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seonne · 3 months

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Thinking of Dragon!King!Bakugou and Indian!Princess!reader GDHFHSJDJRJSGAHRJRHSGEKTHEWFRNTHE

You have a political marriage and you both knew you would never have a marriage of love in this lifetime as royals. But Reader is just so multi talented and King!Bakugou is so strong and admirable that they can't help falling in love >>>>>>

King!Bakugou who seriously lost his breath when he saw you for the first time. Decked out in the most gorgeous ornaments with your (f/c) lehenga fitting you just right and your shawl blowing in the wind, you looked ethereal to him. The sharpness in your glare and the power your stride posed all went straight to his dick focus if nothing else.

King!Bakugou who got jealous when others gushed about your beauty but never knew what it was he was feeling.

King!Bakugou who stares with stars in his eyes at reader practicing Bharatnatyam and then archery. She's skilled in combat as the Crown Princess and he watches with a gaping mouth as she floors his men during practice training.

King!Bakugou who laughs when she starts cussing out people in her native language when she's pissed and the poor guards around her don't have a lick of a clue of what she's saying.

"ABE CHUTIYE TERI MAA KI-"

"Uhh I think she's hungry?"

King!Bakugou who loses his shit when he demands you to translate what you said earlier.

King!Bakugou who realised you can speak many languages and are the best business negotiator he's ever met.

He keeps you by his side during business meetings with representatives of other kingdoms.

"Your Highness, to split River Mired between our two kingdoms would mean-"

"Would mean that our water supplies would get cut off by 25% and yours would increase by 15% and since yours is our neighbouring kingdom, we would ask you for water transport and thus you can make extra profit from this allyship, correct?"

Your interruption and quick analysis of the situation stunned not only the representatives who were now sweating in their seats but also King!Bakugou who was grinning from ear to ear as he ordered the representatives to go back home. You have been his court advisor since.

King!Bakugou who had separate bedrooms with you until one day you almost got attacked by an intruder and he forced requested you to share his bedroom.

King!Bakugou who finds your brown eyes to be absolutely breathtaking. He's basically hyperventilating when you go out during the sunset and the sunrays hit your eyes juuuuust right.

King!Bakugou who is obsessed with your caramel skin and just wants to take a bite every type he sees your nape out and open-

King!Bakugou who's absolutely head over heels for his hot headed Desi Queen <333

#bakugou x royal!reader #mha bakugou #bakugou x princess!reader #bakugou x reader #bakugou smut #bakugou katsuki #bakugou x indian!reader #i am so absolutely in love with him #I'm on a powertrip rn idk if i want him on top of me or under me

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beehunni62 · 1 year

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Origins of the Pibo: Let’s take a trip along the Silk Road.

1. Introduction to the garment:

Pibo 披帛 refers to a very thin and long shawl worn by women in ancient East Asia approximately between the 5th to 13th centuries CE. Pibo is a modern name and its historical counterpart was pei 帔. But I’ll use pibo as to not confuse it with Ming dynasty’s xiapei 霞帔 and a much shorter shawl worn in ancient times also called pei.

Below is a ceramic representation of the popular pibo.

A sancai-glazed figure of a court lady, Tang Dynasty (618–690, 705–907 CE) from the Sze Yuan Tang Collection. Artist unknown. Sotheby’s [image source].

Although some internet sources claim that pibo in China can be traced as far back as the Qin (221-206 BCE) or Han (202 BCE–9 CE; 25–220 CE) dynasties, we don’t start seeing it be depicted as we know it today until the Northern and Southern dynasties period (420-589 CE). This has led to scholars placing pibo’s introduction to East Asia until after Buddhism was introduced in China. Despite the earliest art representations of the long scarf-like shawl coming from the Northern and Southern Dynasties period, the pibo reached its popularity apex in the Tang Dynasty (618–690 CE: 705–907 CE).

Academic consensus: Introduction via the Silk Road.

The definitive academic consensus is that pibo evolved from the dajin 搭巾 (a long and thin scarf) worn by Buddhist icons introduced to China via the Silk Road from West Asia.

披帛是通过丝绸之路传入中国的西亚文化, 与中国服饰发展的内因相结合而流行开来的一种"时世妆" 的形式. 沿丝绸之路所发现的披帛, 反映了丝绸贸易的活跃.

[Trans] Pibo (a long piece of cloth covering the back of the shoulders) was a popular female fashion period accessory introduced to China by West Asian cultures by way of the Silk Road and the development of Chinese costumes. The brocade scarves found along the Silk Road reflect the prosperity of the silk trade that flourished in China's past (Lu & Xu, 2015).

I want to add to the above theory my own speculation that, what the Chinese considered to be dajin, was most likely an ancient Indian garment called uttariya उत्तरीय.

2. Personal conjecture: Uttariya as a tentative origin to pibo.

In India, since Vedic times (1500-500 BCE), we see mentions in records describing women and men wearing a thin scarf-like garment called “uttariya”. It is a precursor of the now famous sari. Although the most famous depiction of uttariya is when it is wrapped around the left arm in a loop, we do have other representations where it is draped over the shoulders and cubital area (reverse of the elbow).

Left: Hindu sculpture “Mother Goddess (Matrika)”, mid 6th century CE, gray schist. Artist unknown. Looted from Rajasthan (Tanesara), India. Photo credit to Metropolitan Museum of Art, New York, United States [image source].

Right: Rear view of female statue possibly representing Kambojika, the Chief Queen of Mahakshatrapa Rajula, ca. 1st century CE. Artist unknown. Found in the Saptarishi Mound, Mathura, India. Government Museum, Mathura [image source].

Buddhism takes many elements from Hindu mythology, including apsaras अप्सरा (water nymphs) and gandharvas गन्धर्व (celestial musicians). The former was translated as feitian 飞天 in China. Hindu deities were depicted wearing clothes similar to what Indian people wore, among which we find uttariya, often portrayed in carvings and sculptures of flying and dancing apsaras or gods to show dynamic movement. Nevertheless, uttariya long predated Buddhism and Hinduism.

Below are carved representation of Indian apsaras and gandharvas. Notice how the uttariya are used.

Upper left: Carved relief of flying celestials (Apsara and Gandharva) in the Chalukyan style, 7th century CE, Chalukyan Dynasty (543-753 CE). Artist Unknown. Aihole, Karnataka, India. National Museum, New Delhi, India [image source]. The Chalukyan art style was very influential in early Chinese Buddhist art.

Upper right: Carved relief of flying celestials (gandharvas) from the 10th to the 12th centuries CE. Artist unknown. Karnataka, India. National Museum, New Delhi, India [image source].

Bottom: A Viyadhara (wisdom-holder; demi-god) couple, ca. 525 CE. Artist unknown. Photo taken by Nomu420 on May 10, 2014. Sondani, Mandsaur, India [image source].

Below are some of the earliest representations of flying apsaras found in the Mogao Caves, Gansu Province, China. An important pilgrimage site along the Silk Road where East and West met.

Left to right: Cave No. 461, detail of mural in the roof of the cave depicting either a flying apsara or a celestial musician. Western Wei dynasty (535–556 CE). Artist unknown. Mogao Grottoes, Dunhuang, China [image source].

Cave 285 flying apsara (feitian) in one of the Mogao Caves. Western Wei Dynasty (535–556 CE), Artist unknown. Photo taken by Keren Su for Getty Images. Mogao Grottoes, Dunhuang, China [image source].

