Bhuddism in greek,aramic,khemr MAP

Bhuddism in greek,aramic,khemr MAP

Bhuddism in greek,aramic,khemr MAP

Proselytism within Ashoka’s territories

Inside India proper, in the realm of Ashoka, many different populations were the object of the King’s proselytism:

“Here in the king’s domain among the Greeks, the Kambojas, the Nabhakas, the Nabhapamkits, the Bhojas, the Pitinikas, the Andhras and the Palidas, everywhere people are following Beloved-of-the-Gods’ instructions in Dhamma.” Rock Edict Nb13 (S. Dhammika)

Greek communities lived in the northwest of the Mauryan empire, in the region of Pakistan, notably ancient Gandhara near the Pakistani capital of Islamabad, and in southern Afghanistan in the region of Gedrosia, following the conquest and the colonization efforts of Alexander the Great around 323 BC. These communities therefore seem to have been still significant during the reign of Ashoka. A notable mention references aspects of Greek society.

There is no country, except among the Greeks, where these two groups, Brahmans and ascetics, are not found, and there is no country where people are not devoted to one or another religion” Rock Edict Nb13 (S. Dhammika)

Bilingual inscription (Greek and Aramaic) by king Ashoka, from Kandahar (Shar-i-kuna). Kabul Museum.

Two edicts in Afghanistan have been found with Greek inscriptions, one of these being a bilingual edict in Greek language and Aramaic. This edict, found in Kandahar, advocates the adoption of “Piety” (using the Greek term Eusebeia for Dharma) to the Greek community:

“Ten years (of reign) having been completed, King Piodasses (one of the titles of Ashoka: Piyadassi or Priyadarsi, “He who is the beloved of the Gods and who regards everyone amiably”) made known (the doctrine of) Piety (Greek:e?s?ße?a, Eusebeia) to men; and from this moment he has made men more pious, and everything thrives throughout the whole world. And the king abstains from (killing) living beings, and other men and those who (are) huntsmen and fishermen of the king have desisted from hunting. And if some (were) intemperate, they have ceased from their intemperance as was in their power; and obedient to their father and mother and to the elders, in opposition to the past also in the future, by so acting on every occasion, they will live better and more happily.” (Trans. by G.P. Carratelli

Kambojas are a people of Central Asian origin who had settled first in Arachosia and Drangiana (today’s southern Afghanistan), and then in the northwestern Indian subcontinent in Sindhu, Gujarat and Sauvira.
* The Nabhakas, the Nabhapamkits, the Bhojas, the Pitinikas, the Andhras and the Palidas are other people under Ashoka’s rule.

History of Handlooms

History of Handlooms

Mythology of weaving,history of KHADI BOARD,banknotes,QUEEN with spindle,
By musham damodhar rao
The theme of weaving in mythology is ancient, and its lost mythic lore probably accompanied the early spread of this art. Westward of Central Asia and the Iranian plateau, weaving is a mystery within woman’s sphere, and where men have become the primary weavers in this part of the world, it is possible that they have usurped the archaic role.

Weaving begins with spinning. Until the spinning wheel was invented in the 14th century, all spinning was done with distaff and spindle. In English the “distaff side” indicates relatives through one’s mother, and thereby denotes a woman’s role in the household economy
Egypt

In pre-Dynastic Egypt, was already the goddess of weaving (and a mighty aid in war as well). She protected the Red Crown of Lower Egypt before the two kingdoms were merged, and in Dynastic times she was known as the most ancient one, to whom the other gods went for wisdom. Nit is identifiable by her emblems and most often it is the loom’s shuttle, with its two recognizable hooks at each end, upon her head. According to The Gods of the Egyptians the root of the word for weaving and also for being are the same
Many of the world’s people understand that the world is woven and that a weaving Creator wove its designs into being

Ancient Romans regarded the processes of spinning and weaving with superstitious awe. In many parts of the Roman empire, laws banned women from holding a spindle in public: should anyone lay eyes on such a woman, it could mean exceptionally bad luck, perhaps even the failure of the harvest.

