Chaturvedi’s remarks were delivered as he addressed the audience as the chief guest at the event, taking place in the Omkar Nath Thakur Auditorium, located on the BHU campus. The programme, organised by the Kendriya Vidyalaya Sangathan, attracted participation from students and staff across several divisions, including Agra, Jabalpur, Lucknow, Ranchi, and Varanasi.

Cultural Celebrations and Competitions

The event commenced with a rendition of ‘Vande Mataram’ and included a series of cultural performances. Students showcased an array of traditional folk dances from regions such as Rajasthan, Maharashtra, Karnataka, Uttarakhand, and Odisha, alongside classical performances like Bharatanatyam and Kathak. Participants engaged in various competitions designed to highlight the rich tapestry of India’s folk arts, cultures, and lifestyles throughout the two days.

Registrar Rajan Srivastava likened India’s vast diversity to a rainbow and an assortment of flowers, emphasising that the nation is a unique blend of cultures, geography, arts, literature, music, and dance. His comments reinforced the significance of such initiatives in fostering national unity.

Dr. Sukriti Raiwani, serving as Deputy Commissioner of the Kendriya Vidyalaya Sangathan in the Varanasi Division, remarked that the event serves as more than just a platform for competitions. It is an opportunity to celebrate Indian culture, traditions, and the diverse lifestyles present across the country.

Engagement and Outreach in Education

A.K. Singh, Principal of Kendriya Vidyalaya on the BHU Campus, welcomed attendees, asserting that the ‘Ek Bharat, Shreshtha Bharat and Kala Utsav’ functions as a significant occasion for individuals to comprehend and experience the essence of India’s unity in diversity and cultural richness.

Approximately 260 students are competing at the zonal level during this event, with selected participants eligible to proceed to national competitions, which will also be organised by the National Council of Educational Research and Training (NCERT). This selection process allows for a broader engagement with India’s educational and cultural initiatives.

Concluding the event, Vijay Kumar Solanki, Assistant Commissioner of the Kendriya Vidyalaya Sangathan for the Varanasi Division, delivered the vote of thanks. The gathering also included prominent faculty members like Dr. Sangeeta Pandit from the Faculty of Music and Performing Arts, Rajesh Shah, Dean of the Instrumental Music Department, and Dr. Uttama Dixit, Dean of the Visual Arts Department, highlighting the event’s academic backing and cultural importance.

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The Six-Month Temple

The main attraction of the temple is its unique history in the making. The locals call it Chhamasi Mandir or the Six-Month Temple. As per legend, this majestic structure was completed within six months. However, the one seen today is the result of excavations, as the shikhara or the tower was missing. What remains of the Deobaloda Mahadev temple complex is the sanctum and the pillared Navaranga mandapa in addition to the anachronistic shikhara that adheres to the nagara style.

The temple’s construction period is also shrouded in mystery. It has been conventionally attributed to the later Kalachuri era or the 13 th -14 th century AD. However, AH Longhurst, an early excavator of the site, believed it to be constructed in the early 11 th century AD. Either way, it predates the Kalachuri period, making it an important historical monument.

The Carver and the Woman in the Kalash

However, the most interesting legend pertains to the carver. He was so engrossed in his work that he lost track of time and space as he kept working on the temple. So intense was his concentration that he failed to notice that his clothes were tearing as well! It is said that he only realized that he was not dressed appropriately when he finally saw the woman bringing the kalash to the temple. Overcome with shame, he immediately plunged into the well nearby.

The woman in the kalash followed suit, and both of them disappeared into thin air, leaving behind the unfinished temple. While many of the details of this legend might have been exaggerated, the kund or the well has been retained till present times, and remains a prominent feature of the complex.

The Tale Beyond Stories and Legends

A walk around the temple complex unveils the real reason behind its fame. The carvings depict scenes of people and animals of that period, giving a true-to-life view of the daily activities and lifestyle of people of that time. Flanking the Shiva linga, carvings of animals, hunters, dancers, musicians, gods and goddesses including Shiva, Parvati, Ganesha, Vishnu, Mahishasuramardini, Bhairava, etc., have been etched on the walls.

