Tag: tradition

Categories
Fashion Interview Lifestyle

Sarah Karim, The Couturier: Redefining Tradition with Vision

Sarah Karim is Bangladesh’s best known designer when it comes to bridal ensembles and haute couture. In a country where most thought their only option for exquisite trousseau shopping was from across the border, her innovative designs and ability to customize styles for individual tastes, has dramatically changed this scenario! Using artisans who were originally trained by her grandmother, Sarah reinvented many heritage designs and started a new line of formal wear with modern cuts & drapes and then ventured into creating her exclusive bridal line. That’s how Sarah Karim Couture was born years ago and rest as they say is history! An interview feature by columnist Riccha Grrover for Asian Lite International.

In conversation with designer extraordinaire Sarah Karim…

RG- When and how did your couture entrepreneurial journey start?

SK- I remember when I formally started, I used my own money to design and create my first 12 outfits! This was still when my grandmother was running the business. So, at one of her sales, I had showcased these 12 salwar kameezs under my own label and they sold out in no time! Since then I never looked back and went from strength to strength! Today the organization is much bigger and we provide employment to newer artisans while retaining our core team. 

RG- Why did you decide to choose fashion designing as a career?

SK- Actually it chose ‘me’ rather. It was my maternal grandmother who started this organization as a charity. She belonged to the Dhaka Nawab family who were great patrons of the arts including intricate hand embroidery like zardozi & karchopi work. My grandmother wanted to create employment for these artisans who no longer enjoyed any patronage from erstwhile landlords and zamidars. She further trained the artisans and gave them better designs and color palettes to work with. When old age prevented her from being as active as she used to be I stepped in and took over the organization. Having acquired a Masters degree and having studied at Delhi’s prestigious Lady Shri Ram (LSR) College, I was teaching at High School & University before I quit to devote all my energy to the business. I reinvented many designs and started a new line of formal wear with modern cuts & drapes. That’s how Sarah Karim Couture was launched. A few years later we started our bridal line.

RG- What is your DesignIng process ? 

SK- All our designs have one recurring theme, a central idea – they’ve all got classic, regal designs and work, but with modern cuts. Any Sarah Karim outfit runs through a rigorous and detailed process as it goes from sketches that finally take the shape of real designs. I look into a lot of classic, old, Mughal designs/motifs, so whereas the style is modern the work is always very classic. I think it is very important that your individuality is reflected in what you create. I take a lot of care to think up color palettes for my lines,  so every season we have certain recognizable hues we work with. Same with cuts and silhouettes we try something new and unique every season.

RG- Is all your design work done in-house?

SK- Considering that a major incentive for me being in this industry was to provide sustainable employment to our artisans, all our work is in-house in Dhaka. We do not outsource any of our designs or labor. This is important also to safeguard our ideas and patterns from getting replicated. Cheap imitations of our work is a nagging problem but really does not affect sales as our clients recognize & appreciate our commitment to quality which remains unmatched.

RG – What are the key embroidery techniques your brand uses and their applications?

SK-As mentioned before, our artisans are highly skilled in traditional embroidery techniques like zardozi, aari work, gotapatti etc. These techniques are handed down from generations and our karigars are all specialists in their respective fields. Hence the quality of our hand embroidery/zardozi, everyone agrees, is unmatched in Bangladesh. I’m a perfectionist too when it comes to my work and so make sure that our workmanship is flawless! 

RG- How do you manage your seasonal stock?

SK- Our year is not so much season based as in the West but rather depends on festivals & weddings. So we have the two Eids for which we do special lines. First being the Eid ul fitr being much more elaborate than the second Eid which follows in 2 months. The period between July to September and then again between December to February is always hectic as it’s the main wedding season. This is when we introduce our bridal collection with all its finery photo shoots, promotions etc. We also do at least two fashion shows every year one of which is the much anticipated Bangladesh Wedding Couture Week. Our party wear and casual lines are refreshed almost every fortnight as and when ensembles are finished and put on display. 

RG- What is the USP of the label ?

SK-I think our greatest strength is the ability to blend antique designs with modern cuts & styles. Also the artisans working for the brand have decades of experience and specialize in embroidery techniques that date back to the Mughal Era of Bengal. Such timeless artistry juxtaposed with fusion cuts and designs is the hallmark of a signature sarah karim ensemble! 

RG- What is your future vision for your brand?

