Sindh Corner
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ghazi52
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..........................
Sindhi Dress
..........
..........................................
Ishq Da Jaam (Original) - Saif Samejo - The Sketches - Lahooti Music Aashram
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Sindhi Dress
..........
..........................................
Ishq Da Jaam (Original) - Saif Samejo - The Sketches - Lahooti Music Aashram
..................
.
ghazi52
PDF THINK TANK: ANALYST
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..............................
Sindhi Topi
Sindhi topi (urdu) سندھی ٹويی : Sindh has one distinctive cap, which
stands out for its colorful embroidery and glasswork; the Sindhi Topi. It is
round in shape except that a portion in front is cut out to expose the forehead
(for the same reasons as explained earlier) which represents the Islamic culture
of Minbar and Mihrab. It comes in two varieties - hard and soft. The hard
variety will keep its shape when not worn but the soft variety can be folded and
even put into one�s picket. Most Sindhis, rich or poor, own a Sindhi cap.
All Sindh celebrated 6th December as Sindhi Topi Sakafat (culture) day.
The Sindhi cap is also used in Bahawalpur and Balochistan, both by the
Pushtuns and the Baloch. Balochistan, otherwise, is a land of turbans. And very
distinctive turbans, too
History of
Sindhi Topi(Cap)
If we march along the course of history due to opulence and generosity of
Sindh different communities of the world has been moved here, the majority among
out comers were Persian, Greek, Arab, Aryans, Turkhan, Mongols, Dutch, French,
English etc: this cruel course of history is continued even today, because the
advent of nomadic nations and gipsy communities from different parts of the
earth and outside provinces or bordering countries toward Sindh is never
stopped. Sindhi people not only welcomed the wandering visitors used to come
here from different regions of the world through ages but also impressed them
with loving behavior and warm hospitality on such scale that mainstream among
the infiltrators preferred to live here rather than to go back their respective
homelands. Every traveling family, ethnic group or nation which moved around
here, carried their ways of life, like traditions, values, rites, rituals,
culture, folklore, dwelling systems, ideologies, beliefs, philosophies etc:
along with them, the inhabitants of Sindh patronized those all cordially, while
among the guests who went back to their respective native soils sponsored
communal values, spiritual stuffs and cultural principles of Sindh amid them.
Arab traders accustomed sugar candy in Sindh and took horns of rhinoceros
from here to sell in China . Al-Mehlib (the Arabian tribe) transported Hens
and Buffaloes of Sindh toward Iraq and China , Arabs also carried prey dogs
from Sindhi soldiers as a tribute. These people furthermore carried betel
leaf from here and harvested in Oman whereas they brought seeds of taramid
tree from Basra . People of Sindh learned honey making process, agriculture
of dot tree and making of sweet meal with dot palms from Arabs. The Persians
brought perfume, olive and water lily from Khurasan, pomegranate is also
Persian gift and they in addition gave us seeds of bringal. Grapes have been
planted here during the era of Abbasid dynasty, British carried kernel of
orange from here In divine book �Touret� is written that �Suleman brought
Peacock, musk, gold and rhinoceros from Sindh�. In 808 AD a doctor named
Manik has been called upon for treatment of incurable disease of Abbasi
Caliph Haroon Rasheed, after completing successful treatment, Sultan
appointed him chief supervisor of the royal hospital at Baghdad .
........
Sindhi Topi
Sindhi topi (urdu) سندھی ٹويی : Sindh has one distinctive cap, which
stands out for its colorful embroidery and glasswork; the Sindhi Topi. It is
round in shape except that a portion in front is cut out to expose the forehead
(for the same reasons as explained earlier) which represents the Islamic culture
of Minbar and Mihrab. It comes in two varieties - hard and soft. The hard
variety will keep its shape when not worn but the soft variety can be folded and
even put into one�s picket. Most Sindhis, rich or poor, own a Sindhi cap.
All Sindh celebrated 6th December as Sindhi Topi Sakafat (culture) day.