It is this attention to detail that makes the Deobaloda Mahadev temple so special and unique. While most temples are dedicated to Gods and Goddesses, they also depict glimpses of history through the various symbols, carvings and even stories that are etched on them and then preserved for eternity. The hunters, the musicians, the dancer, all the everyday activities of people have been captured in rock and stone, to create one of the most spectacular temple complexes of its time.

The Unfinished Temple That Stands to This Day

Facing east, this sandstone mandapa or the hall is the last remaining structure of the ancient temple that has stood the test of time and continues to draw people till date. Apart from the intricate artwork adorning the temple, the complex also has ancient sculptures and a remarkable architectural style. The very fact that some parts of the temple were excavated and not constructed, adds mystery to this intriguing monument.

However, what makes the Deobaloda Mahadev temple so fascinating is that it provides two very different perspectives. The very existence of this temple complex speaks volumes about the rich artistic legacy, intricate craftsmanship and the attention to detail of the artisans of those times. Even today, the temple complex continues to intrigue historians who study the etchings and carvings on it so as to uncover more glimpses of the history. At the same time, the rich cultural heritage of the region has been preserved in the form of numerous legends like the one about the six-month temple, the carver and the woman in the kalash. Both history and legends are as fascinating as they are important, and complement each other in narrating the story of the Deobaloda Mahadev temple. After all, the temple complex may have stood the test of time, but the stories have been surviving it all along.

The post The Temple Built in Six Months? The Legend of Deobaloda’s Unfinished Mahadev Temple appeared first on The CSR Journal.

The festival is set to take place in seven cities: North Carolina, Los Angeles, Seattle, Colorado, Toronto, New York, and Houston. Some notable participants include author and politician Shashi Tharoor, Pulitzer Prize-winning author Kai Bird, filmmaker Shekhar Kapur, Booker Prize winner Yann Martel, and economist Arvind Subramanian.

According to JLF USA, the festival features a diverse range of discussions involving writers, historians, artists, and thought leaders addressing various contemporary issues, including technology, geopolitics, and cultural identity.

Event Schedule and Themes

The programme kicks off in North Carolina from September 11 to 13, followed by events in Los Angeles from September 14 to 16, Seattle from September 17 to 20, Colorado from September 22 to 23, Toronto from September 25 to 26, New York from September 29 to 30, and concluding in Houston from October 2 to 4. Notably, Los Angeles and Toronto will be hosting the festival for the first time.

In conjunction with the literary discussions, the festival will showcase a travelling visual art exhibition by documentary photographer Vicky Roy, with aspects of his work displayed in both Los Angeles and Seattle.

According to Sanjoy K Roy, Managing Director of Teamwork Arts, which organises the event, the festival aims to cultivate a space for dialogue and innovation. He highlighted that the programming for the festival will be tailored to suit the unique character and needs of each host city, emphasising local collaboration.

Programming and Collaboration

The organisers have indicated that interaction with local cultural organisations is essential to the festival’s international editions. This approach ensures that each gathering is grounded in local contexts rather than being a homogeneous touring programme.

Approximately 35 per cent of the festival’s offerings will revolve around fiction, while 65 per cent will focus on non-fiction themes, ranging from mathematics and science to history, sociology, and gender studies. Roy expressed the importance of bridging gaps between the arts and sciences, advocating that this integration could drive innovation and economic development.

The Jaipur Literature Festival, held annually in Jaipur, has gained international recognition, with editions now hosted in Australia, Europe, North America, Ireland, the UK, and West Asia since its global expansion began in 2014. It is gearing up for its 20th edition in Jaipur in 2027.

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In a statement released on August 19, 2026, by Knopf, Gandhi talked openly about her past, highlighting how writing this memoir has been a challenge for her. She noted that revisiting long-buried memories required a willingness to expose herself in ways that have not been comfortable. “It meant opening myself up, sharing moments and experiences I had always held deep inside,” she stated.