Cave 249. Mural painting of feitian playing a flute, Western Wei Dynasty (535-556 CE). Image courtesy by Wang Kefen from The Complete Collection of Dunhuang Grottoes, Vol. 17, Paintings of Dance, The Commercial Press, Hong Kong, 2001, p. 15. Mogao Grottoes, Dunhuang, China [image source].

I theorize that it is likely that the pibo was introduced to China via Buddhism and Buddhist iconography that depicted apsaras (feitian) and other deites wearing uttariya and translated it to dajin.

3. Trickle down fashion: Buddhism’s journey to the East.

However, since Buddhism and its Indian-based fashion spread to West Asia first, to Sassanian Persians and Sogdians, it is likely that, by the time it reached the Han Chinese in the first century CE, it came with Persian and Sogdian influence. Persians’ fashion during the Sassanian Empire (224–651 CE) was influenced by Greeks (hellenization) who also had a a thin long scarf-like garment called an epliblema ἐπίβλημα, often depicted in amphora (vases) of Greek theater scenes and sculptures of deities.

Left to right: Dame Baillehache from Attica, Greece. 3rd century BCE, Hellenistic period (323-30 BCE), terracotta statuette. Photo taken by Hervé Lewandowski. Louvre Museum, Paris, France [image source].

Deatail view of amphora depicting the goddess Artemis by Athenian vase painter, Andokides, ca. 525 BCE, terracotta. Found in Vulci, Italy. Altes Museum, Berlin, Germany [image source].

Statue of a Kore (young girl), ca. 570 BCE, Archaic Period (700-480 BCE), marble. Artist unknown. Uncovered from Attica, Greece. Acropolis Museum, Athens, Greece [image source].

Detail view of Panathenaic (Olympic Games) prize amphora with lid, 363–362 BCE, Attributed to the Painter of the Wedding Procession and signed by Nikodemos, terracotta. Uncovered from Athens, Greece. J. Paul Getty Museum, Los Angeles, California, United States [image source].

Roman statue depicting Euterpe, muse of lyric poetry and music, ca. 2nd century CE, marble, Artist unknown. From the Villa of G. Cassius Longinus near Tivoli, Italy. Photo taken by Egisto Sani on March 12, 2012, Vatican Museums, Rome, Italy [image source].

Greek (or Italic) tomb mural painting from the Tomb of the Diver, ca. 470 BCE, fresco. Artist unknown. Photo taken by Floriano Rescigno. Necropolis of Paestum, Italy [image source].

Below are Iranian and Iraqi period representations of this long thin scarf.

Left to right: Closeup of ewer likely depicting a female dancer from the Sasanian Period (224–651 CE) in ancient Persia , Iran, 6th-7th century CE, silver and gilt. Artist unknown. Mary Harrsch. July 10, 2015. Arthur M. Sackler Gallery of Asian Art, Smithsonian, Washington D.C [image source].

Ewer with nude dancer probably representing a maenad, companion of Dionysus from the Sasanian Period (224–651 CE) in ancient Persia, Iran, 6th-7th century CE, silver and gilt. Artist unknown. Mary Harrsch. July 16, 2015. Arthur M. Sackler Gallery of Asian Art, Smithsonian, Washington D.C [image source].

Painting reconstructing the image of unveiled female dancers depicted in a fresco, Early Abbasid period (750-1258 CE), about 836-839 CE from Jawsaq al-Khaqani, Samarra, Iraq. Museum of Turkish and Islamic Art, Istanbul [image source].

The earliest depictions of Buddha in China, were very similar to West Asian depictions. Ever wonder why Buddha wears a long draped robe similar to a Greek himation (Romans called it toga)?

Take a look below at how much the Greeks influenced the Kushans in their art and fashion. The top left image is one of the earliest depictions of Buddha in China. Note the similarities between it and the Gandhara Buddha on the right.

Left: Seated Buddha, Mahao Cliff Tomb, Sichuan Province, Eastern Han Dynasty, late 2nd century C.E. (photo: Gary Todd, CC0).

Right: Seated Buddha from Gandhara, Pakistan c. 2nd–3rd century C.E., Gandhara, schist (© Trustees of the British Museum)

Standing Bodhisattva Maitreya (Buddha of the Future), ca. 3rd century, gray schist. From Gandhara, Pakistan. Image credit to The Metropolitan Museum of Art, New York City, United States [image source].

Statue of seated goddess Hariti with children, ca. 2nd to 3rd centuries CE, schist. Artist unknown. From Gandhara, Pakistan. The British Museum, London, England [image source].

Before Buddhism spread outside of Northern India (birthplace), Indians never portrayed Buddha in human form.

Early Buddhist art is aniconic, meaning the Buddha is not represented in human form. Instead, Buddha is represented using symbols, such as the Bodhi tree (where he attained enlightenment), a wheel (symbolic of Dharma or the Wheel of Law), and a parasol (symbolic of the Buddha’s royal background), just to name a few. […] One of the earliest images [of Buddha in China] is a carving of a seated Buddha wearing a Gandharan-style robe discovered in a tomb dated to the late 2nd century C.E. (Eastern Han) in Sichuan province. Ancient Gandhara (located in present-day Afghanistan, Pakistan, and northwest India) was a major center for the production of Buddhist sculpture under Kushan patronage. The Kushans occupied portions of present-day Afghanistan, Pakistan, and North India from the 1st through the 3rd centuries and were the first to depict the Buddha in human form. Gandharan sculpture combined local Greco-Roman styles with Indian and steppe influences (Chaffin, 2022).

In the Mogao Caves, which contain some of the earliest Buddhist mural paintings in China, we see how initial Chinese Buddhist art depicted Indian fashion as opposed to the later hanfu-inspired garments.

Left to right: Cave 285, detail of wall painting, Western Wei dynasty (535–556 CE). Mogao Grottoes, Dunhuang, China. Courtesy the Dunhuang Academy [image source]. Note the clothes the man is wearing. It looks very similar to a lungi (a long men’s skirt).

Photo of Indian man sitting next to closed store wearing shirt, scarf, lungi and slippers. Paul Prescott. February 20, 2015. Varanasi, India [image source].

Cave 285, mural depiction of worshipping bodhisattvas, 6th century CE, Wei Dynasty (535-556 A.D.), Unknown artist. Mogao Grottoes, Dunhuang, China. Notice the half bow on his hips. That is a common style of tying patka (also known as pataka; cloth sashes) that we see throughout Indian history. Many of early Chinese Buddhist paintings feature it, including the ones at Mogao Caves.

Indian relief of Ashoka wearing dhoti and patka, ca. 1st century BC, Unknown artist. From the Amaravathi village, Guntur district, Andhra Pradesh, India. Currently at the Guimet Museum, Paris [image source].

Cave 263. Mural showing underlying painting, Northern Wei Dynasty (386–535 CE). Artist Unknown. Picture taken November 29, 2011, Mogao Grottoes, Dunhuang, China [image source]. Note the pants that look to be dhoti.

Comparison photo of modern dhoti advertisement from Etsy [image source].

Spread of Buddhism to East Asia.

Map depicting the spread of Buddhism from Northern India to the rest of Asia. Gunawan Kartapranata. January 31, 2014 [image source]. Note how Mahayana Buddhism arrived to China after passing through Kushan, Bactrean, and nomadic steppe lands, absorbing elements of each culture along the way.

Wealthy Buddhist female patrons emulated the fantasy fashion worn by apsaras, specifically, the uttariya/dajin and adopted it as an everyday component of their fashion.

Cave 285. feitian mural painting on the west wall, Western Wei Dynasty (535–556 CE). Artist unknown. Mogao Grottoes, Dunhuang, China [image source].