The concept of weaving actually relates to mythology much more than simply appearing in myths, the English word text is derived from the Latin word for weaving, texare, explaining the source of terms like “weaving a story”.

In Baltic myth, She is the life-affirming sun goddess, whose numinous presence is signed by a wheel or a rosette. She spins the sunbeams. The Baltic connection between the sun and spinning is as old as spindles of the sun-stone, amber, that have been uncovered in burial mounds. Baltic legends as told have absorbed many images from Christianity and Greek myth that are not easy to disentangle.

In China, the weaving goddess floated down on a shaft of moonlight with her two attendants, showed to the upright court official in his garden that a goddess’s robe is seamless for it is woven without the use of needle and thread, entirely on the loom. The phrase “a goddess’s robe is seamless” passed into an idiom to express perfect workmanship. This idiom is also used to mean a perfect thing.

A royal portrait employing strong mythic overtones: born a German princess, adopts the national costume , with distaff and spindle.
ROYAL QUEENS”S costume with distaff and spindle.

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coins,stamps,banknotes,hindu,moghul,mythology,ancientscience,speedoflight,gods,sultanate,indiastocknote1891,bombay,bengal,farmans,Handlooms,weavers,handloomexport,
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IN Nagpur session (1920) that the Indian National Congress decided to encourage “Khadi”. The first Khadi Production Centre was established at Katiawad, Gujarat, Mahatma Gandhi used to refer to Khadi as “The delilivery of freedom”.

In fact, Khadi was introduced in 1920 as a political weapon and as the best instrument for giving concrete expression to the Swadeshi Spirit to boycott foreign goods. Khadi rendered an opportunity to every man, woman and child to cultivate self-discipline and self-sacrifice as a part of the non-cooperation movement.

Development of All India Board under the Indian National Congress by Gandhiji.

1923 Given below is a chronology of events that contributed to the development of Khadi in India over time in 1923

1925 Setting up of All India Spinners Association (AISA) / Akhil Bharat Charkha Sangh,

1935 All India Village Industries Association (AIVIA) was formed.

1946 Govt. of Madras sought the advice of Gandhiji and set up a Department for Khadi.

1948 Govt. of India recognized the role of Rural Cottage Industries in the Industrial Policy Resolution, 1948. Constituent Assembly included Cottage Industries in Rural Areas among the directive Principles of the Constitution in Article 43.

These ideas were elaborated in the First five-year Plan, which laid down the Policy framework for setting up of a body for Khadi and Village Industries. Central Govt. also recommended for setting up of a Board.

1953 In accordance with these recommendations, Govt. of India set up All India Khadi & Village Industries Board in January, 1953. (AIKVIB)

1955 It was decided that a statutory body should replace the Board.

1956 Khadi and Village Industries Commission Act 1956 was passed.

1957 Khadi and Village Industries Commission came into being.

The post independence period saw the Government of India and the planning commission assuring the responsibility of fitting Khadi and Village Industries within the framework of five-year plans

Here are photos pf some interesting banknotes issued by the THE VILLAGE AND GRAMAUDYOG commision or other name with a variatin
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Banknote on Weaving in khemr nation

A loom is a machine or device for weaving thread or yarn into textiles. Looms can range from very small hand-held frames, to large free-standing hand looms, to huge automatic mechanical devices. The ancient Egyptians and Chinese used looms as early as 4000 BC.
The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
Weaving is the textile art in which two distinct sets of yarns or threads, called the warp and the filling or weft (older woof), are interlaced with each other to form a fabric or cloth. The warp threads run lengthways of the piece of cloth, and the weft runs across from side to side.
Warp and weft in plain weaving.
Cloth is woven on a loom, a device for holding the warp threads in place while the filling threads are woven through them. Weft is an old English word meaning “that which is woven”.
The manner in which the warp and filling threads interlace with each other is known as the weave. The three basic weaves are plain weave, satin weave, and twill, and the majority of woven products are created with one of these weaves.Woven cloth can be plain (in one color or a simple pattern), or it can be woven in decorative or artistic designs, including tapestries. Fabric in which the warp and/or weft is tie-dyed before weaving is called ikat.