Gandhi aims for the memoir to serve as a “testament of my heart’s journey through the tender joys and dark despair” she has experienced. She expressed that while her family has been the subject of much scrutiny, few narratives have accurately captured their motivations and vulnerabilities.

Life Journey and Experiences

The memoir details Sonia Gandhi’s life trajectory, beginning in Italy post-World War II through her marriage to Rajiv Gandhi and her subsequent role within the prominent Gandhi family in India. Gandhi reflected on how the “thread of love and loyalty” running through her life became clearer as she distanced herself from politics. She described moving from “the simplicity of my childhood in small-town Italy” to the complexities of life in India.

The narrative starts in 1965, in Cambridge, England, where a young Sonia Maino fell in love with Rajiv Gandhi during her studies. It elaborates on her early experiences, such as adapting to Indian culture, including learning Hindi and embracing Indian cuisine. The memoir also recounts tragic events that impacted her family, including the untimely deaths of Sanjay Gandhi and Indira Gandhi, as well as the assassination of Rajiv Gandhi.

Further, the book discusses Gandhi’s gradual entry into politics, which was initially met with resistance as she faced pressure to engage in a public role. In 2004, she famously declined the position of Prime Minister after the Congress-led coalition won the election, choosing instead to focus on her political responsibilities from a different vantage point.

Publisher’s Insights and Expectations

According to Knopf, Belonging is portrayed as an intimate account shedding light on Sonia Gandhi’s personal life, encompassing themes of love, family, and national identity. The publisher highlights that the memoir offers insights into India’s tumultuous post-independence era and its current political landscape, alongside reflections on identity and the concept of home.

The first printing is set at 100,000 copies, a clear indication of the anticipated interest in Gandhi’s life story. Jordan Pavlin, executive vice president and editor-in-chief at Knopf, expressed that the organisation is “honoured” to publish this memoir, emphasising its importance as a reflection on resilience and familial ties.

As the release date approaches, many are keen to glean insights from Sonia Gandhi’s journey, enriched with personal memories and the overarching narrative of love, loss, and loyalty that has marked her life across two countries.

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The post ई-उपहार 2026: राष्ट्रपति भवन के 300 खास उपहारों की ऑनलाइन नीलामी शुरू appeared first on The CSR Journal.

The post भारत रंग महोत्सव 2027: थिएटर कलाकारों के लिए बड़ा मौका, 27 अगस्त तक करें आवेदन appeared first on The CSR Journal.

Cultural Significance and Rituals

This festival is deeply rooted in local customs, particularly reflecting the shepherding traditions of the villagers of Raithal. Each summer, the villagers guide their cattle to the lush grasslands of Dayara Bugyal, where the animals graze for several months. This outdoor journey is believed to enhance the health of the cattle, resulting in richer milk production. The Butter Festival notably celebrates the return of these cattle to their homes after the grazing season, honouring both Lord Krishna, associated with butter, and Bugyal Mata, the goddess of the meadows.

The festivities commence with ritual prayers dedicated to these deities, followed by performances of traditional music and dance. Locals engage in folk activities such as the Dhimai and Mithi dances, and the Dahi-handi ritual forms an integral part of the event. Following these ceremonial rites, the atmosphere shifts into a vibrant and messy celebration, with participants delighting in the liberal application of butter on one another’s faces and the playful spraying of buttermilk, closely resembling the joyous spirit of Holi.

Preparation for the event begins several weeks in advance, with homes embellished with flowers and traditional decorations, showcasing the communal effort involved in the celebration. Although its origins included cow dung throwing as part of the festivities, the practice has evolved over time, leading to the current penchant for butter and buttermilk. As tourism has increased over the years, so has the scale of the celebrations, allowing Raithal to become a sought-after destination during this festive period.