Cave 285. Detail view of offering bodhisattvas (bodhisattvas making offers to Buddha) next to the phoenix chariot on the Western wall of the cave. Western Wei Dynasty (535–556 CE). Artist unknown. Mogao Grottoes, Dunhuang, China [image source].

Cave 61 Khotanese (from the kingdom of Khotan 于阗 [56–1006 CE]) donor ladies, ca. 10th century CE, Five Dynasties period (907 to 979 CE). Artist unknown. Picture scanned from Zhang Weiwen’s Les oeuvres remarquables de l'art de Dunhuang, 2007, p. 128. Uploaded to Wikimedia Commons on October 11, 2012 by Ismoon. Mogao Grottoes, Dunhuang, China [image source].

Detail view of Ladies Adorning Their Hair with Flowers 簪花仕女图, late 8th to early 9th century CE, handscroll, ink and color on silk, Zhou Fang 周昉 (730-800 AD). Liaoning Provincial Museum, Shenyang, China [image source].

Therefore, the theory I propose of how the pibo entered East Asia is:

India —> Greek influenced West Asia (Sassanian Persians, Sogdians, Kushans, etc…) —> Han China —> Rest of East Asia (Three Kingdoms Korea, Asuka Japan, etc…)

Thus, the most likely theory, in my person opinion, is Buddhist iconography depicting uttariya encountered Greek-influenced West Asian Persian, Sogdian, and Kushan shawls, which combined arrived to China but wouldn’t become commonplace there until the explosion in popularity of Buddhism from the periods of Northern and Southern Dynasties to Song.

References:

盧秀文; 徐會貞. 《披帛與絲路文化交流》 [The brocade scarf and the cultural exchanges along the Silk Road]. 敦煌研究 (中國: 敦煌研究編輯部). 2015-06: 22 – 29. ISSN 1000-4106.

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kemetic-dreams · 1 year

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Traditionally, the people now known as Cherokee refer to themselves as Aniyunwiya (ah nee yun wee yah), a name usually translated as "the Real People," sometimes "the Original People."

▪The Cherokee never had princesses. This is a concept based on European folktales and has no reality in Cherokee history and culture. In fact, Cherokee women were very powerful. They owned all the houses and fields, and they could marry and divorce as they pleased. Kinship was determined through the mother's line.

Clan mothers administered justice in many matters. Beloved women were very special women chosen for their outstanding qualities. As in other aspects of Cherokee culture, there was a balance of power between men and women. Although they had different roles, they both were valued.

▪The Cherokee never lived in tipis. Only the nomadic Plains tribes did. The Cherokee were southeastern woodland natives, and in the winter they lived in houses made of woven saplings, plastered with mud and roofed with poplar bark. In the summer they lived in open-air dwellings roofed with bark.

▪The Cherokee have never worn feathered headdresses except to please tourists. These long headdresses were worn by Plains Natives and were made popular through Wild West shows and Hollywood movies. Cherokee men traditionally wore a feather or two tied at the crown of the head. In the early 18th century, Cherokee men wore cotton trade shirts, loincloths, leggings, front-seam moccasins, finger-woven or beaded belts, multiple pierced earrings around the rim of the ear, and a blanket over one shoulder. At that time, Cherokee women wore mantles of leather or feathers, skirts of leather or woven mulberry bark, front-seam moccasins, and earrings pierced through the earlobe only. By the end of the 18th century, Cherokee men were dressing much like their white neighbors. Men were wearing shirts, pants, and trade coats, with a distinctly Cherokee turban. Women were wearing calico skirts, blouses, and shawls. Today Cherokee people dress like other Americans, except for special occasions, when the men wear ribbon shirts with jeans and moccasins, and the women wear tear dresses with corn beads, woven belts, and moccasins.

▪The Eastern Band of Cherokee Indians (EBCI) are descended from Cherokee people who had taken land under the Treaty of 1819 and were allowed to remain in North Carolina; from those who hid in the woods and mountains until the U.S. Army left; and from those who turned around and walked back from Oklahoma. By 1850 they numbered almost a thousand. Today the Eastern Band includes about 11,000 members, while the Cherokee Nation in Oklahoma claims more than 100,000 members, making the Cherokee the largest tribe in the United States.

▪Cherokee arts and crafts are still practiced: basket-weaving, pottery, carving, finger-weaving, and beadwork.

▪The Cherokee language is spoken as a first language by fewer than a thousand people and has declined rapidly because of the policies of federally operated schools. However, since the tribe has begun operation of their own schools, Cherokee language is being systematically taught in the schools.

▪Traditional Cherokee medicine, religion, and dance are practiced privately.

▪There have never been Cherokee shamans. Shamanism is a foreign concept to North America. The Cherokee have medicine men and women.

▪"aho" is not a Cherokee word and Cherokee speakers never use it. Most are actually offended by the misuse of this word. It's not some kind of universal Native word used by all tribes, as many believe. Each individual tribe have their own languages. We can respect these languages by using them correctly or not at all.

▪In order to belong to one of the seven Cherokee clans, your mother had to have been/be Cherokee and her clan is passed on to you. If the maternal line has been broken by a non Cherokee or someone had all sons, you have no clan, which is the case with many today.

▪There is only one Cherokee tribe that consist of three bands. The Cherokee Nation of Oklahoma, United Keetoowah Band of Oklahoma and the Eastern Band of Cherokee Indians of North Carolina. All others who claim a different band than one of the three above are not considered Cherokee and are a direct threat to Cherokee tribal sovereignty. In fact, to be Cherokee, one must be registered with the tribe, as Cherokee is a citizenship granted through documentation. One can have Native DNA but is not considered Cherokee until they are a registered tribal citizen.

Via N. Bear

Cherokee man

North Carolina

#aniyunwiya #asian #asian american #native american #first nation peoples #kemetic dreams #tsalagi

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heavenofbeauty · 2 months

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KERALA : GOD'S OWN COUNTRY

Famous as ‘God’s Own Country,’ Kerala is a southwest corner of India, which has an area of 38,863 sq km and a population of about 3.48 crores. Kerala is known to be the best state in India, and without a doubt, it is said to be paradise on the land of India. It is full of coconuts and elephants, which contributes to the rich biodiversity and cultural heritage of the state. Moreover, captivating beauty, lagoon, and backwaters of Kerala attract around ten million tourists every year.

KERALA CULTURE

The culture of Kerala is indeed an integral part of Indian heritage. Like the Indian subcontinent, the culture of Kerala also has an archaic history that claims to be significant in itself. Kerala also has a holistic and cosmopolitan lifestyle in which many people and castes have contributed significantly. The spirit of inclusive and diversified tolerance and generosity of attitude among the people of Kerala is still alive to develop the leadership quality. The history of Kerala represents a romantic and fascinating story of a unique process of cultural and social synthesis. Kerala has shown the best of its talent in every field, responding to every challenge and, at the same time combining old traditions and new values with human facts.

Kerala has a total of 14 districts, each of which is famous for its unique destination and temptation.

Idukki

Wayanad

Kottayam

Malappuram

Kozhikode

Kasaragod

Alappuzha

Kannur

Ernakulam

Kannur

Pathanamthitta

Thrissur

Kollam

Palakkad

Thiruvananthapuram

Traditional Attire of Kerala

The traditional dress in Kerala is called Mundu and Neriyatu, which is for both men and women. Women of Kerala traditionally wear sarees. Mundu is very popular in the state and is worn by men. It is an elegant dress, often used for ceremonial purposes.

The Mundu Nerihathu of women has an upper shawl. White-colored clothes have been given the most importance in the state. Presently different colored Mundu and Nerihathu are available in the market.