lady-weaving

Let modern children remember handlooms

Let modern children remember handlooms

The ancient art of handweaving, along with hand spinning, remains a popular craft. The majority of commercial fabrics in the West are woven on computer-controlled Jacquard looms. In the past, simpler fabrics were woven on dobby looms, while the Jacquard harness adaptation was reserved for more complex patterns. Some believe the efficiency of the Jacquard loom, with its Jacquard weaving process, makes it more economical for mills to use them to weave all of their fabrics, regardless of the complexity of the design.
Weaving is the textile art in which two distinct sets of yarns or threads, called the warp and the filling or weft (older woof), are interlaced with each other to form a fabric or cloth. The warp threads run lengthways of the piece of cloth, and the weft runs across from side to side.
Warp and weft in plain weaving.
Cloth is woven on a loom, a device for holding the warp threads in place while the filling threads are woven through them. Weft is an old English word meaning “that which is woven”.
The manner in which the warp and filling threads interlace with each other is known as the weave. The three basic weaves are plain weave, satin weave, and twill, and the majority of woven products are created with one of these weaves.Woven cloth can be plain (in one color or a simple pattern), or it can be woven in decorative or artistic designs, including tapestries. Fabric in which the warp and/or weft is tie-dyed before weaving is called ikat.
The ancient art of handweaving, along with hand spinning, remains a popular craft. The majority of commercial fabrics in the West are woven on computer-controlled Jacquard looms. In the past, simpler fabrics were woven on dobby looms, while the Jacquard harness adaptation was reserved for more complex patterns. Some believe the efficiency of the Jacquard loom, with its Jacquard weaving process, makes it more economical for mills to use them to weave all of their fabrics, regardless of the complexity of the design

Process of weaving now

Process of weaving now

WEAVING. The process of weaving consists in interlacing, at right angles, two or more series of flexible materials, of which the longitudinal are called warp and the transverse weft. Weaving, therefore, only embraces one section of the textile industry, for felted, plaited, netted, hosiery and lace fabrics lie outside this definition. Felting consists in bringing masses of loose fibres, such as wool and hair, under the combined influences of heat, moisture and friction, when they become firmly inter – locked in every direction. Plaited fabrics have only one series of threads interlaced, and those at other than right angles. In nets all threads are held in their appointed places by knots, which are tied wherever one thread intersects another. Hosiery fabrics, whether made from one or many threads, are held together by intersecting a series of loops; while lace fabrics are formed by passing one set of threads between and round small groups of a second set of threads, instead of moving them from side to side. Notwithstanding the foregoing limitations, woven fabrics are varied in texture and have an enormous range of application. The demands made by prehistoric man for fabrics designed for clothing and shelter were few and simple, and these were fashioned by interlacing strips of fibrous material and grasses, which in their natural condition were long enough for the purpose in hand. But, as he passed from a state of savagery into a civilized being, his needs developed with his culture, and those needs are still extending. It no longer suffices to minister to individual necessities; luxury, commerce and numerous industries must also be considered.

The invention of spinning gave a great impetus to the introduction of varied effects previously; the use of multicoloured threads provided ornament for simple structures, but the demand for variety extended far beyond the limits of colour, and different materials were employed either separately or conjointly, together with different schemes of interlacing. Eventually the weaver was called upon to furnish articles possessing lustre, softness and delicacy; or those that combine strength and durability with diverse colourings, with a snowy whiteness, or with elaborate ornamentation. In cold countries a demand arose for warm clothing, and in hot ones for cooler materials; while commerce and industry have requisitioned fabrics that vary from normal characteristics to those that exceed an inch in thickness. In order to meet these and other requirements the world has been searched for suitable raw materials. From the animal kingdom, wool, hair, fur, feathers, silk and the pinna fibre have long been procured. From the vegetable kingdom, cotton, flax, hemp, jute, ramie and a host of other less known but almost equally valuable materials are derived. Amongst minerals there are gold, silver, copper, brass, iron, glass and asbestos. In addition, strips of paper, or skin, in the plain, gilt, silvered and painted con – ditions are available as well as artificial fibres. All of the fore – going may be used alone or in combination.