SK- It has been a good run I think. Down the years we’ve done many fashion shows, both at home and abroad with some of the most famous showstoppers. Our clothes have been worn by well known personalities even in countries like India which have so many celebrity designers. I’ve had the opportunity to speak at some very prestigious platforms with regards to the revival of antique handicrafts, self reliance of artisans and issues of women empowerment. I am also on the board of an NGO called Thrive which provides free meals to more than 3000 underprivileged school kids everyday. My work and story has been published in many magazines, on covers and centre spreads. We’ve had some very concrete offers to open stores in Dubai and London and we already retail in Australia. We also ship internationally to more than 25 countries around the globe! 

So it’s been a happy journey so far, but as they say “..miles to go before I sleep… “

Sarah Karim’s journey stands as a testament to the transformative power of innovation and tradition in the world of fashion. Sarah’s  pioneering spirit, rooted in a desire to empower artisans and preserve heritage craftsmanship, has reshaped the landscape of bridal ensembles and haute couture in Bangladesh. By reviving classic designs with modern cuts and drapes, Sarah has captivated audiences both locally and internationally. 

Karim’s commitment to in-house production not only ensures the integrity of her creations but also serves as a platform for sustainable employment and the preservation of unique designs. As she looks towards the future, Sarah envisions a continued expansion of her brand’s presence globally, driven by a dedication to excellence and a passion for celebrating timeless artistry. With accolades, prestigious collaborations, and a burgeoning international clientele, Sarah Karim’s journey is far from over—it’s a testament to her enduring legacy in the world of fashion.

ALSO READ: ‘Fashion Helped Me Discover My Confidence’

Categories
Lite Blogs

Embrace Tradition with Straavi’s Festive Saree Collection

Banarasi silk sarees are known for their rich and intricate zari work. The festive and vibrant colors, along with the gold or silver brocade, make them a perfect choice for Makar Sankranti and Pongal celebrations…reports Asian Lite News

 As a new year dawns, the spirit of festivities surrounds us with new aspirations and joys to unfold in terms of new beginnings.

Sarees are such a beautiful medium to celebrate these festivities through, each saree having so much meaning attached to them. It is a symbol of our rich heritage and the multi cultural environment we are surrounded with.

With festivals like Makar Sankranti, Pongal and Lori commencing, here are our top five saree recommendations from Straavi to embrace the festivities in its full spirits.

Bandhani Sarees

Bandhani sarees are a beautiful representation of traditional Indian craftsmanship and are cherished for their cultural significance and aesthetic appeal. They remain popular choices for women who appreciate the artistry and vibrant colors associated with this traditional tie-and-dye technique.

Banarasi Sarees

Banarasi silk sarees are known for their rich and intricate zari work. The festive and vibrant colors, along with the gold or silver brocade, make them a perfect choice for Makar Sankranti and Pongal celebrations.

Kanjeevaram Sarees

Kanjeevaram sarees are characterized by their lustrous silk and intricate zari work. These sarees often feature vibrant colors and traditional motifs, making them an excellent choice for Pongal festivities.

Organza Sarees

Organza sarees are elegant and lightweight traditional Indian sarees that are crafted from organza fabric. Organza is a sheer and crisp material, often made from silk or a synthetic blend, which gives the saree a delicate and luxurious appearance. These sarees are popular for various occasions due to their sheer elegance factor and versatility.

Ikkat Sarees

The unique craftsmanship and cultural significance of Ikkat sarees make them a cherished choice among those who appreciate handwoven textiles with a rich history. Ikkats are traditional handwoven textiles that are characterised by their distinctive patterns created through the resist dyeing technique.

ALSO READ-Silk Sarees Steal the Spotlight in Pongal Wardrobes

Categories
Arts & Culture Lite Blogs

A Fusion of Art and Tradition

There are artisans coming from 22 states, including 65 national and state awardees and there will be 45 demonstrations…reports Asian Lite News

As Dastkari Haat Samiti enters its 38th year of dedicated work towards the preservation of India’s crafts heritage and sustaining the livelihoods of crafts people. It offers a new theme to the public at Dastkari Haat Samiti’s annual crafts bazaar at Dilli Haat this year from 1 st -15 th January, 2024.

Dastkari Haat Samiti has conducted over 150 bazaars over the years, created major interventions like conceptualising Dilli Haat and working for its continued service as a market for craftspeople. It has reintroduced calligraphy into crafts and created major online documentation of 52 crafts all over India for the Google Arts & Culture platform. Its’ artistic crafts maps of all the states of India are iconic as are its many publications on crafts practices and projects. A special feature at its Dilli Haat annual bazaar has been craft exchange workshops with Craftspeople from abroad. This has not been possible due to Covid uncertainties and travel restrictions.