CLIMATE

Kerala is situated at an interval of only 8 degrees from the equator, due to which the weather of Kerala is warm. The main feature of the climate of Kerala state is “the cold downpour and heavy rainfall.” The main Rainy season begins with the western monsoon. The second rainy season comes with the northwest monsoon. Kerala rains for about 120 to 140 days every year. Heavy rains in Kerala also cause floods, prompting the considerable loss of lives and wealth.

KERALA FOOD

Kerala cuisine is a combination of vegetables, meats, and seafood with a wide variety of spices. Spices such as black pepper, cardamom, cloves, ginger, and chili are most commonly used in rice, coconut, seafood, and non-vegetarian dishes. Food in Kerala has its share of vegetarian dishes, including various tubular and root-based vegetables, as well as the use of beet-root, ginger, garlic, and onions along with animal milk.

Therefore, the food here is a balanced mix of non-vegetarian and vegetarian preparations. Traditionally, food is served on a banana leaf in Kerala, and almost every dish prepared in Kerala has coconut and spices to taste the local cuisine.

#kerala #culture #traditional art

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gamebird · 7 months

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Generic Cherokee stuff

From N. Bear, at the Cherokee Museum in North Carolina:

Traditionally, the people now known as Cherokee refer to themselves as Aniyunwiya (ah nee yun wee yah), a name usually translated as "the Real People," sometimes "the Original People."

The Cherokee never had princesses. This is a concept based on European folktales and has no reality in Cherokee history and culture. In fact, Cherokee women were very powerful. They owned all the houses and fields, and they could marry and divorce as they pleased. Kinship was determined through the mother's line.

The Cherokee never lived in tipis. Only the nomadic Plains tribes did.

The Cherokee were southeastern woodland natives, and in the winter they lived in houses made of woven saplings, plastered with mud and roofed with poplar bark. In the summer they lived in open-air dwellings roofed with bark.

The Cherokee have never worn feathered headdresses except to please tourists. These long headdresses were worn by Plains Natives and were made popular through Wild West shows and Hollywood movies. Cherokee men traditionally wore a feather or two tied at the crown of the head. In the early 18th century, Cherokee men wore cotton trade shirts, loincloths, leggings, front-seam moccasins, finger-woven or beaded belts, multiple pierced earrings around the rim of the ear, and a blanket over one shoulder. At that time,

Cherokee women wore mantles of leather or feathers, skirts of leather or woven mulberry bark, front-seam moccasins, and earrings pierced through the earlobe only. By the end of the 18th century,

Cherokee men were dressing much like their white neighbors. Men were wearing shirts, pants, and trade coats, with a distinctly Cherokee turban. Women were wearing calico skirts, blouses, and shawls. Today Cherokee people dress like other Americans, except for special occasions, when the men wear ribbon shirts with jeans and moccasins, and the women wear tear dresses with corn beads, woven belts, and moccasins.

The Eastern Band of Cherokee Indians (EBCI) are descended from Cherokee people who had taken land under the Treaty of 1819 and were allowed to remain in North Carolina; from those who hid in the woods and mountains until the U.S. Army left; and from those who turned around and walked back from Oklahoma. By 1850 they numbered almost a thousand. Today the Eastern Band includes about 11,000 members, while the Cherokee Nation in Oklahoma claims more than 100,000* members, making the Cherokee the largest tribe in the United States.

Cherokee arts and crafts are still practiced: basket-weaving, pottery, carving, finger-weaving, and beadwork.

The Cherokee language is spoken as a first language by fewer than a thousand people and has declined rapidly because of the policies of federally operated schools. However, since the tribe has begun operation of their own schools, Cherokee language is being systematically taught in the schools.

Traditional Cherokee medicine, religion, and dance are practiced privately.

There have never been Cherokee shamans. Shamanism is a foreign concept to North America. The Cherokee have medicine men and women.

"aho" is not a Cherokee word and Cherokee speakers never use it. Most are actually offended by the misuse of this word. It's not some kind of universal Native word used by all tribes, as many believe. Each individual tribe have their own languages. We can respect these languages by using them correctly or not at all.

In order to belong to one of the seven Cherokee clans, your mother had to have been/be Cherokee and her clan is passed on to you. If the maternal line has been broken by a non Cherokee or someone had all sons, you have no clan, which is the case with many today.

There is only one Cherokee tribe that consist of three bands. The Cherokee Nation of Oklahoma, United Keetoowah Band of Oklahoma and the Eastern Band of Cherokee Indians of North Carolina. All others who claim a different band than one of the three above are not considered Cherokee and are a direct threat to Cherokee tribal sovereignty. In fact, to be Cherokee, one must be registered with the tribe, as Cherokee is a citizenship granted through documentation. One can have Native DNA but is not considered Cherokee until they are a registered tribal citizen.

via N. Bear

Cherokee man North Carolina

* Current tribal membership is 450,000 strong.

(From me: I'm not offended by 'aho'.)

#indian stuff #cherokee

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ladysansa · 2 years

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forever thinking about this (probably) French shawl from the 1840s.

From the MET Museum website: "This is an attractive shawl of the 1840s which interestingly combines a woven pattern and printed pattern. This works well in incorporating both Eastern and Western aesthetic sensibilities.

The shawl held a place as a high fashion accessory for a relatively large period between the end of the 18th century to the 1870s. These accessories were originally adopted by men with exposure to India and Persia through the Trading Companies. The changing fashions near the end of the 18th century brought a renewed interest in Indian and Persian shawls as a form of warmth over the thin muslins of fashionable Empire silhouette dresses. The shawls came in many designs which generally incorporated the boteh form. This form, which is mostly known as the paisley now, is an ancient Persian design based upon the tree of life and inspired by buds, cones and palm fronds. These objects were hand woven and extremely costly which inspired European manufacturers to attempt to produce cheaper copies for the masses. The primary center for machine woven reproduction Indian shawls became Paisley, Scotland. The shawls from this location were so prominent on the market that the style and boteh form of the shawls has been generally referred to as paisleys since. The invention of the Jacquard loom in 1801 increased productivity and reduced costs even further after its first use in Paisley in the 1820s. Other designs of shawls were also produced at this time, albeit they never reached the popularity of the Indian, Persian and Paisley shawls.

In the 1870s the shawl lost popularity due to its immense size and the reducing expanse of skirts to help support them. Many of the original Indian and Persian shawls had been retained as heirlooms through generations due to their cost while cheaper reproductions were sometimes altered into a more fashionable bustle silhouette mantle."

#historical fashion #1840s #1840s fashion #fashion #history #post*

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men-fashion-tips · 2 years

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Top 6 Designer Wedding Sherwanis for the Perfect Groom

On your wedding day, you want to look dapper. You walk for miles before nodding to the best wedding sherwani worn over cotton vest that complements your personality. You go through every nook and cranny to find the perfect wedding décor. However, it all begins with selecting the ideal sherwani for the perfect groom.

