Local artistes, craftspersons and even stalwarts are roped in for their expertise to create art installations, pavilions and idols from clay, bamboo, natural fibres, coconut shells, seeds and virtually anything that can be whittled out to give form and shape. So for example, if in in Kolkata, a host of these pavilions showcased their perspective on demonetisation in India, in , one highlighted the Mars Orbiter Mission and in , the Nepal earthquake was in vogue.
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It has become an important way to communicate messages including on issues related to the environment. This year, organisers of a Kolkata-based puja in their 49th year bucked the traditional design style to opt for a marquee staging human-tiger conflict owing to rising population and habitat degradation. With life sized models of men and children dressed up as tigers depicting the Pullikalli folk form from Kerala , the marquee has installations of high-rises symbolising population growth and arrows whizzing out of them symbolising the impact on big cats.
Painted pug marks are scattered across the marquee. On similar lines, about a decade ago Joydip and his wife Suchandra Kundu, also a noted conservationist, began celebrating Vyaghravahini Durga puja-replacing the lion mount with a tiger-at their ancestral home in Kolkata in reverence to the tiger. In ecologically sensitive Siliguri subdivison in north Bengal, a marquee has portrayed the impacts of plastic pollution, in sync with the civic body stepping up its act on restrictions on plastic carry bag usage.
In Guwahati in Assam, ten thousand mineral water bottles were stacked together to create a marquee underscoring the menace of plastic pollution.
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A village in Assam has chosen to highlight conservation of the endangered greater adjutant stork Leptoptilos dubius , a huge stork conspicuous for its thick bill and pendulous neck-pouch, as the theme for their marquee. Out of a total , mature individuals globally, Assam alone harbours to of them.
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Barman is associated with the Dadara Durga puja. But both Joydip and Barman feel there are more challenges to master.
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One contentious issue in this regard has been the use of lead-based paints and Plaster of Paris in painting and crafting idols and the subsequent immersion of those idols in water bodies at the conclusion of the festival. The central and state pollution control boards have rules in place but when it comes to implementation, norms do go for a toss, as evidenced from reports in Bihar, West Bengal, Uttar Pradesh, Assam and Odisha.
The switch to lead-free paints has faced challenges due to the steep costs of paints compared to the inexpensive lead-laced counterparts. Mukherjee, however, said a section of puja organisers, such as in Varanasi in Uttar Pradesh, have also initiated green practices such as the use of specially created water tanks to immerse the idols away from the Ganga river. In Mayan mythology, Yum Caax, personified as the god of maize and the god of agriculture and nature.
Akkadian, Assyrian, Sumerian and Amorites cultures sculpted these figurines, placed in temples to represent personal constant prayer in an absence of the congegrate.lawlordev.com/cellphone-locate-program-nokia-22.php
How to Honour Your Inner Goddess
Iraquean Queen of the night, symbolizing the sun, flanked by owls, symbols of wisdom and perched upon a double lioness. Four Faced Buddah Indiane God of creation, known for showing mercy and benevolence. Ritual figure, called Shakko-Dogu represents the invisible forces of nature and the universe.
Horus was the god of the sky and is usually depicted as a falcon or a man with a falcon's head wearing the crown of all Egypt. Aztec Huehueteotl is one of the oldest deities from ancient America. According to the Inca religion, the sun represents their main god, called Inti.
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The head vault represents the rainbow, a celestial vault. Australian cave painting. Aboriginal Lightning spirit, Aboriginal elders gathered round these sacred rocks and cave interiors to perform solemn rituals. Gilgamesh B.
Navajo AD Sand Paintings from Native America ,commonly called dry painting and represent the "places where the gods come and go" in the Navajo language.
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