We are in autumn but it remains very warm. Reading autumn poetry is about the only one to keep one’s cool.
The skies, growing gradually peaceful,
flow like long rivers across heaven,
with sandbanks formed of the white clouds
and scattered flights of softly crying cranes;
rivers which fill at night with waterlily stars.
Vishakhadatta on Sharad ritu (autumn) in Mudrarakshasa. Autumn arrives in India post monsoon so the feeling and emotion in many poems is quieter. And full of bird imagery. Vyjayanthimala as a waterlily is a bit of conceit though my mother once told me this particular part of Nagin (1954) was considered to be full of a beauty never seen before.
Vyjayanthimala gifs thanks to @zamaanapatsi-bollyfan
Detail of painting (1760-65) from X.
The garba around our parts has been subdued, perhaps they will ratchet up the enthusiasm (and noise ) in the weekend.
While in Singapore I found this postcard of a textile piece showing dandiya dancers in the 15th century. Made for the Indonesian market (see also X), you can see the decorated sticks in the hands of the dancers (click for larger view).
There are three designs of printed cottons, one for the kaccha or dhoti type garment below, one for the waist wrap knotted over the dhoti and one for the fitted long sleeved bodice.
And here is a rasamandala aka the circle dance of Krishna and the gopis. Jaipur, 1750. Note the full skirts and voluminous upper drape of the 18th century
A fuller version of the painting here.
And indeed that first line holds true for Navaratri when the markets in parts of India are full of marigolds.
And marigolds as a recurring motif symbolising love had their own starring turn on Monsoon Wedding.
And now I am going to take some time out for marigold appreciation. See you in a bit.