Let us walk you through a few trendy men's wedding sherwani designs that could save you time. Pastel Sherwani Whatever the case, pastels remain popular. Make an entrance wearing a soothing pastel sherwani that will draw all eyes to you. It is up to you whether you prefer baby blue, peach, pistachio green, or the trendy suave pink. Pastel colors add a modern touch to your outfit, and you look elegant while wearing them. Accessorize to make the day more enjoyable. Floral Print Sherwani Men's fashion has evolved by incorporating floral prints into their wardrobe. Wear a floral print sherwani to your wedding to stand out from the crowd. You're sure to get compliments on your choice from your friends, and especially from the bride. Choose colors and patterns that make you look relaxed yet stylish. Embroidered Sherwani The word "royalty" speaks for itself! Wearing an embroidered sherwani to your wedding can excite you. The fabric and elegant colors add to the richness. There's even more! Accessorize your look with the best jewels, turban, and pocket square. And you match your bride's outfit by wearing similar colors. Does that already make you the ideal couple? Jodhpuri Sherwani Consider saying your vows in a traditional Jodhpuri sherwani. All the glitters encircle you, surrounded by sparkling gems and jewels. Not to mention the elegance of the sword wrapped around your waist. Wait, there's more: you can select from a range of colors that complement the royalty theme. And a matching turban completely transforms the look. This is your chance to shine as a stylish groom. Indo-western Sherwani If you want to buy men's sherwani, you should definitely look into the Indo-western collection. This ethnic wear allows you to be creative with your outfit choices. The Indo-western sherwani has a wide range of applications and can be worn to a variety of wedding functions. The market is flooded with suave styles and colors in the dhoti and kurta categories. You should look like the ideal groom on whom the ladies have a crush. Velvet Shawl Not only kings, but also grooms, lavishly decorate their wardrobes with velvet shawls. You accessorize your look with a velvet shawl on your wedding day or other grand occasions. If you haven't tried it yet, your wedding day is the ideal occasion to make it your go-to look. Simply go for it! Unique Men’s Wedding Sherwani Designs to Uplift the Groom’s Style Quotient Here are the four most recent options available online to get you away from this overdone cliché in groom's fashion. Floral Paisley Green That may sound unusual and unlikely for men, but it looks great when you wear the sherwani paired with south Indian white lungi ensemble with floral and paisley greens. Intricate thread nuances and Zari brocade work all over the length give it regal appeal in a one-of-a-kind work of couture art. Its rare artistic finesse comes from the fine blend of texture and edging overlays. All you have to do is carry it with the pride of a groom and the traditional poise that comes naturally to you, and it will serve you well. Beige Silk Sherwani with Stole The heavy Zari embroidery work done on the silk vestment, all depicted in basic beige and white shades, results in a Wedding Sherwani outfit that is subtly appealing. It gets its enigmatic charm from the matching white stole, which is done with beautiful thread work and intricately designed borders. A great way to stand out from the crowd with your wedding attire. Turquoise blue silk sherwani Turquoise blue in men's sherwanis is not a color that should be worn by everyone. Those who know how to wear designer traditional wear with grace, on the other hand, can really make the most of the distinctive shade to the best of traditional fashion's merits. It goes well with the blue turban with an ornamental charm attached. Gold Sherwani with Zardozi work This one is only for those who are naturally drawn to princely acts and the regal code of dress. This sherwani has intrinsic royal art done all over with rich Zardozi work and layered couture craft with flared ends and is built on multiple folds and layers. When paired with gemstone necklaces and clothing, the dress becomes even more appealing. Something to rejoice about for modern men who have the ability to try on different dresses while maintaining their flair for traditional dressing. Final Words With these exclusive Groom Wedding Sherwani designs, you will undoubtedly get the best of style wrapped up in a one-of-a-kind ensemble of traditional clothing that will make you stand out on your wedding day. You may have more colors and patterns around these, giving you a wider range to choose from while remaining unique and amazing in an Indian groom's avatar.

#Traditional #clothing #groom #wedding #style #tips #designer #colors #pattern #sherwani #silk #indo-western #embroidered #fashion

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libasclothes · 25 days

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A Fashionista’s Paradise: Exploring Men's Clothes Shops in Bur Dubai

Introduction: Dubai, with its extravagant lifestyle and vibrant culture, is a paradise for fashion enthusiasts. The city boasts an array of shopping destinations, each offering a unique shopping experience. Among these, Bur Dubai stands out as a hub for men's fashion, offering a diverse range of clothing options to suit every style and budget. In this blog, we will explore the best men's clothes shops in Bur Dubai, highlighting the top destinations for fashion-forward individuals.

1. Textile Souk: Located in the heart of Bur Dubai, the Textile Souk is a bustling marketplace where you can find an extensive selection of fabrics, garments, and accessories. The souk is a treasure trove for those looking to buy traditional Arabic attire such as kanduras, ghutras, and embroidered jackets. Whether you're looking for ready-made clothing or custom tailoring, the Textile Souk has something for everyone.

The Textile Souk is a vibrant and colorful market, where you can immerse yourself in the rich culture and heritage of the region. The narrow alleyways are lined with shops selling a variety of textiles, including silk, cotton, and wool. You'll also find a range of accessories such as scarves, shawls, and embroidered caps.

One of the highlights of the Textile Souk is the opportunity to buy custom-tailored garments. Many of the shops offer traditional Arabic attire made to measure, allowing you to create a personalized and unique look. Whether you're attending a special event or simply want to add a touch of elegance to your wardrobe, the Textile Souk has you covered.

2. Meena Bazaar: Meena Bazaar is another popular shopping destination in Bur Dubai, known for its vibrant atmosphere and diverse range of products. The bazaar is home to numerous shops selling men's clothing, including traditional Indian and Pakistani attire such as sherwanis, kurtas, and pajamas. You can also find a variety of Western wear, including shirts, trousers, and suits, catering to different tastes and preferences.

Meena Bazaar is a shopper's paradise, with its narrow alleyways and bustling market stalls. Here, you can browse through a wide selection of clothing, accessories, and jewelry, all at affordable prices. The bazaar is particularly popular during festivals and special occasions, when it comes alive with color and excitement.

One of the highlights of shopping at Meena Bazaar is the opportunity to haggle with the vendors. Many of the shops are open to negotiation, allowing you to get the best possible price for your purchases. Whether you're looking for a traditional Indian outfit or a trendy Western ensemble, Meena Bazaar has something for everyone.

3. Al Fahidi Street: Al Fahidi Street is one of the oldest shopping streets in Dubai, renowned for its diverse range of shops and boutiques. Here, you'll find several stores specializing in men's clothing, offering a wide selection of garments at competitive prices. Whether you're looking for casual wear, formal attire, or accessories, Al Fahidi Street has plenty to offer.

Al Fahidi Street is a shopper's delight, with its wide sidewalks and bustling atmosphere. Here, you can browse through a variety of stores, from high-end boutiques to budget-friendly shops, all offering the latest trends in men's fashion. Whether you're looking for a classic suit or a trendy streetwear ensemble, you'll find it all on Al Fahidi Street.

One of the highlights of shopping on Al Fahidi Street is the opportunity to explore the surrounding area. The street is located in the historic district of Bur Dubai, home to several cultural attractions and landmarks. After a day of shopping, you can explore the nearby Al Fahidi Fort, Dubai Museum, and Sheikh Mohammed Centre for Cultural Understanding.

4. Al Khaleej Center: Al Khaleej Center is a popular shopping mall located in Bur Dubai, housing a wide range of retail outlets, including men's clothing stores. The mall features a mix of local and international brands, offering everything from trendy streetwear to high-end designer clothing. With its convenient location and diverse selection of shops, Al Khaleej Center is a must-visit destination for fashion-conscious individuals.

Al Khaleej Center is a shopper's paradise, with its spacious layout and modern amenities. Here, you can browse through a variety of stores, from popular fashion chains to independent boutiques, all offering the latest styles and trends. Whether you're looking for casual wear, formal attire, or accessories, you'll find it all at Al Khaleej Center.

