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Devadasi
In India, a devadasi was a female artist who was dedicated to the worship and service of a deity or a temple for the rest of her life. The dedication took place in a ceremony that was somewhat similar to a marriage ceremony. In addition to taking care of the temple and performing rituals, these women also learned and practiced classical Indian artistic traditions such as Bharatanatyam, Mohiniyattam, Kuchipudi, and Odissi. Their social status was high as dance and music were an essential part of temple worship. Between the sixth and thirteenth centuries, Devadasis had a high rank and dignity in society and were exceptionally affluent as they were seen as the protectors of the arts. During this period royal patrons provided them with gifts of land, property, and jewellery. After becoming Devadasis, the women would spend their time learning religious rites, rituals, and dances. Devadasis were expected to live a life of celibacy, however, there have been instances of exceptions. D ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Devadasi 1920s
In India, a devadasi was a female artist who was dedicated to the worship and service of a deity or a temple for the rest of her life. The dedication took place in a ceremony that was somewhat similar to a marriage ceremony. In addition to taking care of the temple and performing rituals, these women also learned and practiced classical Indian artistic traditions such as Bharatanatyam, Mohiniyattam, Kuchipudi, and Odissi. Their social status was high as dance and music were an essential part of temple worship. Between the sixth and thirteenth centuries, Devadasis had a high rank and dignity in society and were exceptionally affluent as they were seen as the protectors of the arts. During this period royal patrons provided them with gifts of land, property, and jewellery. After becoming Devadasis, the women would spend their time learning religious rites, rituals, and dances. Devadasis were expected to live a life of celibacy, however, there have been instances of exceptions. D ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bombay Devadasi Protection Act
Bombay Devadasi Protection Act (1934) was passed by the Bombay High Court under British India to protect existing Devadasis and prevent the dedication of women into the Devadasi system of existence. The act extended to the whole state of Maharashtra, and was part of other state laws to protect Devadasis, such as the Madras Devadasis (Prevention of Dedication) Act The Madras Devadasis (Prevention of Dedication) Act (also called the Tamil Nadu Devadasis (Prevention of Dedication) Act or the Madras Devadasi Act) is a law that was enacted on 9 October 1947 just after India became independent from British rul ..., Bombay Protection (Extension) Act, and the Andhra Pradesh Devadasi (Prohibition of Dedication) Act. References {{Reflist Prostitution in India Women's rights legislation History of women in India ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Temple Prostitution
Sacred prostitution, temple prostitution, cult prostitution, and religious prostitution are rites consisting of paid intercourse performed in the context of religious worship, possibly as a form of fertility rite or divine marriage (). Scholars prefer the terms " sacred sex" or "sacred sexual rites" in cases where payment for services is not involved. The historicity of literal sacred prostitution, particularly in some places and periods, is a controversial topic within the academic world. Mainstream historiography has traditionally considered it a probable reality, based on the abundance of ancient sources and chroniclers detailing its practices, although it has proved harder to differentiate between true prostitution and sacred sex without remuneration.Joan Goodnick Westenholz, ''Tamar, Qedesha, Qadishtu, and Sacred Prostitution in Mesopotamia'', The Harvard Theological Review 82, 198 Authors have also interpreted evidence as secular prostitution administered in the temple und ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bharatanatyam
Bharatanatyam () is a major form of Indian classical dance that originated in Tamil Nadu. It is one of the eight widely recognized Indian classical dance forms, and expresses South Indian religious themes and spiritual ideas, particularly of Shaivism and in general of Hinduism.Bharata-natyam ''Encyclopædia Britannica''. 2007 A description of Bharatanatyam from the 2nd century CE can be found in the ancient Tamil epic ''Silappatikaram'', while temple sculptures of the 6th to 9th century CE suggest it was a highly refined performance art by the mid-1st millennium CE. Bharatanatyam is the oldest classical dance tradition in India. Bharatanatyam is the state dance form of Tamil Nadu. Bharatanatyam contains different types of ''baanis''. ''Ba ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bharatnatyam
Bharatanatyam () is a major form of Indian classical dance that originated in Tamil Nadu. It is one of the eight widely recognized Indian classical dance forms, and expresses South Indian religious themes and spiritual ideas, particularly of Shaivism and in general of Hinduism.Bharata-natyam ''Encyclopædia Britannica''. 2007 A description of Bharatanatyam from the 2nd century CE can be found in the ancient Tamil epic '''', while temple sculptures of the 6th to 9th century CE suggest it was a highly refined performance art by the mid-1st millennium CE. Bharatanatyam is the oldest classical dance tradit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mohiniyattam
Mohiniyattam, ( ml, മോഹിനിയാട്ടം), is an Indian classical dance form that developed and remained popular in the state of Kerala. Kathakali is another classical dance form of Kerala. Mohiniyattam dance gets its name from the word Mohini – a historical enchantress avatar of the Hindu God Vishnu, who helps the good prevail over evil by developing her feminine powers. Mohiniyattam's roots, like all classical Indian dances, are in the ''Natya Shastra'' – the ancient Hindu Sanskrit text on performance arts. However, it follows the Lasya style described in ''Natya Shastra'', that is a dance which is delicate, eros-filled and feminine. It is traditionally a solo dance performed by women after extensive training, though nowadays men can also perform the dance. The repertoire of Mohiniyattam includes music in the Carnatic style, singing and acting a play through the dance, where the recitation may be either by a separate vocalist or the dancer themselves. T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nagarvadhu
