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.
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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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
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
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