One of the highlights of shopping at Al Khaleej Center is the opportunity to explore the mall's other amenities. The center is home to a wide range of restaurants, cafes, and entertainment options, making it the perfect destination for a day of shopping and leisure.

5. BurJuman Centre: BurJuman Centre is a premier shopping destination in Bur Dubai, featuring a mix of luxury and high-street brands. The mall is home to several men's clothing stores, including renowned international brands and local designers. Whether you're looking for formal wear, casual attire, or accessories, you'll find plenty of options to choose from at BurJuman Centre.

BurJuman Centre is a shopper's paradise, with its spacious layout and elegant decor. Here, you can browse through a variety of stores, from high-end boutiques to budget-friendly chains, all offering the latest styles and trends. Whether you're looking for a classic suit or a trendy streetwear ensemble, you'll find it all at BurJuman Centre.

One of the highlights of shopping at BurJuman Centre is the opportunity to explore the mall's other attractions. The center is home to a wide range of restaurants, cafes, and entertainment options, making it the perfect destination for a day of shopping and leisure.

6. Dragon Mart: Located in the nearby area of International City, Dragon Mart is the largest Chinese trading hub outside of China. The mall is home to numerous shops selling a variety of products, including men's clothing and accessories. Here, you'll find a wide selection of affordable clothing options, ranging from casual wear to sportswear and formal attire.

Dragon Mart is a shopper's paradise, with its vast selection of products and unbeatable prices. Here, you can browse through a variety of stores, from fashion chains to independent boutiques, all offering the latest styles and trends. Whether you're looking for a classic suit or a trendy streetwear ensemble, you'll find it all at Dragon Mart.

One of the highlights of shopping at Dragon Mart is the opportunity to explore the mall's other attractions. The center is home to a wide range of restaurants, cafes, and entertainment options, making it the perfect destination for a day of shopping and leisure.

Conclusion: Bur Dubai is a haven for fashion enthusiasts, offering a diverse range of men's clothing shops to suit every style and budget. Whether you're looking for traditional Arabic attire, Western wear, or designer clothing, you'll find plenty of options to choose from in this vibrant and bustling neighborhood. So, the next time you're in Dubai, be sure to explore the men's clothes shops in Bur Dubai and discover the latest trends in men's fashion!

#Men clothes shop in bur dubai

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customknitfactory · 25 days

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kashmirloom · 2 months

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#Kashmiri Pashmina Shawl #Men's Pashmina Shawls #Mens Cashmere Scarf #mens indian shawl

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vervefashion01 · 2 months

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Outfits throughout the eras & countries

As far back as history goes, fashion has always existed there. Every age is shown through a unique painting method, and the same is true of fashion. Fashion varies not only between eras but also between regions. We will come across a wide range of cultural diversity, materials, and other things as we go from north to south and east to west. However, the thing about fashion is that it travels the entire world and is not limited to a certain place. In the beginning, clothes and fashion were restricted to a certain place or territory. However, the time has now changed. People are eager to acknowledge the diverse variety of cross-cultural relationships everywhere in the world and are ready with open hands to explore the world of fashion across the globe.

Let's dissect the fashion trends from different parts of the world and have a close look at how they change from place to place.

INDIA

The Indian subcontinent's women wear sarees, which are made of an unstitched length of cloth that has been woven over the body like a robe. One end of the fabric attaches to the waist, while the other end rests over one shoulder like a stole or shawl, occasionally exposing some of the tummy. Its length and width can vary from 4.1 to 8.2 meters (4.5 to 9 yards) and 60 to 120 centimetres (24 to 47 inches), respectively. The Nivi style is the most often used term and style for sari manufacturing and draping. The choli, or fitted bodice, and the ghagra, parkar, or ul-pavadai, or petticoat, are worn with the sari. In the Indian subcontinent, it is still in style today.

SOUTH KOREA

The hanbok is a traditional article of clothing worn by Koreans. South Koreans are the ones who call the clothing hanbok, but North Koreans call it chosn-ot (조선옷, lit. "Korean clothes"). The Korean diaspora, particularly Koreans living in China, also wears the clothing. The components of the traditional hanbok were the jeogori (top), chima (skirt), baji (pants), and po (coat). The basic form of the hanbok included numerous Mu-ism themes and was made to be easily movable. The majority of people's hanbok was entirely white and adorned with no design for thousands of years. Usually, extravagant hanbok was saved for important events like weddings. Commoners, or seomin, were for a while even prohibited from regularly wearing bright hanbok.

JAPAN

Japan's national attire is the kimono, a traditional piece of clothing. Unless the wearer is deceased, the kimono is a wrapped-front garment with square sleeves and a rectangle torso that is worn with the left side wrapped over the right. The kimono is typically accessorized with tabi stockings and zōri sandals. It is typically worn with a thick belt called an obi. Kimonos are made according to a predetermined technique and are usually created from a long, narrow bolt of cloth called a tanmono, however, fabric bolts in the Western style are also occasionally utilized. Men, women, and children can choose from a variety of kimonos depending on the event, the time of year, the wearer's age, and less frequently these days by their marital status.

SOUTH AFRICA

In South Africa, the traditional dress is called Dakshi, which is a colourful garment worn on the upper half of the body. A dakshi has both formal and informal versions and it varies from fully tailored suits to simple draped pieces. It is commonly seen as or tailored with an ornament v-shaped neck with the neck and sleeve line being embroidered and usually tailored as a loose-fit pullover garment. It is often worn with a brimless cap which is worn by the Muslim community from Africa and the African diaspora. The word "dashiki" comes from a Yoruba loanword ‘dàńṣíkí’ , which means 'shirt' or 'inner garment'.

INDONESIA

It is officially recognized that the kebaya is Indonesia's national garment. It is typically constructed of light materials like cotton, voile, gauze, lace, or brocade. Occasionally, it is adorned with embroidery and worn over the upper body. Pins, buttons, or brooches are used to keep it intact. Currently examining the lower garment, is referred to as a sarong, kemben, or kain. It is a lengthy piece of clothing that is worn and tucked either beneath the armpit or around the waist.Generally, ikat, tenun, songket, or batik are used to make sarongs. Many Southeast Asian airlines, such as Singapore Airlines, Malaysia Airlines, Royal Brunei Airlines, and Garuda Indonesia, have opted for Kebaya as the uniforms for their female flight attendants, making the traditional dress a fashion icon in the region.

As we've already discussed, just as fashion varies from place to place, it also does so across historical periods. Let us now explore the evolution of fashion across time.Even though fashion has been changing throughout the different eras, three eras have made a significantly noticeable evolution throughout the times. These are the Renaissance era, the Victorian era and the Art Deco era. Now let's dive into each era and get to know the clothing difference from each era.

THE RENAISSANCE ERA

The Renaissance era (14th-17th century) was a period of cultural rebirth in European history characterized by a resurgence of interest in classical art, literature, and learning. It saw a turn toward individuality, science, and humanism, which shaped artistic, social, and cultural advancements that still have an impact on contemporary society.

The development of the merchant class led to changes in fashion, while nobles displayed their wealth with elaborate decorations and luxurious materials. Men wore ornate hose, breeches, and doublets, often decorated with jewels and fur trimmings; ladies wore full dresses with structural corsets, rich draperies, and fitted bodices. Ethical principles were reflected in fashion, which emphasized natural shapes. Men's codpieces and women's farthingales, which stood for both social standing and creative expression, were iconic components. For both men and women, Renaissance dress left a long-lasting legacy of grace and creativity.