The process of weaving

SadanaShurulu greatness of PADMASHALI’s

SadanaShurulu greatness of PADMASHALI’s

Saadhana Soorulu Folk Arts

1]Saadhana Soorulu are those who, with a lot of devotion and concentration, learn magic or Indrajala and give performances in the art of magic. They are known to produce miracles and shock their audiences.
They belong to the Padmashali community are dependent on the weavers in this community with whose permission they give performances. The team performing this art form consists of six men. They go around villages throughout the year and give magic performances. They stay for five or six days in a village.

Performances are given in open places where there is scope for a good gathering. They are arranged during daytime only. No make-up is necessary for this performance. A few of these performances are detailed below. Four poles are fixed in the place of the performance. A man is tied to a pole with rope and completely covered with cloth.

When the cover is removed, the man tied to one pole is made to appear at another pole. Another item in the performance is what is known as Agnisthambhana. This is done by fixing a stout needle on the head of a man. A shallow vessel is placed on the other end of’ the needle with a flame under the vessel. Rotis are baked on the vessel after this. Another magic performance is known as Jalasthambhana. In this they show a person drinking water with his mouth and letting the water out through his ears and nose.

Yet another is Vayusthambhana. This is done by making ones body light, controlling breathing and then weighing the body on a light scale. By doing such magical acts, Saadhana Soorulu continue their performance for about three hours. They have Katladi (right for collection) with the Padmashali community. Performance is their main source of livelihood.
Sadahanasuroolu are depicted at bottom of 500 rial note on Cambodian[next to Vietnam] currency cut bottom panel to get good view

Great Padmashali,SADANASHURULU

SHIVA KESHAVA COIN

SHIVA KESHAVA COIN

Hinduism is a combination of secular and sacred beliefs, rituals, daily practices and traditions that has evolved over the course of over two thousand years and embodies complex symbolism combining the natural world with philosophy. Hindu temples began as simple shrines housing a deity and by the time of the Hoysalas had evolved into well articulated edifices in which worshippers sought transcendence of the daily world. Hoysala temples were not limited to any specific organised tradition of Hinduism and encouraged pilgrims of different Hindu devotional movements. The Hoysalas usually dedicated their temples to Lord Shiva or to Lord Vishnu (two of the major Hindu gods), but they occasionally chose a different deity. Worshippers of Shiva are called Shaivas or Lingayats and worshippers of Vishnu are called Vaishnavas. While King Vishnuvardhana and his descendants were Vaishnava by faith, records show that the Hoysalas maintained religious harmony by building as many temples dedicated to Shiva as they did to Vishnu.[3] Most of these temples have secular features with broad themes depicted in their sculptures. This can be seen in the famous Chennakesava Temple at Belur dedicated to Vishnu and in the Hoysaleswara temple at Halebidu dedicated to Shiva. The Kesava temple at Somanathapura is different in that its ornamentation is strictly Vaishnavan. Generally Vaishnava temples are dedicated to Keshava (or to Chennakeshava, meaning “Beautiful Vishnu”) while a small number are dedicated to Lakshminarayana and Lakshminarasimha (Narayana and Narasimha both being avatars, or physical manifestations, of Vishnu) with Lakshmi, consort of Vishnu, seated at his feet. Temples dedicated to Vishnu are always named after the deity. The Shaiva temples have a Shiva linga, symbol of fertility and the universal symbol of Shiva, in the shrine. The names of Shiva temples can end with the suffix eshwara meaning “Lord of”. The name “Hoysaleswara”, for instance, means “Lord of Hoysala”. The temple can also be named after the devotee who commissioned the construction of the temple, an example being the Bucesvara temple at Koravangala, named after the devotee Buci.[5] The most striking sculptural decorations are the horizontal rows of exquisitely detailed, intricately carved images of gods, goddesses and their attendants on the outer temple wall panels. The Doddagaddavalli Lakshmi Devi (“Goddess of Wealth”) Temple is an exception as it is dedicated to neither Vishnu nor Shiva. The defeat of the Jain Western Ganga Dynasty (of present-day south Karnataka) by the Cholas in the early 11th century and the rising numbers of followers of Vaishnava Hinduism and Virashaivism in the 12th century was mirrored by a decreased interest in Jainism.However, two notable locations of Jain worship in the Hoysala territory were Shravanabelagola and Kambadahalli. The Hoysalas built Jain temples to satisfy the needs of its Jain population, a few of which have survived in Halebidu containing icons of Jain tirthankaras. They constructed stepped wells called Pushkarni or Kalyani, the ornate tank at Hulikere being an example. The tank has twelve minor shrines containing Hindu deities. contd part II for more info mail to musham3@gmail.com
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Telugu Language Origion story,from 200 AD