To greet you,  170 stalls with a large range of weaves, hand block prints, embroideries, Lehariya, crafts in grass, bamboo, metal, wood and other plant material, leheriya, Jewellery, stationery, ceramic and terracotta, and traditional art from tribal Gond to Kalighat, Phads, Pattachitra. Brass from Orissa, West Bengal, Terracotta from Rajasthan, Ceramic from UP, Maharashtra and Delhi, Block Prints from AP and Rajasthan, Ikat from AP, Ajrak Printing from Gujarat, Weaving from UP and Gujarat,

There are artisans coming from 22 states, including 65 national and state awardees and there will be 45 demonstrations.

Some unique crafts from different states are:

Leaf Printing on textiles from Gujarat, Lehariya from Rajasthan, Jute products from Maharashtra, Cane and bamboo from Assam, Handcrafted mura from West Bengal, Bamboo leaf from Madhya Pradesh, Mud work and mirror from Gujarat, Leather work from Gujarat, Recycled products from Delhi, fine Soof embroidery from Kutch, Natural grass baskets from Orissa, Sholapith Flowers from West Bengal, Dry flower from Jharkhand and Phad painting, Rajasthan. The annual bazaar will also showcase stationery made of handmade paper in the most organic of raw materials including Elephant Poo from Jaipur.

While visiting the annual crafts bazaar be on the look out for these skills creating art including Sanjhi Craft from Uttar Pradesh, Terracotta from Rajasthan and Delhi, Madhubani Painting from Bihar, Pattachitra Painting from Orissa, and West Bengal, Gond Painting from Madhya Pradesh Miniature Painting from Rajasthan, Glass objects and jewellery from Firozabad, Pichwai painting from Rajasthan, Worli painting from Maharashtra and Basket making from Jharkhand and Uttar Pradesh.

Dastkari Haat Craft Bazar at Dilli Haat is known for its vivacious selection of cultural performances. This time you can find Rajasthani’s folk music and Kalbelia dance from Barmer, Rajasthan and Chaau Dancers, group of Bhiwani Kalindi from West Bengal. First time ever workshop combining concepts of Graphic Design with Traditional Art Forms is being conducted. This collaborative workshop will seamlessly intertwine the artistic finesse of graphic design with the skilled craftsmanship of artisans, fostering a dynamic synergy where structured creativity meets hands-on expertise. Participating craftspeople will delve into the world of visual storytelling, while also immersing themselves in practical techniques. The aim is to create a unique fusion of contemporary visual design pedagogy with tangible craftsmanship. This experiment is conceptualized and will be conducted by Dr. Dimple Bahl in collaboration with Dastkari Haat Samiti

ALSO READ-‘Indra’ Collection Takes Center Stage at UN COP28 Sustainable Fashion Summit

Categories
Lite Blogs UK News

 Diwali on Trafalgar Square: A Triumph of Tradition, Heritage and TRS

Diwali on the Square served as an inspiration to many as they received a dash of culinary ideas and glamour with the presence of the renowned chef, Chetna Makan…reports Asian Lite News

London recently witnessed a spectacular celebration of Diwali on Trafalgar Square- an annual event on the London calendar that gets grander with each passing year. An enthusiastic crowd of over 60,000 people dressed in their finest, had brought along their festive spirits despite the quintessential English rain. Amongst the grey weather, one could see the bright blues and yellows of TRS. The event commenced with energetic dance performances and Garba routines, which were enjoyed by the crowd. The Mayor of London joined the joyous festivities too, bringing along the sun with him, ensuring the perfect weather for a day filled with food and merriment.

In the heart of this magnificent celebration, TRS played an essential role, seamlessly blending traditions, and flavours to create a relishing experience for all who came. It is rooted deeply in its core values of South Asian culture and continues to be a pillar for the community living away from their homes. TRS brings the essence of South Asian cuisine to kitchens worldwide, serving to the palate of every generation in one plate.

Diwali on the Square served as an inspiration to many as they received a dash of culinary ideas and glamour with the presence of the renowned chef, Chetna Makan. A successful author of three cookbooks, a maestro of all things cooking and a baking aficionado – Chetna Makan cooked some delicious recipes using TRS’s fine semolina, gram flour, and moong dal. From semolina vada to Bread Pakoras, she cooked just the right dishes to warm one’s soul on a rainy day. 

