Flowers and colorful, patterned cloth adorn the large bronze statue, the many hands of the Hindu god tinted with pigment. At the feet or base of the shining awe-inducing god, lies a rainbow of food and gifts. Images of yellow, green, red, blue, and purple, plants, animals and gods are splashed and slapped on the walls, red lentil paste splattered over top of them in thick layers. The largest painting is of Shiva and Parvati together, both holding their palms out while standing on a giant pink-tipped lotus, a small ganesh lies at their feet. While many of the classic religious pieces are sacred, they are not considered to be so holy that they cannot be touched, or that the people can’t interact with the idolized paintings and sculptures. The
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While the symbols, sacred or not, are important the form of the art is just as significant. This same artwork goes through a lot in a short period of time. Many pieces of Indian art created for religious, Hindu, use, interacts with most of the community in which it lives, often. Statues can be covered in flower garlands, gold, red paste and cloth ("The Arts in Early Modern India"). This is pretty common and statues, as well as temples, are often decorated with red paste, some may even have murals splattered with it from various rituals. Very celebrated statues, or gods, will go through a daily routine like the average person would. The statues are woken by worshipers, and is then; bathed, dressed, fed, spoken to and entertained, and then put to bed ("The Arts in Early Modern India"). The physical form of the art and sculpture allow the Hindus connection to their deities to form a more physical bond. Being able to touch their gods for comfort or strength when needed gives them a larger purpose and helps them to understand the world through their beliefs. This ability to create a link to a higher power through a physical form allows art to expand the reach of religious …show more content…
In Hindu and Indian culture a sort of caste system is prevalent, as such the clothing a person wears often reflects a "person 's caste, level of piety, or the specific god to which the individual is devoted." (Arthur). In India, despite westernization, the sari, a dress like garment consisting of a short cut blouse and about 7 yards of patterned colorful or elegant fabric wrapped around the torso, lehenga, a short cut blouse and large, layered skirt combination often worn with a fabric shawl or drape, and salwar kameez, a long loose tunic paired with loose pants, are mostly still worn daily. During the years after gaining independence from Great Britain, fashion became a way for newly liberal-minded Indian youth, mostly women, to show their release from the restrictive rules created by their families and the caste system (Panini). On another note, the bindi, a mark placed on the forehead between the eyes is used to symbolize unity but can also symbolize the chakra centered on the forehead, the third eye, it marks a woman in wedlock (Heinonen). While the bindi is made often made of red paste, henna, a pasty green-yellow dye, is another body decoration. Henna is mostly used for special occasions and often has repeated patterns such as the lotus or the palm to signify five chakras. The chakras are meant to be the energy centers of the body, controlling, consciously or
While the symbols, sacred or not, are important the form of the art is just as significant. This same artwork goes through a lot in a short period of time. Many pieces of Indian art created for religious, Hindu, use, interacts with most of the community in which it lives, often. Statues can be covered in flower garlands, gold, red paste and cloth ("The Arts in Early Modern India"). This is pretty common and statues, as well as temples, are often decorated with red paste, some may even have murals splattered with it from various rituals. Very celebrated statues, or gods, will go through a daily routine like the average person would. The statues are woken by worshipers, and is then; bathed, dressed, fed, spoken to and entertained, and then put to bed ("The Arts in Early Modern India"). The physical form of the art and sculpture allow the Hindus connection to their deities to form a more physical bond. Being able to touch their gods for comfort or strength when needed gives them a larger purpose and helps them to understand the world through their beliefs. This ability to create a link to a higher power through a physical form allows art to expand the reach of religious …show more content…
In Hindu and Indian culture a sort of caste system is prevalent, as such the clothing a person wears often reflects a "person 's caste, level of piety, or the specific god to which the individual is devoted." (Arthur). In India, despite westernization, the sari, a dress like garment consisting of a short cut blouse and about 7 yards of patterned colorful or elegant fabric wrapped around the torso, lehenga, a short cut blouse and large, layered skirt combination often worn with a fabric shawl or drape, and salwar kameez, a long loose tunic paired with loose pants, are mostly still worn daily. During the years after gaining independence from Great Britain, fashion became a way for newly liberal-minded Indian youth, mostly women, to show their release from the restrictive rules created by their families and the caste system (Panini). On another note, the bindi, a mark placed on the forehead between the eyes is used to symbolize unity but can also symbolize the chakra centered on the forehead, the third eye, it marks a woman in wedlock (Heinonen). While the bindi is made often made of red paste, henna, a pasty green-yellow dye, is another body decoration. Henna is mostly used for special occasions and often has repeated patterns such as the lotus or the palm to signify five chakras. The chakras are meant to be the energy centers of the body, controlling, consciously or