Visitor Information and Accessibility

The Butter Festival in Raithal draws visitors not only for its unique customs but also for the scenic beauty of the region. Travellers planning to attend the event can access Raithal from nearby cities such as Dehradun or Mussoorie, using local buses or taxis. It is advisable for tourists to verify necessary travel permits and check bus schedules to ensure a smooth journey.

As Raithal also serves as the starting point for the Dayara Bugyal trek, the festival trip can easily be complemented with trekking opportunities and other activities. As the festival has become more well-known, it is often included in tourism packages along with options for camping, music nights, and hiking, enhancing the overall visitor experience while encouraging the preservation of traditional practices.

In conclusion, the Butter Festival in Uttarkhand not only provides a delightful atmosphere filled with laughter and joy but also serves as a reminder of the region’s rich cultural heritage and communal bonds. Attendees can cherish the celebration, fostering a deeper appreciation for the diverse festivals India has to offer.

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Initially, dim torka was primarily consumed outside the home, often found at roadside eateries called dhabas or small hotels known as pice hotels. These establishments began proliferating along highways, catering to truck drivers and travelers, and adapting their menus to local tastes. Eventually, dim torka made its way into the kitchens of eastern Indian households, breaking the barrier between street food and home cooking.

Food culture in Kolkata has played a pivotal role in shaping the dish. For many families, dim torka represents more than just a meal; it evokes memories of shared experiences and communal dining. Unlike elaborate dishes prepared for special occasions, dim torka was cherished as a simple yet satisfying option for dinners, especially on evenings when cooking was minimal.

The Culinary Influence of Dhaba Culture

Several narratives describe the evolution of dim torka, with one explaining its origins within the context of dhaba culture that flourished along the routes into Calcutta. As commercial transport grew, roadside eateries emerged, introducing dishes that catered to the appetites of passing travellers. It is theorised that the practice of mixing eggs or meat into dal originated from an astute observation of regional tastes, particularly in Bengal, where non-vegetarian food is immensely popular.

In exploring this culinary phenomenon, food writer Kalyan Karmakar has documented insights from food historian Pritha Sen, who notes that the term “torka” began gaining traction in Kolkata slang around the 1980s. This was a period when dhabas were becoming well-established in urban areas, bringing regional adaptations to traditional dal dishes. The transformation not only enhanced the flavour profile but also offered a more substantial meal at a reasonable cost.

It is essential to acknowledge that food does not always carry a clear lineage. The rich tapestry of flavours and textures merges various culinary traditions, complicating efforts to pinpoint a definitive origin for dim torka. Aspects such as local preferences and the cultural interplay between communities contribute to the dish’s evolving identity in modern society.

Wider Cultural Connections and Perceptions

While the story of dim torka can be traced through various interpretations, some culinary experts suggest its potential existence predates its popularisation in the late 20th century. Food writer Madhushree Basu Roy proposes that the dish may have been shaped by Odia cooks working in Kolkata’s pice hotels, who could have returned home with their variations of torka, thus intertwining culinary influences.

Interestingly, the dish seems to be less recognised in other regions of India, even among those familiar with the broader dhaba culture. Culinary encounters often reveal a disconnect; for instance, Punjabi chefs might be surprised at the very mention of dim torka, having never experienced a fusion of dal and eggs alongside their typical fare. This highlights the diverse and often forgotten geographical aspects of Indian cuisine.

Ultimately, dim torka stands not only as a dish but as a testament to the rich culinary heritage of eastern India. Its comforting, smoky flavour and the simplicity of its preparation continue to evoke nostalgia and connections to home, making it a significant part of the region’s culinary landscape.

