navratri and in every step of your life to make it Happy and Prosperous
Jai Ambe ! Jai Hinglaj Mataji !
Maa Durga,
Maa Ambe,
Maa Jagdambe,
Maa Bhawani,
Maa Sheetla,
Maa Vaishnao,
Maa Chandi,
Maa Hinglaj,
Mata Rani meri aur apki manokamna puri karey..
JAI MATA DI !
 Maa ki jyoti se prem milta hai, sabke dilo ko marm milta hai, jo bhi jata hai MAA ke dwar , kuch na kuch jarur milta hai.  SHUBH NAVRATRI !
PYAR KA TARANA UPHAR HO,KHUSHIYO KA NAZRANA BESHUMAR HO,
NA RAHE KOI GAM KA
EHSAS; AISI Navratri IS saal ho, , . .
HAPPY NAVRATRI !

N- Nav Chetna A- Akhand jyoti V- Vighna Naashak R- Ratjageshwari A- Aananddayi T- Trikal Darshi R- Rakshan Karti A- Anand Mayaimaa JAI NAV DURGAMANGLMAYNAV RATRA
Maa Durga Humein SarvShreshtha Banne ka Saahas-Ichha-Dhairya Pradan Kare. Unki Aseem Kripa Hum Par Bani Rahe! Apko Aur Apke Parivar Ko NAVRATRI KI SHUBHKAMNAYE
This Navratri light the lamp of happiness,
prosperity and knowledge,
Happy Navratri !
Ya devi sarvabhuteshu shaktirupena sansthita namastasyai namastasyai namo namah !! May mother durga bless us with strength, peace and prosperity !

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KUTCHI KHECHDI (KHICHDI)

Kutchi Recipe : Khechdi (Khichdi, Masala Khichdi, Fadeji Khichdi)

 

KUTCHI KHECHDI (KHICHDI)

PAANJI KUTCHI KHECHDI. Kutchi Khechdi nande chokre thi kare vade maadu je tabiyat la kare saari aay.
Bhanayla Kare :
3/4 vaadko Chalti(split moong dal with skin)
1/4 vaadko Chokha(rice)
4 vaadka Paani
Meetho swaad anusaar
chapti Hing
1 chamcho desi ghee(1 tbsp)
Bhanaayji reet :
Pela chokha ne chalti bhega kare paani se 6-7 waar dhuteja .Hekde madhyam size je tapeleme chokha-chalti,paani,meetho,hing vajikare cooker me 4-5 whistles  vajaay bhandh kare vajejo.Thodiwaar thadhi thiye poy cooker khole ne khechdi me ghee vaji halaayjo.Paanji traditional Kutchi Khechdiji maja ganeji.
Kutchi Khechdi bhego dahi/kadhi/vaghaarela marchaa/papad/garam doodh /athaanu /kaando/raswaaro saak khaai  sako.Variation la kare masala khechdi bhanaay sako

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Kutch Costumes

Ahir women's dress
    Young women wear gathered skirts of red, green, blue, orange or brown tie and die cloth with rich embroidery.
     Older married women wear plain black cotton tube skirts and simple decorated cotton or plain mashru blouses in subdued colors.

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Kutch Costumes

Jat's Dress They wear red or black cloth commonly known as 'GAGA'.	Jat men wear Khamis and Lungi.

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Kutch Costumes

	Kutchi Costumes are unique and some of the embroidered are very costly. The mirror work and embroidery work forms an integral part of Kutchi Handicrafts irrespective of the community or ethnic group to which they belong , however the workmanship differs. In fact the various communities can be identified by the pattern of handicrafts and dress or costumes they were. For instance, the Garacia Jat women wear only red or black chunis while Rabari women wear black open blouses or cholis with odhnis to cover head.          In the rural areas women wear Chaniya choli during the whole year, Chaniya choli's are of many designs and fashion. Typical Kutchi costume is incomplete without 'Abha' or 'Kanjari'. 'Abha' is the name of the typical choli worn by women folk and 'Kanjari' is a long blouse beautifully embroidered and with mirror work.  Most men in Kutch wear loose trousers, a long-sleeved under-jacket, a short coat,. a plain or silk-bordered cloth. Normally men prefer white clothes except the Muslims who prefer colored clothes.

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CROPS OF KUTCH

The economy of Kutch is still agro-based and therefore in spite of shortage of water lot of emphasis is being laid on agricultural and farming activities. Beside  State government, the Non-governmental charitable and research institutes like the V.R.T.I. or Vivekananda Research and Training Institute at Mandvi  and its sister concerns is helping the farmers in adopting latest farming techniques.           New ventures like building of water harvesting structures, Farm Ponds, Drip Irrigation technique, Soil and Water Analysis, Bio-Gas, smokeless chullah, cattle feed projects and plantation are being promoted by the institute.           Over a period of time the cropping pattern in Kutch is changing gradually. Gone are the days when Lakhpat area was a rice bowl. Crops requiring less water and yielding more cash are the pattern of the day. CROPS OF KUTCH Cereals - Bajri (maximum), Jowar, Wheat and Rice (negligible). Pulses - Moong, Moth, Udad, Black gram, Beans. Oil seeds - Groundnut, Mustard, Sesaum (Til), Castor, Sunflower and Cotton seeds. Others - Guvar, Cattle feed , Cotton (Gossipium), Sugarcane, Dates, Isabgol, etc.	Oil Palm field developed by V.R.T.I.
	Threshing
	Dates ready for selling

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Aina Mahal

The heritage of Kutch art and culture is displayed in the Madansihji museum (Aina mahal) Bhuj. The last ruler of Kutch Maharao Madansinhji established the "Maharao of Kutch Aina Mahal Trust on 1st January, 1977. Aina Mahal means a mirror palace. It was created by the artists Ramsinh & Gaidhar Devshi in the period of Maharao Lakhpatji (1752-61). In 1757, Rao Lakhpatji visited the emperor Alamgir in Delhi. He was graced with the title of Mahi Maratib. He welcomed foreigners in his court. Fortune brought him a man named Ramsingh malam who specialized in Kutchi architecture, enamel work, jewellery, tile work and interior decoration.
The great master piece of Ramsingh is the Hall of Mirrors in the Aina Mahal. The walls are white marble covered with mirror which are separated by gilded ornaments. The hall is lit by elaborate pendant candelabra with shades of Venetian glass. The hall of mirrors is on the second floor of the Aina Mahal but Ramsingh devised ingenious pumps and siphons to raise up water to fill the pleasure pool and to operate fountains which cast spray in an intricate variety of patterns charming the eye and cooling the air.
The small state apartment, carpeted with exquisite Kutchi silk embroidery, its walls paneled high with the same priceless fabrics still contains Maharao Lakhpatji’s bed. The hall is filled with a miscellaneous collection of objects; a Dutch Clock, English and French celestial globes, some antique pictures, mechanical toys, glass and china. On the walls of the corridor are a variety of pictures, some European and many Indian. The Aina Mahal alone cost eight million kories and was only one of the many enterprises which the Maharao and Ramsingh undertook together.

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