The Birds Post-2

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Courtesan, possibly late 19th century.  Accessories: A Bird. And Attitude.

The ensemble is a loose style of salwar-kameez with what looks like a short kameez/tunic.  Up close she has interesting shoes with bow ties. And anklets. And a substantial nose-ring.

Plus a piece of fruit for the parrot.

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Studio portrait of woman with bird. Possibly 1930s.

The dress suggests a historical and is probably some form of salwar-kameezwith an embroidered waistcoat.  And there are a few pieces of substantial jewellery.

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Possibly from a film on a Tamil epic featuring the “confession of love to a parrot”.  The attire seems to be 1950s Tamil mythological. If any one can ID the actress, let me know!

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Life Magazine’s photograph of a lady with a cockatoo features a simple sari with a sleeveless blouse and is possibly from the 1950s.  The brooch is a little surprising and like a hat accessory. And there are some elaborate flowers on the hair.

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The Birds Post-1

 

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Birds appear a great deal in Indian art. They often talk, often they are messengers of love. And parrots are a particular favourite.

Today’s post has women in varying attire in different times and their birds.  The first sculpture is from Belur (Shukhabhashini or a woman in conversation with a parrot). The second and fourth paintings are miniatures, the latter in the Bundi style.  The third picture is the Kalighat style, the fifth is by T. Vaikuntam.  The last but one by B. Prabha.

Last picture thanks to Somenath Mukhopadhyay.

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The Couples Post

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Paintings of Couples

1. Tanjore painting

2. Watercolour by B.K. Mitra (Sr. Artist of Gita Press Gorakhpur United Province)

3. Lady Holding a Lotus (Abanindranath Tagore)

The last is from a vampire story, perhaps apt for our post Twilight age:)

More here.

Merry Christmas and Happy New Year!

Posted in Art, Early 20th Century, Paintings, Sari, Sari Blouse, Vintage Blouse | Tagged , , , , , , | 1 Comment

The Monsoon Post Contd.

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The abhisarika nayika is a heroine who sets out to meet her lover, heedless of the consequences.  Often depicted walking in the rain with snakes out and about.

The nayika says:

I know it is now time to part.
To part the wind, the clouds,
to part the rain and walk through
on my desire, clear as lightning, forked.

And yet, wrapped in cloud, gripping
the rain, I hesitate.
It’s the rain in my veins that rises red,
steadily, in my throat.
This thrum that grows.

The night is dark.
The lightning so fierce.

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Hemendranath Mazumdar, Barsha (The Monsoon). Illustrated in Shilpi: An Illustrated Journal of Fine Arts, 1929

Pic sources at tumblr.

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The Monsoon Post

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A bodice soaked in cooling water,

play-bracelets made of lotus stems,

ear ornaments made of acacia flowers,

pearl necklaces of jasmine;

these and their bodies wet with sandal paste

are the magic used by fawn eyed damsels

which needs nor spell nor magic circle

to resurrect the God of Love

(Rajasekhara translated by Daniel H H Ingalls Sr)

Rain. River. Water. Thin saris and blouses drenched in water and clinging to limbs.  The stuff of eroticism peculiar to India.

A few posts on women and water today here.

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The Shawl/Cloak Post

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The Ceylon Post

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I must confess that all I knew of the Sri Lankan sari was that it was “a variant of the Indian sari”.  It turns out that this is not entirely true. Sri Lanka has a rich and varied sartorial history that incorporates a number of local and foreign influences. What I know is just a little but I will post a few examples today.  All photographs are from the 1880s-1910s because Sri Lanka was extensively documented by Skeen, Scowen (and Fiebig) – you can find many examples at Images of Ceylon and Lankapura.

Very broadly the types of attire are the Sinhalese costumes – the sarong+jacket outfits of the South and the “osariya” of upcountry. Then there are the Tamil sari styles (there are other styles in this period as well as styles from previous centuries that I am not posting here). As Nira Wikramasinghe’s extract above indicates, Sri Lanka went through its own process of inventing a national dress-I suspect the choice of the osariya also has to do with it being very elegant.  The osariya blouse covers the waist and is rich in detail – what I find most interesting is that in almost every photograph the sari and blouse are harmonious, unlike the mixed results in India as we evolved the modern sari.

I haven’t got around to reading “Ceylon: Twentieth Century Impressions – Its History, People, Commerce”  by Arnold Wright but I hear it has a bit on dress in Ceylon.

The Ceylon post here.

Posted in 1890s, 1900s, 1910s, 19th century, Photography, Sari, Sari Blouse, Vintage, Vintage Blouse, Women | Tagged , , , , , , , , | 1 Comment

The Paintings Post – 1920s

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Damerla Rama Rao, who died in 1925 at the early age of twenty-eight…..paintings remained practically lost in an obscure collection in Rajahmundry till they were brought to Delhi and exhibited in 1991 by CMC, the public sector corporation.  He did not rest content with memory images, but paid great attention to drawing from life…..his compositions, even when the themes are light and no message is preached, are painterly and pleasing. (A History of Indian Painting: The Modern Period by Krishna Chaitanya)

A few paintings by Damerla Rama Rao today. Like with Raja Ravi Varma, his paintings are centred around genteel and elegant women.  And are also an indicator of sari and blouse styles of his time (possibly late teens and most likely early twenties).

More here.

 

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Random post to document a decade

Shobhana Samarth, probably taken in the late 30s/early 40s.

A few posts don’t have a theme but are merely to provide a snapshot of a decade – I normally tag the decade so its easy to follow the tags.

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Frill, Ruffle and Furbelow in the 1930s

Frill, Ruffle and Furbelow in the 1930s

Frills, ruffles, furbelows in the 1930s.

It is interesting to see the same feature employed differently in the three stills.

The women L to R: Imogen Cunnigham, Devika Rani, Kanan Devi

 

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