“I had a great time at the Diwali mela this year. Even though the day started with rain it was so lovely to see so many people come and make it a special day. There was an amazing range of delicious Indian food and the performances were outstanding. It was a joy to work with TRS and to meet so many people that day.” Chetna Makan  

“TRS served a fun twist to the classic salted popcorn with its own TRS kernels spiced with TRS chilli powder, another batch sweetened with TRS cinnamon powder, and then another Desi Delight popcorn that had many queuing up to get a taste of -all because of the magic of TRS All Seasoning powder. TRS’s claw machine was a huge success amongst children and adults alike, who displayed childlike wonder for the TRS goodies they each ‘clawed’ their way to win.” -Stephanie Rose O’Riordan, TRS Marketing Manager

This event also saw the presence of notable influencers, including Monisha Bharadwaj, Sharmin Choudhury, Sunia Imran, who added an extra touch of glamour to the celebration. From the beautiful statue of Lord Ganesha to the engaging Diwali Puppet acts and song performances on stage, ‘Diwali on the Square’ proved to be a day of tradition, laughter, and joy to all. The spirit of Diwali, which signifies the triumph of good over evil, was symbolically reflected in the smiles and warmth shared by the crowd.

As the festival of Diwali approaches, we extend our warmest wishes to everyone. May this festival fill your homes with sweets, savouries, and smiles! Happy Diwali!

ALSO READ-Yoshinori Mizutani Unveils Exquisite Menu at Shangri-La Bengaluru

Categories
Lite Blogs

Khada Dupatta draping tradition, cultural grace

The color of the Khada Dupatta holds significance in Indian weddings. Red is the most commonly used color as it symbolizes love, fertility, and prosperity…reports Asian Lite News

Khada Dupatta is a significant component of traditional bridal attire in Indian weddings. It is a long, embellished fabric that is draped over the bride’s head and covers her shoulders, extending down to her feet.

Aaliya Deeba, founder of Ideebs London, a Couture Label shares with the significance of the Khada Dupatta in traditional Indian weddings and provides some pointers on its importance and styling.

Cultural Symbolism: The Khada Dupatta holds immense cultural symbolism in Indian weddings. It represents the bride’s modesty, elegance, and grace. It is a symbol of purity and is believed to bring blessings and good luck to the bride.

Regional Variations: Different regions in India have their unique styles of draping the Khada Dupatta. For example, in North India, it is draped over the head and pinned to the shoulder, while in South India, it is draped around the waist and worn over the head.

Embellishments and Fabrics: The Khada Dupatta is typically made of luxurious fabrics like silk, chiffon, or georgette. It is heavily adorned with intricate embroidery, sequins, beads, or zari work. The embellishments add opulence and grandeur to the bridal ensemble said Aaliya Deeba, founder of Ideebs London, a Couture Label.

Color Symbolism: The color of the Khada Dupatta holds significance in Indian weddings. Red is the most commonly used color as it symbolizes love, fertility, and prosperity. However, brides today also experiment with other colors like pink, maroon, gold, and pastel shades to match their wedding attire.

Draping Styles: The draping style of the Khada Dupatta can vary based on the bride’s preference and regional customs. It can be draped over the head and pinned to the shoulder, pleated and worn like a sari pallu, or wrapped around the waist and worn over the head.

Bridal Veil: The Khada Dupatta also serves as a bridal veil, concealing the bride’s face during certain rituals, such as the exchange of garlands or the arrival of the groom. It adds an aura of mystery and anticipation to the bride’s appearance.

Bridal Entry: The Khada Dupatta is often used during the bride’s entry into the wedding venue. It is held up by family members or bridesmaids to create a beautiful archway under which the bride walks, symbolizing her transition from a girl to a married woman.

Styling Tips: To style the Khada Dupatta, it is important to ensure it complements the bridal attire. Coordinate the color and embellishments of the Khada Dupatta with the bridal gharara or sharara. Proper pinning and draping techniques are crucial to keep the dupatta in place throughout the wedding ceremonies.

Personalization: While traditional designs and colors are popular, modern brides often personalize their Khada Dupatta. They may incorporate their initials, wedding date, or meaningful symbols through embroidery or custom motifs to make it unique and special.

The Dupatta plays a significant role in traditional Indian weddings. It symbolises cultural values, adds elegance to the bride’s ensemble, and enhances the overall beauty of the wedding ceremony. By understanding its significance and following appropriate styling tips, brides can embrace this timeless tradition and make it their own.