THE VICTORIAN ERA

Named for Queen Victoria, the Victorian era (1837–1901) was a time in British history marked by social reforms, industrialization, and rigid cultural standards. It was a time of great technological progress, a growing British Empire, and well-defined social divisions. Victorian literature, architecture, and fashion all reflected the ideas and values of the time, with a focus on gender roles, morality, and manners.

Women's clothing during the Victorian era was characterized by ornate gowns with voluminous skirts kept up by bustles or crinolines. These dresses were decorated with lace, ribbons, and elaborate needlework, and they frequently had tight waistlines and high necklines. Tailored suits consisting of fitted jackets, waistcoats, and pants usually came in subtle hues and patterns as men's fashion matured. Men are accessorized with cravats, pocket watches, and top hats, while women wear jewellery, parasols, and gloves. Accessorizing was important for both genders. Victorian fashion showcased the era's technological innovations and cultural inspirations while also reflecting the values of society, which included humility, respectability, and uniformity.

THE ART DECO ERA

The Art Deco period (the 1920s–1930s) was a time of creative art and design defined by geometric shapes, vivid colours, and rich materials. Art Deco embraced modernity and sophistication, incorporating elements from various cultural influences, such as ancient Egyptian and African patterns, and had an enormous effect on architecture, fashion, and the visual arts.

The Art Deco period saw a dramatic change in fashion that reflected the vibrant spirit of the day. The freeing "flapper" look, which was defined by knee-length skirts, dropping waistlines, and lavish embroidery or beading, was adopted by women's clothing. Because of their fluidity, materials like silk and chiffon were preferred, while long strands of pearls and cloche hats were popular accessories. Men's fashion, on the other hand, embraced a more streamlined form, with cut suits that had structured shoulders, straight-leg pants, and small lapels. Luxurious materials radiating elegance and class, such as wool and tweed, were widely used. Gentlemen's professional looks were finished with fedora hats, tie pins, and cufflinks.

In conclusion every era and culture adds a different thread to the thread of fashion history, from the ornate clothing of history to the modern fusion of global trends. Clothes have represented cultural values, social conventions, and personal identity for thousands of years, serving as more than just an article of clothing. Fashion captures the ideals, ideologies, and aesthetics of the era it is designed for, whether it is seen in the luxurious silks of imperial China, the elaborate draperies of Greco-Roman robes, or the cutting-edge designs of haute couture. Furthermore, fashion is a global phenomenon that mixes elements from other cultures and historical periods. Global fashion is enhanced by the variety of sartorial traditions, from the regal presence of the kaftan in the Middle East to the grace of the kimono in Japan. Despite these differences, innovation, self-expression, and the unwavering desire for beauty are the commonalities that connect fashion overtime periods and geographical areas. Humanity tells its stories, welcomes its diversity, and celebrates its creativity through fashion, making a lasting impression on history. We wholeheartedly welcome you to our fashion world VERVE to explore the new colours of fashion to find your own unique persona.

#outfit #traditional outfits #art

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daisylore83 · 3 months

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Sartorial Symphony: Harmonizing Kurta Pajama Patterns and Colors

If you're looking to make a statement with your attire that perfectly blends tradition with style, then the harmonious ensemble of Kurta Pajama is your go-to choice. In this article, we'll delve into the art of harmonizing Kurta Pajama patterns and colors to create a sartorial symphony that captivates attention and reflects your unique personality.

Understanding Kurta Pajama

What is Kurta Pajama?

Kurta Pajama is a traditional Indian outfit comprising a long tunic (kurtas) paired with loose-fitting trousers (pajamas). This attire holds significant cultural and ethnic value in India and is a staple in men's fashion.

Importance of Kurta Pajama in Indian Fashion

Kurta Pajama holds a timeless appeal in Indian fashion, symbolizing elegance, grace, and cultural heritage. It's not just an outfit but a representation of tradition and sophistication.

Exploring Kurta Pajama Patterns

Traditional Patterns

Traditional Kurta Pajama patterns often feature intricate embroidery, elaborate motifs, and classic designs inspired by Indian art and culture. These patterns add a touch of regal charm to the attire, making it suitable for special occasions.

Modern Patterns

Modern Kurta Pajama patterns embrace contemporary trends while preserving the essence of tradition. From subtle prints to bold geometric designs, modern patterns offer versatility and appeal to a wide range of preferences.

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Choosing the Right Colors

Cultural Significance of Colors

Colors play a significant role in Indian culture, with each hue carrying its own symbolism and meaning. From vibrant reds symbolizing love and passion to serene blues representing tranquility, understanding the cultural significance of colors can help you make informed choices.

Personal Preference and Occasion

While cultural significance is important, personal preference and the occasion also influence color choices. Whether you prefer vibrant hues for festive celebrations or understated tones for formal events, selecting colors that resonate with you is key.

Tips for Harmonizing Patterns and Colors

Contrast vs. Complement

When harmonizing patterns and colors, consider whether you want to create contrast or opt for complementary shades. Contrasting combinations can make a bold statement, while complementary colors create a harmonious blend.

Considering Skin Tone

Take into account your skin tone when choosing Kurta Pajama colors. Certain shades may complement your complexion better, enhancing your overall appearance and adding a radiant glow to your ensemble.

Occasion-Specific Guidelines

Tailor your Kurta Pajama ensemble to suit the occasion. For formal events, opt for sophisticated patterns and muted colors, while festive occasions call for vibrant hues and ornate designs that exude joy and celebration.

Accessorizing Your Kurta Pajama

Elevate your Kurta Pajama ensemble with carefully chosen accessories that enhance its appeal and complete your look.

Footwear

From traditional mojaris to contemporary loafers, selecting the right footwear adds the perfect finishing touch to your outfit. Choose footwear that complements the style and color of your Kurta Pajama.

Jewelry

Accessorize with understated jewelry pieces such as elegant cufflinks, bracelets, or a stylish watch to add a touch of refinement to your attire.

Dupattas and Shawls

For added flair, drape a colorful dupatta or shawl over your shoulders to create a striking contrast or complement your Kurta Pajama ensemble.

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https://x.com/DesignerSareeka/status/1768247151669166228?s=20

Styling Kurta Pajama for Different Occasions

Tailor your Kurta Pajama ensemble to suit the specific requirements of different occasions, ensuring that you strike the perfect balance between tradition and style.

Casual Wear

Opt for comfortable fabrics and relaxed silhouettes for casual outings, embracing effortless style with minimalistic patterns and soothing colors.

Formal Events

For formal events, choose sophisticated Kurta Pajama designs in muted tones, complemented by refined accessories for a polished and dignified look.

Festive Occasions

Celebrate in style with vibrant Kurta Pajama ensembles adorned with festive motifs and rich colors that capture the spirit of joy and merriment.

Where to Find Quality Kurta Pajama

Introducing Rajwadi: Your Destination for Exquisite Kurta Pajama. At Rajwadi, we offer a curated collection of premium Kurta Pajama sets crafted from high-quality fabrics and adorned with exquisite detailing. Our diverse range caters to every taste and occasion, ensuring that you find the perfect ensemble that reflects your unique style and personality.

Unique Features of Rajwadi's Collection:

Premium Quality: Our Kurta Pajama sets are crafted from premium fabrics, ensuring comfort and durability.

Exquisite Embellishments: Each ensemble features intricate embroidery and embellishments that add a touch of opulence.

Customization Options: Personalize your Kurta Pajama ensemble with our customization services, tailoring it to your specific preferences.

Conclusion

Harmonizing Kurta Pajama patterns and colors is an art that allows you to express your individuality while honoring tradition. By understanding the significance of patterns and colors, and following simple styling tips, you can create captivating ensembles that leave a lasting impression.