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भारत के 80वें स्वतंत्रता दिवस के ऐतिहासिक अवसर पर आज देश की राजधानी नई दिल्ली स्थित ऐतिहासिक लाल किले की प्राचीर से एक बार फिर राष्ट्रवाद, विकास और सांस्कृतिक गौरव की त्रिवेणी बही। प्रधानमंत्री नरेंद्र मोदी ने आज लगातार 13वीं बार लाल किले पर तिरंगा फहराकर राष्ट्र को संबोधित किया और देश के लोकतांत्रिक इतिहास में अपनी निरंतरता दर्ज कराई। हर वर्ष की तरह इस वर्ष भी देशवासियों की नजरें न केवल प्रधानमंत्री के नीतिगत बयानों और घोषणाओं पर थीं, बल्कि उनके विशिष्ट पहनावे, विशेष रूप से उनके सिर पर बंधे भव्य ‘मैरून बांधनी साफे’ (लाल बंधेज पगड़ी) ने एक बार फिर राष्ट्रीय और अंतरराष्ट्रीय मीडिया का ध्यान अपनी ओर आकर्षित किया। वर्ष 2014 से शुरू हुई यह साफा परंपरा आज 2026 में अपने 13वें गौरवशाली वर्ष में प्रवेश कर चुकी है। यह केवल एक व्यक्तिगत फैशन विकल्प नहीं है, बल्कि यह भारत की समृद्ध क्षेत्रीय कला, हथकरघा विरासत और विविधता में एकता को प्रदर्शित करने का एक सशक्त और विचारशील राष्ट्रीय मंच बन चुका है।

2026 का विशेष लुक: गहरे लाल आधार पर बारीक कलाकृति का संगम

80वें स्वतंत्रता दिवस के इस गरिमामयी समारोह में प्रधानमंत्री नरेंद्र मोदी एक बेहद संतुलित और पारंपरिक वेशभूषा में नजर आए। उनके पूरे लुक का मुख्य केंद्र बिंदु गहरे मैरून/लाल रंग का राजस्थानी व गुजराती संस्कृति से प्रेरित ‘टाई-एंड-डाई’ बांधनी साफा था। इस साफे की बनावट में गहरे लाल रंग के सूती वस्त्र पर सफेद, पीले और भूरे रंग की बारीक बिंदियों का अनूठा और जटिल पैटर्न उकेरा गया था, जो पारंपरिक भारतीय शिल्प कला की पराकाष्ठा को दर्शाता है। इस साफे की पारंपरिक जोधपुरी शैली को बनाए रखते हुए एक लंबा पल्ला (पिछला सिरा) प्रधानमंत्री के दाहिने कंधे पर पीछे की ओर लहरा रहा था, जो उनके लुक में गतिशीलता और राजसी भव्यता जोड़ रहा था। साफे के इस चटख और गहरे रंग को संतुलित करने के लिए प्रधानमंत्री ने मुख्य वेशभूषा को काफी सादा और सौम्य रखा। उन्होंने एक साफ, चमकदार सफेद कुर्ता और चूड़ीदार पजामा पहना था। इसके ऊपर उन्होंने चॉकलेट ब्राउन (तपकिरी) रंग का बिना आस्तीन का नेहरू जैकेट (वेस्ट) धारण किया हुआ था। इस शांत और गहरे न्यूट्रल शेड के जैकेट के कारण उनके सिर पर बंधा मैरून साफा और अधिक निखर कर सामने आ रहा था। इस परिधान को राष्ट्रभक्ति का अंतिम स्पर्श देने के लिए उनके जैकेट की जेब में राष्ट्रीय ध्वज के तीनों रंगों, केसरिया, सफेद और हरे के तीन अलग-अलग पॉकेट स्क्वायर बहुत ही खूबसूरती से सजाए गए थे, जो देश के प्रति उनकी अटूट निष्ठा का प्रतीक बनकर चमक रहे थे।