ALSO READ-Rahul Mishra’s ‘We, The People’: A couture spectacle at FDCI

Categories
Fashion Lifestyle Lite Blogs

Ritu Kumar weaving tradition into modern couture

Bollywood beauty Adi Rao Hydari walked the runway as showstopper for the designer dressed in an ivory chikankari lehenga worn with a short jacket…reports Tanya Banon

The grande dame of Indian fashion, Ritu Kumar, showcased her collection on Day two of FDCI Hyundai India Couture Week in association with Reliance Brands. The lexicon of the Ritu Kumar design aesthetic is so entrenched in Indian fashion, that it has become ubiquitous and synonymous with Indian Couture. 

The OG of Indian design and the first revivalist of Indian craftsmanship and textiles, received a standing ovation for her collection which featured India’s rich textile tradition woven into modern silhouettes replete with intricate embroidery. 

An amalgamation of vintage patina, burnished hues, metallic tones, a balance of motifs like paisleys, boots and flowers, were tastefully added to lehengas, dhoti pants teamed with jackets, saris, embroidery corsets under Maharaja coats stood testament to Kumar’s heritage and fashion repertoire. The country owes much of its design ethos to the revival work done by the first ‘barefoot doctor’ of Indian fashion.

Bollywood beauty Adi Rao Hydari walked the runway as showstopper for the designer dressed in an ivory chikankari lehenga worn with a short jacket.

The collection encapsulates a new feminine aesthetic through heritage textiles and nuanced classicism on dresses, jackets, capes, and anarkalis. The complexity of the glittering kasab and floral kashidakari are laid out with couture tailoring which makes the collection timeless and familiar while paving the way for what’s to come. 

This season, Kumar’s legacy stays intact while the mood mirrors the style of today’s India.

ALSO READ-Fashion unveils style and personality

Categories
Fashion Lite Blogs

‘Chaap’:  A harmonious blend of modernity and tradition

Balana expressed his excitement, “It was a dream come true to put my work on the map and showcase it. This collection features a harmonious blend of modernity and tradition, offering timeless pieces for everyone…reports Asian Lite News

Fashion designer, Punit Balana, known for his craftsmanship and aesthetics, opened his first flagship store in Dhan Mill, Delhi. The store will showcase his latest collection, ‘छाप’ (Chaap), inspired by the rich heritage of Rajasthan and the unique wax printing technique called “मॉम का छापा” (Maum ka Chhaapa).

The name ‘छाप’ (Chaap) reflects the essence of the collection, paying homage to the age-old art form and its continuing relevance in the modern era. It represents Balana’s commitment to preserving and showcasing the beauty of Indian crafts while infusing a sense of courtliness, nostalgia, and old-world charm into the collection.

Balana expressed his excitement, “It was a dream come true to put my work on the map and showcase it. This collection features a harmonious blend of modernity and tradition, offering timeless pieces for everyone. I am thrilled to come to Delhi that too with ‘छाप’ (Chaap). The collection is a reflection of me, a signature with new-age shapes which is  appealing to a wide range of fashion enthusiasts.”

The color palette chosen for the ‘छाप’ collection is soft and elegant. Golden hues, particularly the muted buttercup varieties, evoke understated glamour. Additionally, a delicate mint green shade reminiscent of traditional Indian blooms like mogra and rajanigandha lends a graceful touch to the collection. The classic silhouettes like the kalidar anarkali with an embroidered yoke, short kurtas paired with gheraras, three-piece sets with cowl skirts and handkerchief crop tops, and gauzy organza saris are showcased.

ALSO READ-FDCI partners with Reliance brands for fashion extravaganza

Categories
Arts & Culture Culture Lite Blogs

India is home to the world’s second oldest mosque

The Cheraman Juma Masjid in Kodungallur in Kerala in India is probably the oldest mosque in the subcontinent. The mosque, which was built in 629 AD, features a design influenced by Hindu architecture. A lamp that is believed to be around 1000 years old burns constantly within the mosque. It also boasts of a special white marble believed to be brought from Mecca. Another salient feature is that it may be the only mosque in India that faces the east while all other mosques face west towards Mecca. A special report by Maheep &Hafeezur Rahman

The Cheraman Juma Masjid in Kodungallur, Trissur district of in the Southern State of Kerala in India is probably the oldest mosque in the subcontinent. Purportedly built in 629 AD, meaning in the Prophet’s lifetime, it is an inalienable part of Kerala’s rich cultural history that epitomizes the free traffic of cultures in ancient India.