Nagarvadhu or Nagar Vadhu (Devanagari: नगरवधू) ("bride of the city") was a tradition followed in some parts of ancient India. Women competed to win the title of a Nagarvadhu, and there was no taboo against the practice. The most beautiful woman, and most talented in various dance forms, was chosen as the Nagarvadhu. A Nagarvadhu was respected, and she was a courtesan; people could watch her dance and sing. A Nagarvadhu's price for a single night's dance was very high, and she was only within the reach of the very rich – the king, the princes, and the lords. Famous Nagarvadhus *Amrapali, state courtesan and Buddhist disciple, described in ''Vaishali Ki Nagarvadhu'' by Acharya Chatursen *Vasantasena, a character in the classic Sanskrit story of '' Mricchakatika'', written in the 2nd century BC by Śūdraka * Madhavi, a character in the classic Tamil story of ''Silappatikaram'', written in tamil by Ilango Adigal See also *Devadasi *Deuki * Ca trù, a similar profes ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jataka
The Jātakas (meaning "Birth Story", "related to a birth") are a voluminous body of literature native to India which mainly concern the previous births of Gautama Buddha in both human and animal form. According to Peter Skilling, this genre is "one of the oldest classes of Buddhist literature."Skilling, Peter (2010). ''Buddhism and Buddhist Literature of South-East Asia,'' pp. 161-162. Some of these works are also considered great works of literature in their own right. In these stories, the future Buddha may appear as a king, an outcast, a deva, an animal—but, in whatever form, he exhibits some virtue that the tale thereby inculcates. Often, Jātaka tales include an extensive cast of characters who interact and get into various kinds of trouble - whereupon the Buddha character intervenes to resolve all the problems and bring about a happy ending. The Jātaka genre is based on the idea that the Buddha was able to recollect all his past lives and thus could use these memor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Varna (Hinduism)
''Varṇa'' ( sa, वर्ण, varṇa), in the context of Hinduism, refers to a social class within a hierarchical caste system in India, caste system. The ideology is epitomized in texts like ''Manusmriti'', which describes and ranks four varnas, and prescribes their occupations, requirements and duties, or ''Dharma''. *Brahmins: Vedas, Vedic scholars, priests or teachers. *Kshatriyas: Rulers, administrators or warriors. *Vaishyas: Agriculturalists, farmers or merchants. *Shudras: Artisan, Artisans, laborers or servants. Communities which belong to one of the four varnas or classes are called savarna Hindus. The Dalits and tribes, tribals who do not belong to any varna were called avarna. This quadruple division is a form of social stratification, quite different from the more nuanced system ''Jātis'' which correspond to the European term caste system in India, "caste". The varna system is discussed in Hindu texts, and understood as idealised human callings. The concept i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Amrapali
Āmrapālī, also known as "Ambapālika", "Ambapali", or "Amra" was a celebrated ''nagarvadhu'' (royal courtesan) of the republic of Vaishali (located in present-day Bihar) in ancient India around 500 BC. Following the Buddha's teachings, she became an arahant. She is mentioned in the old Pali texts and Buddhist traditions ( āgama sutras), particularly in conjunction with the Buddha staying at her mango grove, ''Ambapali vana'', which she later donated to his order and wherein he preached the famous ''Ambapalika Sutra''. The legend of Amrapali originated in the Buddhist Jataka Tales some 1500 years ago. Early life Amrapali was born around 600-500 BCE, to Mahanama & an unknown mother. Etymologically, the variants on her name derive from a combination of two Sanskrit words: ''amra'', meaning mango, and ''pallawa'', meaning young leaves or sprouts. It is said that she was spontaneously born at the foot of a mango tree in one of the royal gardens in Vaishali — hence her name. E ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Meghadūta
} ''Meghadūta'' ( sa, मेघदूत literally ''Cloud Messenger'') is a lyric poem written by Kālidāsa (c. 4th–5th century CE), considered to be one of the greatest Sanskrit poets. It describes how a ''yakṣa'' (or nature spirit), who had been banished by his master to a remote region for a year, asked a cloud to take a message of love to his wife. The poem become well-known in Sanskrit literature and inspired other poets to write similar poems (known as "messenger-poems", or Sandesha Kavya) on similar themes. Korada Ramachandra Sastri wrote ''Ghanavrttam,'' a sequel to ''Meghduta.'' About the poem A poem of 120 stanzas, it is one of Kālidāsa's most famous works. The work is divided into two parts, Purva-megha and Uttara-megha. It recounts how a yakṣa, a subject of King Kubera (the god of wealth), after being exiled for a year to Central India for neglecting his duties, convinces a passing cloud to take a message to his wife at Alaka on Mount Kailāsa in the Himā ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arthashastra
The ''Arthashastra'' ( sa, अर्थशास्त्रम्, ) is an Ancient Indian Sanskrit treatise on statecraft, political science, economic policy and military strategy. Kautilya, also identified as Vishnugupta and Chanakya, is traditionally credited as the author of the text.: "References to the work in other Sanskrit literature attribute it variously to , and . The same individual is meant in each case. The '' Pańcatantra'' explicitly identifies Chanakya with ." The latter was a scholar at Takshashila, the teacher and guardian of Emperor Chandragupta Maurya. Some scholars believe them to be the same person, while a few have questioned this identification.; : "while in his character as author of an ''arthaśāstra'' he is generally referred to by his '' gotra'' name, ;": "T. Burrow... has now shown that Cāṇakya is also a ''gotra'' name, which in conjunction with other evidence makes it clear that we are dealing with distinct persons, the minister Cāṇaky ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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