क्यों खास है बांधनी कला? सांस्कृतिक और सामाजिक निहितार्थ

राजस्थान और गुजरात की मरुभूमि से उपजी ‘बंधेज’ या ‘बांधनी’ कला केवल एक कपड़ा रंगने की विधि नहीं है, बल्कि यह भारतीय लोक जीवन में अत्यंत पवित्र और मंगलकारी मानी जाती है। इस कला में कपड़े को धागे से छोटे-छोटे स्थानों पर कसकर बांधा जाता है और फिर उसे रंगों में डुबोया जाता है, जिससे धागे से बंधे हिस्से पर रंग नहीं चढ़ता और खूबसूरत बिंदियों के आकार उभर आते हैं।सांस्कृतिक रूप से, गहरे लाल और मैरून रंग को भारतीय परंपरा में शक्ति, ऊर्जा, उत्साह, उत्सव और शुभ कार्यों का प्रतीक माना जाता है। स्वतंत्रता दिवस जैसे महान राष्ट्रीय उत्सव पर इस रंग और शिल्प का चयन करके प्रधानमंत्री ने देश को ऊर्जा और नव-संकल्पों से भरने का एक मूक संदेश दिया है। इसके साथ ही, यह चयन केंद्र सरकार के ‘वोकल फॉर लोकल’ (स्थानीय उत्पादों को बढ़ावा) और ‘आत्मनिर्भर भारत’ के अभियान को सीधे तौर पर जमीनी मजबूती देता है, जिससे देश के सुदूर गांवों में बैठे बुनकरों और कारीगरों के हुनर को वैश्विक पहचान मिलती है।

13 वर्षों का ऐतिहासिक सफरनामा: 2014 से 2026 तक साफों की विकास यात्रा

प्रधानमंत्री नरेंद्र मोदी ने 2014 में सत्ता संभालने के बाद से ही स्वतंत्रता दिवस के राष्ट्रीय मंच को भारत की वस्त्र कलाओं की प्रदर्शनी में बदल दिया है। पिछले 13 वर्षों में उनके साफों की यात्रा इस प्रकार रही है-

2014: प्रधानमंत्री के रूप में अपने पहले ऐतिहासिक भाषण के लिए उन्होंने चमकीले लाल रंग का जोधपुरी बंधेज साफा चुना था, जिसमें हरे रंग का एक लंबा ट्रेल (पल्ला) शामिल था।

2015: इस वर्ष वे लाल, हरे और गुलाबी रंग की धारियों से सजी सरसों जैसी पीली (मस्टर्ड येलो) पगड़ी में नजर आए थे, जिसके साथ तिरंगा पॉकेट स्क्वायर भी था।

2016: इस वर्ष प्रधानमंत्री ने गुलाबी, पीले और लाल-नारंगी रंगों के मिश्रण वाला टाई-एंड-डाई राजस्थानी साफा पहना था, जिसकी पूंछ काफी लंबी और लहराती हुई थी।

2017: लाल किले की प्राचीर पर वे चमकीली पीली, लाल और नारंगी रंग की क्रिस-क्रॉस लाइनों वाली पारंपरिक पगड़ी पहने नजर आए।

2018: इस साल उन्होंने गहरे केसरिया और लाल रंग के मिश्रण वाली सादा लेकिन बेहद आकर्षक पगड़ी को तरजीह दी थी।

2019: इस वर्ष उन्होंने नारंगी और हरे रंग की राजस्थानी शैली की पगड़ी पहनी थी, जो राष्ट्रीय ध्वज के रंगों से प्रेरित प्रतीत होती थी।

2020: वैश्विक कोविड-19 महामारी के संकट काल के दौरान नियमों का पालन करते हुए पीएम ने केसरिया बॉर्डर वाला एक सफेद स्कार्फ (गमछा) लपेटा था, जो उनके चेहरे के लिए मास्क का काम भी कर रहा था।

2021: देश की आजादी के अमृत महोत्सव की शुरुआत के करीब, वे क्रीम रंग की पगड़ी पर केसरिया कलाकृति वाले साफे में दिखाई दिए।

2022: स्वतंत्रता की 75वीं वर्षगांठ पर उन्होंने ‘हर घर तिरंगा‘ अभियान को बल देते हुए तिरंगे के रंगों से प्रेरित सफेद पगड़ी पहनी थी, जिस पर केसरिया और हरी लहरदार आकृतियां बनी थीं।