Cheraman Juma Masjid is located along a calm semi-rural road, with no visible clue about its great antiquity. At first glance, it may even seem unusual, since it does not look like a conventional mosque with domes and minarets. It looks no more than a tharavad (a traditional house found throughout Kerala), with tiled roof and ornate wooden doors. Only inside, however, you find a qibla pointing towards Mecca, and prayer mats, like many other mosques. Hanging lamps, which are part of a traditional Kerala house and classic temple architecture, form yet another unique feature.

Kodungallur was a bustling trade hub for the world on account of its location near the ancient port of Muziris. Dating back to even 400BC it was a vibrant emporium of trade with East and West. It was a settlement of traders, standing as the gateway to India for varied cultures and races, thus emerging as a cradle of several civilizations. The Chera kingdom used to carry out trade with the Middle East and Europe since Harappan times, trading everything from spices to precious stones.

Structure of the old mosque (Picture Credits: Wikipedia)

Indian black pepper was found stuffed in the 3,000-year-old mummy of Ramses II, the famous Egyptian Pharaoh. The palaces of Nebuchadenazzar (7th century BC) and the Sumerian Ziggurat Temple of Ur in Mesopotamia (present-day Iraq) from the 6th century BCE reportedly used teakwood from South India. Arab sailors held close trade links with the Chera kings. It did not take long therefore to spread the news in Malabar about Prophet Mohammed in Mecca and Islam.

The local oral tradition claims that CheramanPerumal Rama Varma Kulashekhara, the Chera king of Kerala with Kodungallur as its capital saw in a dream the splitting of the new moon into two halves at the horizon, which is an event described in the Holy Qur’an (54:1-5). Stunned by what he had seen, the king sought answers from the court’s astrologers but failed to get a convincing reply.

Around the same time, an entourage of Arabs led by Shaikh Sahiruddhin Al Madani visited his capital and sought permission to anchor in the port. When the King shared his dream with the merchants, they informed him that it was actually a miracle performed by the Prophet. This event finds mention in several books dealing with the early history of Kerala, such as William Logan’s Malabar Manual and K Balakrishna Pillai’s History of Kerala.

The King was so moved by the interpretation of Shaikh Al Madani that he decided to meet the Prophet and embrace Islam. He arranged for the division of his kingdom into three parts and handed it over to his sons and nephews. When the Arab visitors, who had meanwhile proceeded to Ceylon for trade, returned, the King sailed with them to meet the holy Prophet. The King later converted to Islam in front of the Prophet and performed Hajj as well.

He was on his way back, with a team, to propagate Islam in Kerala, but unfortunately fell sick during the journey and passed away. Cheraman was buried in Zafar (now Salalah) in Oman. Nonetheless, he left a letter for his sons to receive the team of missionaries and offer them all the necessary help. His letter was eventually delivered to his relatives, the ruling chieftains of Malabar, through his

friends Malik bin Dinar and Malik bin Habib who visited Kodungallur along with their companions. The local rulers gave them permission to build a mosque at Kodungallur.

Researcher Anjali Mohan, who is working on a book called, ‘Cheraman Juma Masjid: Caritraom, Sanskaram’ (Cheraman Juma Masjid: History and Culture), observed that despite occasional disputes about the veracity of the story of conversion, there had not been any version to dispute this account. This shrine now stands as a testimony to the peaceful entry of Islam into the subcontinent. It is also a symbol of the harmonious co-existence of religions for centuries and the flourishing commerce between Arab countries and India.

The mosque was built and designed in a Hindu Architectural style. There is a lamp in the mosque which always burns that is believed to be about 1000 years old. Devotees, which include people from all religions, bring oil for the lamp as an offering. The mosque authorities allow followers of other religions to enter and offer prayers. People of all religions visit the mosque and many non-Muslims perform Vidhyarambham (initiation ceremony to the world of letters) of their children here.The festivals of Ramadan and Eid are observed with great pomp. At the same time, the Hindu festival of Vijaya Dashami too is reportedly celebrated in this mosque. The mosque also boasts of a special white marble believed to be brought from Mecca. Another salient feature is that it may be the only mosque in India that faces the east while all other mosques face west towards Mecca.

It has seen several renovations and reconstructions over its long history. It is believed that major renovations were done in the 11th, 14th and 15th centuries. The recent renovations were carried out in 1974, 1984, 1994, 2001 and 2020. The most notable one was probably in 1504 when the Portuguese admiral Lopo Soares de Albergaria razed it to the ground. In 1984, some extensions were added, which made the building look like a modern mosque. Concrete structures — mainly corridor and hall — were built to organize prayers at the mosque. Those extensions almost totally concealed the old structure. However, renovation work which started in 2020 has since removed those unwarranted accretions.