Telugu Language Origion story,from 200 AD

Telugu is a Dravidian language (South-Central Dravidian languages) mostly spoken in the Indian state of Andhra Pradesh, where it is the official language. Including non-native speakers it is the most spoken Dravidian language,[1] the second most spoken language in India after Hindi, and the third most spoken language in the Indian sub-continent after Hindi and Bengali. It is one of the twenty-two official languages of the Republic of India. It is widely spoken in Andhra Pradesh and also spoken in Tamil Nadu, Karnataka, Orissa, and Pondicherry, with major populations in Bengaluru and Chennai, though the dialects spoken in these places vary greatly from the standard version of the language,Telugu is one of the fifteen most widely spoken languages in the world.
Telugu is second largest spoken language after hindi.
Telugu originated from the proto-Dravidian language, belonging to the south-central family. Though Telugu belongs to the South-central Dravidian language subfamily, whose members originated from the Proto-Dravidian spoken in the central part of the Deccan plateau it is a highly sanskritized language. Other languages of the South-Central group include the Gondi, Konda, Kui and Kuvi languages. Inscriptions containing Telugu words dated back to 400 BCE were discovered in Bhattiprolu in Guntur district. English translation of one inscription reads: “Gift of the slab by venerable Midikilayakha

The etymology of Telugu is not known for certain. It is explained as being derived from trilinga, as in Trilinga Desa, “the country of the three lingas”. According to a Hindu legend, Trilinga Desa is the land in between three Shiva temples namely Kalahasthi, Srisailam and Draksharamam. Trilinga Desa forms the traditional boundaries of the Telugu region. Other forms of the word, such as Telunga, Telinga, Telangana and Tenunga were also seen. It is also said that Trilinga, in the form “Triliggon” occurs in Ptolemy as the name of a locality to the east of the Ganga river. Other scholars compare Trilinga with other local names mentioned by Pliny, such as Bolingae, Maccocalingae, and Modogalingam. The latter name is given as that of an island in the Ganges. A.D. Campbell, in the introduction to his Telugu grammar, suggested that Modogalingam may be explained as a Telugu translation of Trilingam, and compared the first part of the word modoga, with mUDuga, a poetical form for Telugu mUDu, three. Bishop Caldwell, on the other hand, explained Modogalingam as representing a Telugu mUDugalingam, the three Kalingas, a local name which occurs in Sanskrit inscriptions and one of the Puranas. Kalinga occurs in the Ashoka Inscriptions, and in the form Kling, it has become, in the Malay country, the common word for the people of Continental India.

the word is derived from talaing, who were chiefs who conquered the Andhra region. M.R. Shastri is of the opinion that it is from telunga, an amalgamation of the Gondi words telu, meaning “white”, and the pluralization -unga, probably referring to white or fair-skinned people. the word could be derived from tenungu meaning “people of the South”.

The ancient name for telugu land seems to be telinga/telanga desa. It seems probable that the base of this word is teli, and that -nga, or gu is the common Dravidian formative element. A base teli occurs in Telugu teli, bright; teliyuTa, to perceive, etc. However, this etymology is contested. Telugu pandits commonly state Tenugu to be the proper form of the word, and explain this as the ‘mellifluous language’ from tene or honey. However, this claim does not appear to be supported by scholarly opinion. The word Kalinga might be derived from the same base as Telugu kaluguTa, to live to exist, and would then simply mean ‘human

Telugu is the Second largest spoken language in the country after Hindi.