2023: इस वर्ष उन्होंने पीले, हरे और लाल रंगों के शेड्स वाले राजस्थानी बांधनी प्रिंट के साफे को काले रंग के वी-नेक जैकेट के साथ पहना था।

2024: पिछले वर्ष प्रधानमंत्री ने बहुरंगी राजस्थानी ‘लहरिया प्रिंट’ वाली पगड़ी का चयन किया था, जिसे हल्के नीले बंदगला जैकेट के साथ पेयर किया गया था।

2025: 79वें स्वतंत्रता दिवस पर प्रधानमंत्री पूरी तरह से देशभक्ति के रंग में रंगे नजर आए, जहाँ उन्होंने एक भव्य पूर्ण-केसरिया साफा और पारंपरिक वेशभूषा धारण की थी।

2026: आज अपने 13वें संबोधन में उन्होंने गहरे मैरून/लाल रंग के इस बारीक बांधनी साफे के जरिए शिल्प कौशल की एक नई मिसाल पेश की है।

80वें स्वतंत्रता दिवस के अन्य ऐतिहासिक और अभूतपूर्व क्षण

इस वर्ष का स्वतंत्रता दिवस समारोह केवल पहनावे के कारण ही नहीं, बल्कि कई अभूतपूर्व राष्ट्रीय निर्णयों और बदलावों के कारण इतिहास के पन्नों में दर्ज हो गया है। इस बार रक्षा मंत्रालय और सरकार के प्रोटोकॉल में एक ऐतिहासिक फेरबदल देखा गया। प्रधानमंत्री नरेंद्र मोदी के लाल किले पर आगमन और उनके मुख्य संबोधन से ठीक पहले, लाल किले की प्राचीर पर पहली बार आधिकारिक और पूर्ण रूप से राष्ट्रीय गीत ‘वंदे मातरम’ का गायन किया गया। यह संगीतमय प्रस्तुति ‘वंदे मातरम’ की रचना के गौरवशाली 150 वर्ष पूरे होने के उपलक्ष्य में आयोजित की गई थी, जिसने पूरे परिसर को एक अद्भुत राष्ट्रभक्ति की ऊर्जा से भर दिया। जब सेना के विशेष बैंड ने इसकी धुन बजाई, तो वहां उपस्थित राष्ट्रीय कैडेट कोर (NCC) के कैडेट्स और ‘माय भारत’ (MY Bharat) के स्वयंसेवकों सहित हजारों दर्शकों ने एक सुर में इसका गायन किया। इसके अतिरिक्त, इस वर्ष ध्वजारोहण की कमान में महिला सशक्तिकरण की एक मजबूत तस्वीर दिखाई दी, जब सेना की कैप्टन सोनिया सिंह चौहान ने प्रधानमंत्री नरेंद्र मोदी को राष्ट्रीय ध्वज फहराने में सहायता प्रदान की। ध्वजारोहण के तुरंत बाद, वायुसेना के दो हेलीकॉप्टरों ने हवा से फूलों की वर्षा की, जिनमें से एक हेलीकॉप्टर पर तिरंगा और दूसरे पर ‘वंदे मातरम’ का विशाल झंडा लहरा रहा था।

‘युवा शक्ति’ और ‘सप्तधारा’ का संकल्प

इस वर्ष के समारोह का मुख्य केंद्रीय विषय “विकसित भारत @ 2047 के लिए युवा शक्ति” (Yuva Shakti for Viksit Bharat @ 2047) रखा गया था, जो भारत की युवा आबादी को देश के शताब्दी वर्ष तक एक विकसित राष्ट्र बनाने की धुरी के रूप में स्थापित करता है। अपने संबोधन में प्रधानमंत्री ने देश को आगामी दशकों में नई ऊंचाइयों पर ले जाने के लिए सात विशेष स्तंभों या ‘सप्तधाराओं’ (Saptdharas) की घोषणा की, जिनमें विनिर्माण शक्ति (Manufacturing Power), कृषि और खाद्य प्रसंस्करण, रक्षा आत्मनिर्भरता, हरित अर्थव्यवस्था (Green Economy), प्रौद्योगिकी और नवाचार, गतिशक्ति और सॉफ्ट पावर शामिल हैं।