Replica of Cheraman Juma Masjid gifted by Prime Minister Modi to the Saudi King during his 2016 visit.

The Muziris Heritage Project (MHP) took up the task of renovating the Cheraman Juma Masjid in an effort to bring back the heritage structure. Governor Arif Mohammed Khan inaugurated the renovation work on November 10, 2019.

Before the renovation, the mosque had lost some of the unique classic flavor, after  structural additions including domes and minarets were made in the 1970s and 1990s. The MHP was commissioned for the restoration of the ancient heritage in original form. The additional concrete structures were demolished, and the heritage architecture was restored using teak wood. Clay tiles have been used to restore traditional Kerala-style roofing. Since the renovated mosque removed the existing space for prayers, the management decided to build an underground prayer hall. The underground facility is large enough to accommodate up to 2000 worshippers without interfering with the structure’s architectural integrity.

Latest pictures of Cheraman Juma Masjid, Kodungalloor undergoing renovation works (Pictures by Asian Lite)

The Kerala government adopted the Muziris Heritage Project as part of the State’s attempt to preserve its ancient culture. Under this scheme, Benny Kuriakose and Associates took up renovating the Cheraman Juma Masjid. The older part of the mosque including the Sanctum Sanctorum is left untouched and is still preserved.

The unique architecture and rich history of the mosque make it a must-visit destination for anyone interested in Islamic architecture and heritage or Indian history. The mosque’s continued existence is a testament to the rich cultural heritage of Kerala and the importance of preserving it for future generations.

(This article is written by Dr Maheep, an Expert in International Relations with specialisation in Arab & Islam and Dr Hafeezur Rahman, a renowned scholar of Islamic Cultural Heritage and Founder President of Sufi Peace Foundation, New Delhi)

ALSO READ-INTERVIEW: PROF. SUBIR SINHA

Categories
India News Lite Blogs

Kashmir:  An alcove of Sufis and Saints

He strived for Hindu-Muslim unity always. One of his prominent poems is “Duniyahas Aaye Baeji Baeji, Samith Karo Baejiwath”, which translates as We had come to the world so that we may live together just like brothers…reports Asian Lite News

Kashmir Valley is famous all over the world for its natural beauty, green meadows, Sonamarg, Gulmarg and Pahalgam, snow-capped mountains, apple and almond orchards, crafts and tourism, elegant Pashmina shawls, culture, heritage and hospitality. Amir Khusrao’s poetry is the best way in entire globe to describe the incredible beauty that nature has bestowed upon Kashmir.

“Agar Firdaus Bar Roo-e-Zameen Ast

Hameen ast-o Hameen ast-o Hameen ast”.

“If there is a paradise on earth, it is here, it is here, it is here”.

However, Kashmir is equally known as “Pir Waer” an alcove of Sufis and Saints. To establish an atmosphere of peace, love, compassion, togetherness, brotherhood, and communal harmony in Kashmir, Sufi Saints travelled great distances. The development of the Kashmiri ethnic identity has been significantly influenced by the Sufi humanistic philosophy.

The Kashmir valley’s socio-religious harmony, manifested in the form of a particularly rich and distinctive composite culture known as Kashmiriyat throughout the medieval period, was the result of the Sufis’ genuine promotion of humanism at the time.

Pandits and Muslims in Kashmir share a number of rituals and beliefs related to Sufism and both groups place a great deal of devotional value on the many Sufi shrines that dot the Valley. For many years, different communities coexisted peacefully in Kashmir.

Sufism’s dedication to the tolerance and non violent ideals of Islam, as prescribed by the Holy Quran, fosters religious harmony and brotherhood. Sufism as a whole offers a solution for improving the religious tolerance of a multi religious society like Jammu and Kashmir.

Sheikh Noor ud Din Noorani RA, the famous sufi saint of Kashmir spread his teachings or message through poems, commonly known as shruks. His poems have four to six lines each and evolve around religious themes, highlight moral principles and often call for peace.

He strived for Hindu-Muslim unity always. One of his prominent poems is “Duniyahas Aaye Baeji Baeji, Samith Karo Baejiwath”, which translates as We had come to the world so that we may live together just like brothers.