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FAQs

Can I wear Kurta Pajama for weddings?

Absolutely! Kurta Pajama is a popular choice for weddings, offering both elegance and comfort for the groom and wedding guests alike.

How do I choose the right size for Kurta Pajama?

It's essential to refer to the size chart provided by the manufacturer to ensure a proper fit. You can also opt for custom tailoring for a perfect fit.

Are there any specific accessories I should pair with Kurta Pajama?

While accessories are optional, you can enhance your ensemble with items such as traditional footwear, jewelry, and a dupatta or shawl.

Can I wear Kurta Pajama for casual outings?

Yes, Kurta Pajama is versatile attire suitable for both formal events and casual outings. Choose lightweight fabrics and simple designs for a relaxed look.

Does Rajwadi offer international shipping?

Yes, we offer international shipping to ensure that customers worldwide can enjoy our premium Kurta Pajama collection.

#rajwadi #KurtaPajama #Men's Kurta

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clementstroelsen87 · 4 months

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The key of Profitable Mens Outfits, Formal

As an example, many women are inspired by the private styles of Audrey Hepburn and Lana Del Rey, whereas men looking for type cues typically flip to famously chic guys like Michael B. Jordan and Jeff Goldblum. So, visit the gathering, select one of the best and purchase gym wear for males on-line simply at Zobello. Within the south of India, men wear the traditional dhoti, a cloth wrapped elaborately right into a pant like drape, with an angavasthram or lengthy, thick South Indian shawl masking their higher body. Typically talking, after all, Moroccan males are picture-acutely aware to a fault, and take a lot of time primping earlier than they go out.

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Don't worry if you haven't been following your superstar twin's fashion journey. No matter whether you're chasing modern cool, timeless chic or a bohemian vibe, there's a celebrity fashion twin for everyone, even you! If you're keen to truthfully reply some "would you relatively" questions about your private style, resembling whether or not you're comfy sporting patterns, if you would be prepared to experiment with road fashion and whether you'd ever consider getting married in flats, we'll be able to figure out which celeb's closet may very well be your closet's twin! Would you rather have bland but socially acceptable personal fashion or wild private style that some love and some mock?

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archivio-disattivato · 5 months

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Resisting Disappearance: Military Occupation and Women’s Activism in Kashmir, by Ather Zia (p. 77)

Since 1947, the region of Kashmir has been caught in an ebb and flow of both visible and invisible forms of violence. Stereotypically presenting Kashmir as a dispute between India and Pakistan is a reductionist view, which neglects the Kashmiri people’s aspirations for a sovereign nationhood that predates the partition of British India and the Princely States. Since then, India has legitimized its military occupation of Kashmir by deploying a politics of democracy. I use the phrase “politics of democracy” to emphasize that it is not democracy in its true form that exists in Kashmir, but rather the symbols of democracy, such as the “elections” that have been utilized to entrench and extend Indian rule. In this context democracy becomes a tool to “serve territorial nationalism” (Junaid 2013a: 166). A chronology of events pertaining to the contesting Indo-Pak nationalisms over Kashmir illuminates how the postcolonial nation-state of India established and legitimized a military occupation in Kashmir (Osuri 2017; Bhan, Duschinski, and Zia 2018). Under these conditions, suspending the basic human rights of Kashmiris, as illustrated by Shabir’s experience, and suppression of dissent by government forces with impunity became a norm.

In 1931 in the Princely State of Jammu and Kashmir a key incident occurred when the Kashmiri Muslims revolted against the Hindu monarch Hari Singh of the Dogra dynasty. During a mass demonstration the king’s police killed twenty-two Kashmiris. Today the historical martyrs’ graveyard dedicated to these men stands as a testament to Kashmir’s aspiration for an independent sovereign democracy. At the time of the massacre, almost a century had passed since 1846, when the British colonial government had sold the entire region of Kashmir to Hari Singh’s warlord ancestor Gulab Singh. The British colonizers had imposed territorial and administrative unity over the disparate geographical and cultural provinces— namely, Kashmir, Jammu, Ladakh, and allied regions—jointly referred to as the Princely State of Jammu and Kashmir. Gulab Singh bought the territory along with its people for seventy-five thousand Nanak Shahi rupees and an annual present of one horse, twelve shawl goats, and three pairs of the finest Kashmiri shawls to the British Crown. The hundred years of Hindu Dogra rule were ruthless for the majority of the Muslim Kashmiris who lived in de facto slavery. This period became generative of political and economic awakening in the Kashmiri people (Rai 2004; Zutshi 2003). In 1932 newly educated young Muslim men forged a political movement to fight for people’s rights and ultimately gain democratic sovereignty.

The dispute over Kashmir between India and Pakistan began with the 1947 Indo-Pak partition, which was predicated on religious difference. While nominally secular, India became a Hindu-majority nation, and Pakistan became a homeland for Muslims. Dominantly Muslim, Kashmir was largely expected to integrate with the newly formed Pakistan with which it had geographic contiguity, trade, and cultural links. The monarch of Kashmir was indecisive about acceding to either country and wanted to explore the option of independence. Meanwhile, he signed a “standstill” agreement with Pakistan to ensure that essential services—trade, travel, and communication— remain uninterrupted. Pakistan saw this as a forerunner to the accession and its indisputable claim to the region. The Indian leaders had started their diplomacy to acquire Kashmir long before 1947 (Noorani 2014). The majority of Kashmiris at that time preferred to stay independent and not join either of the two countries (see Whitehead 2008: 26–27).

From August 15, 1947, when India and Pakistan became two dominions, until October 27, 1947, when the Indian military landed by plane, Kashmir was an independent state. By then the Indo-Pak partition had descended into communal violence. In the region of Poonch in West Kashmir an armed revolt was building under the name of Azad (Independent) Kashmir Regular Forces (Duschinski et al. 2018) to create an independent state (Lamb 1991; Snedden 2013). The king suppressed the revolt brutally, but the rebels successfully liberated part of the region declaring the Azad (Independent) Kashmir provisional government on October 24, 1947. By this time the communal violence of the Indo-Pak partition spilled into Kashmir’s Jammu province. Approximately two hundred thousand Muslims were killed in an ethnic cleansing that the king endorsed (Lamb 1991; Howley 1991; Copland 2005; Lone 2009).

In the Indian narrative what followed the Poonch revolt is called an “invasion by Pakistan” or pejoratively the “Qabaili raid,” referring to the ethnic clansmen who came to Kashmir’s aid from the North West Frontier Provinces (NWFP) of the newly founded Pakistan to aid the Poonch revolutionaries. The ethnic clansmen had long-standing family, cultural, and trade ties with the people in Poonch, and they were impassioned to fight alongside their co-religionists against the impunity of the Hindu king. Fearing loss of territory, the king asked India for military support. The Indian government agreed with the precondition that the king accede to India and promised to hold a plebiscite to decide the region’s final fate. The king agreed to a treaty of accession for the entire Princely State, retaining control in all matters except defense, currency, and foreign affairs.

In 1948, after the first full-scale war broke out between India and Pakistan over Kashmir, India took the issue to the United Nations, where it repeated its commitment to a plebiscite. The UN brokered a 485-mile-long cease-fire line that split the region in two. One-third of the territory, including the far northern and western areas along with Gilgit-Baltistan, ended as a semiautonomous entity administered by Pakistan, known as Azad Jammu and Kashmir (AJK).10 The remaining two-thirds of the region, including the valley of Kashmir and the provinces of Jammu and Ladakh, came under Indian control. The promised plebiscite was never held.

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