विरासत और संकल्प का सफर

लाल किले की प्राचीर से दिखने वाली प्रधानमंत्री की यह छवि यह स्पष्ट संदेश देती है कि भारत भले ही 21वीं सदी में विनिर्माण, तकनीक और हरित अर्थव्यवस्था जैसी आधुनिक विधाओं में वैश्विक नेतृत्व की ओर कदम बढ़ा रहा है, लेकिन देश का नेतृत्व आज भी अपनी सदियों पुरानी लोक परंपराओं, ग्रामीण बुनकरों के हुनर और सांस्कृतिक जड़ों पर उतना ही गर्व करता है। मैरून बांधनी साफे की हर एक बिंदी जैसे भारत के करोड़ों नागरिकों के सामूहिक संकल्प की गवाह बनकर लाल किले पर चमक रही थी।

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The Artistry Behind Bandhani

The visual appeal of Bandhani lies in its unique dotted design, achieved through a meticulous resist-dyeing technique. Artisans tie small portions of the fabric with thread before immersing it in dye. This process ensures that the tied sections remain undyed, resulting in the characteristic patterns that define Bandhani textiles. The technique might seem straightforward at first, yet it requires a considerable amount of skill and precision to create intricate designs.

Historically, Bandhani, known as Bandhej in Gujarat and Bandhani in Rajasthan and Madhya Pradesh, emerges from a long-standing heritage of resist-dyeing practices in India. The term derives from the Sanskrit word ‘bandh’, meaning to tie or bind, which aptly describes the artisan’s method of preparing the fabric. Each piece undergoes a complex process, with thousands of bindings contributing to the final design.

Craft sources affiliated with the Indian government trace the origins of Bandhani back to the Indus Valley civilisation, estimating its beginnings around 4000 BC. It is a craft that showcases India’s deep-rooted textile traditions, as seen in ancient artworks and historical references. Although the assertion that Bandhani has been continuously practised for 5,000 years may be overly simplistic, it can be confidently stated that the art of tie-dyeing in India has profound historical significance.

Regional Development of Bandhani

Two regions, Gujarat and Rajasthan, are central to the evolution of Bandhani. In Gujarat, the Khatri community has played a pivotal role in formalising and disseminating the craft. Historical accounts indicate that the Khatris introduced Bandhani to the Kutch region during the 12th century, transforming it into an essential craft with considerable export potential. Jamnagar and Kutch continue to be key centres of Bandhani production, with Jamnagari Bandhani holding a Geographical Indication (GI) registration.

The raw materials for Bandhani can vary, encompassing cotton, silk, and other textiles. Traditionally, natural dyes were employed before the advent of synthetic alternatives. The craft allows for diverse patterns, including floral, geometric, and intricate motifs, demonstrating the artisan’s creativity. Additionally, Rajasthan has its own tie-dye traditions, such as Leheriya, which features flowing, wave-like designs.

Bandhani’s versatility is noteworthy, as it extends beyond sarees to encompass odhnis, ghagras, and headgear like turbans. This aspect reflects its historical significance in the royal attire of western India, where Bandhani textiles were frequently favoured. For instance, Maharani Gayatri Devi of Jaipur, a symbol of elegance and trendsetting, was often photographed in elaborate Bandhani garments, establishing a legacy of cultural significance in fashion.

Cultural Symbolism of Bandhani in Contemporary India

PM Modi’s choice of a Bandhani safa not only represents a visually striking accessory but also encapsulates an entire textile tradition rich in cultural meaning. The confluence of colours, patterns, and fabric serves as a reminder of the deep-rooted heritage that resonates within India’s diverse communities. As he addressed the nation from the Red Fort, the safa’s cultural implications highlighted the enduring relevance of traditional crafts in India’s modern identity.

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