Likewise, the teachings of all other sufi saints promote peace, harmony among communities, and brotherhood. However, Kashmir is becoming a source of misery for both residents and non residents because of the uncertainty that has persisted for a decade and been promoted by fringe groups, The extremism is pulling apart the fundamental foundation of all of these things.

It is pertinent to mention that the ongoing conflict in Kashmir has fuelled the flames by shattering Kashmiriyat and communal harmony, which led to mass killings, genocides, and the exodus of Kashmiri Pandits from the valley.

Religious fanatics have proliferated in Kashmir over the past few years, demanding that Islam be brought back to its original purity. Out of a population of around 8 million, they currently boast of having more than 1.5 million followers. Foreign forces with a malicious religious agenda want to eradicate Sufi tradition and replace it with Extremism.

Sufism is a subset of Islam that Kashmiris have long accepted, as opposed to political Islam, in which Muslim Sufi saints’ advocated religious tolerance and pluralism.

As funded and spread extremist Islam made significant inroads into Kashmiri society, the insurgency there purged the society of its native characteristics. A variety of groups were active in Kashmir and it was simple for them to deceive the gullible people in Kashmir.

The gentle Sufi teachings are losing their resonance in Kashmir as some elements are bringing their own rigid form of Islam, and when many Kashmiris are setting aside their spiritual growth in favor of the rest of the things.

The mainstay of Kashmir’s tolerance and coexistence has been our Sufism, which has come under attack from forces opposed to tolerance and coexistence.

This is something that we, the people of Kashmir, must keep in mind. We cannot have a peaceful, tolerant and progressive society unless Sufism is brought back to its age-old splendour.

If the lost culture of Kashmiriyat/Sufism is revived and the gun culture is reduced, peace may return to the Valley. This realization and self-action must come from the state’s citizens.

For the benefit of their future generations, adherents of a Sufi Islam must find their voice. If the nation needs to find a solution to the Kashmir crisis, it might be time to leave them in limbo to make room for the moderate voices.

In this hour of crisis, the people of Kashmir must unite and support the administration’s efforts to impose peace in Kashmir, in order to put Jammu and Kashmir on the path of development and put an end to the senseless killings and bloodshed.

I urge Kashmiris not to stray from their native identity, ethos, and culture and succumb to extremism, an alien ideology. Let’s work together to bring back Kashmir’s peace and tranquility.

ALSO READ-SPECIAL: Farm Sector Get A Fillip in Kashmir

Categories
Fashion Lite Blogs

Celebrating tradition weave and craft

The second marvel was designer Varun Bahl’s Fall 2021 presentation titled ‘Modern/Mosaic’. Adding a dash of spunk, and lots of glamour, Bahl reinvents his signature floral inspired prints for the modern boho-bride…reports Nimerta C Sharan

Fashion without tradition is meaningless and impossible. You could call it a fashion coup or the big “love reveal”, a first in fashion as The Taj Mahal becomes the backdrop for designer-duo Falguni Shane Peacock’s couture offering at the digital edition of the India Couture Week 2021.

A collection of gown-style lehengas, trails and embellished veils detailed with the label’s signature feathers and intricate sequin embroidery were the stuff dreamy wedding ensembles are made of set in the magnificence of one of the world’s most renown Wonders. With a colour palette scaling from muted tones to pastels and deep hues, the bridal line has been completely hand-crafted by master artisans from the brand’s adopted villages. Bollywood star Shraddha Kapoor turned muse for the designers dressed in a exquisite deep-red lehenga adorned with crystals, beads and sequins. Styled with a scallop-bordered dupatta, Kapoor made for the perfect showstopper.

The second marvel was designer Varun Bahl’s Fall 2021 presentation titled ‘Modern/Mosaic’. Adding a dash of spunk, and lots of glamour, Bahl reinvents his signature floral inspired prints for the modern boho-bride. Known for blending classic with contemporary, the draped skirts and bralettes, embroidered jackets with power shoulders, peplum tops and playful skirts are just what you need to get the party started while keeping it stylish. “I’ve tried to simplify my designs and cuts to reduce the ritual of haute couture, and infuse them with a certain refreshing lightness,” said Bahl who features in the presentation.

Designer Reynu Tandon showcased her couture collection ‘Zuri’, which was an amalgamation of traditional design techniques and modern silhouettes with heavily embellished lehengas, mermaid-gowns and shararas on display. The designer roped in actress Chitrangda Singh to be part of her fashion film.

ALSO READ-India Couture Week: Blending love, fashion and cinema

READ MORE-Fashion with traditional crafts