The Sindhi cap is also used in Bahawalpur and Balochistan, both by the
Pushtuns and the Baloch. Balochistan, otherwise, is a land of turbans. And very
distinctive turbans, too
History of
Sindhi Topi(Cap)
If we march along the course of history due to opulence and generosity of
Sindh different communities of the world has been moved here, the majority among
out comers were Persian, Greek, Arab, Aryans, Turkhan, Mongols, Dutch, French,
English etc: this cruel course of history is continued even today, because the
advent of nomadic nations and gipsy communities from different parts of the
earth and outside provinces or bordering countries toward Sindh is never
stopped. Sindhi people not only welcomed the wandering visitors used to come
here from different regions of the world through ages but also impressed them
with loving behavior and warm hospitality on such scale that mainstream among
the infiltrators preferred to live here rather than to go back their respective
homelands. Every traveling family, ethnic group or nation which moved around
here, carried their ways of life, like traditions, values, rites, rituals,
culture, folklore, dwelling systems, ideologies, beliefs, philosophies etc:
along with them, the inhabitants of Sindh patronized those all cordially, while
among the guests who went back to their respective native soils sponsored
communal values, spiritual stuffs and cultural principles of Sindh amid them.
Arab traders accustomed sugar candy in Sindh and took horns of rhinoceros
from here to sell in China . Al-Mehlib (the Arabian tribe) transported Hens
and Buffaloes of Sindh toward Iraq and China , Arabs also carried prey dogs
from Sindhi soldiers as a tribute. These people furthermore carried betel
leaf from here and harvested in Oman whereas they brought seeds of taramid
tree from Basra . People of Sindh learned honey making process, agriculture
of dot tree and making of sweet meal with dot palms from Arabs. The Persians
brought perfume, olive and water lily from Khurasan, pomegranate is also
Persian gift and they in addition gave us seeds of bringal. Grapes have been
planted here during the era of Abbasid dynasty, British carried kernel of
orange from here In divine book �Touret� is written that �Suleman brought
Peacock, musk, gold and rhinoceros from Sindh�. In 808 AD a doctor named
Manik has been called upon for treatment of incurable disease of Abbasi
Caliph Haroon Rasheed, after completing successful treatment, Sultan
appointed him chief supervisor of the royal hospital at Baghdad .
........
nizamuddin
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very nice sharing
ghazi52
PDF THINK TANK: ANALYST
- Joined
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- Country
- Location
..............................
Sindhi Ajrak : An Ancient Art Form.
The Ajrak is an essential
part of the apparel of a Sindhi person. Men use it as a turban, a
cummerbund and wound it around the shoulders. Women use it as a dupatta
and chaddar, as a shawl and sometimes as a makeshift swing for children.
The Ajrak is usually about 2.5-3meters. It is patterned in intense jewel
like colors. The dominant colors are rich crimson and a deep indigo. A
little bit of white and black is also used to give definition to the
geometric patterns.
The history of the Ajrak can be traced from the times of the ancient civilizations of the Indus Valley.
These civilizations have been thought to exist at around 2500 BC-1500 BC.
A bust of the King Priest excavated at Moenjodaro shows a shawl draped
around his shoulders. It is decorated with a trefoil pattern (like a three
leafed clover) interspersed with small circles, the interiors of which are
filled with a red pigment. The same trefoil pattern has been discovered in
Mesopotamia. Also on the royal couch of Tutankhamen (of the ancient
Pharaohs). The trefoil is a symbol of three sun-disks fused together to
represent the unity of the gods of the Sun, water and earth. It is thought
that the trefoil pattern survives as the cloud pattern in the modern Ajrak.
A UNIQUE PRINTING METHOD
The authentic Ajrak is printed on both sides by a method of printing
called resist printing. The printing is done by hand with hand carved
wooden blocks. Several different blocks are used to give the
characteristic repeated patterning. Making the blocks is a considerable
challenge since the pattern has to synchronize perfectly with the whole of
the Ajrak as well as cover various areas against dye.
The block maker uses the compass and the ruler for precision in making the graphs for the patterns.
The balance or the mizan has to be perfect for the final result. Various
tools are used for carving the blocks (pors) There are very few poregars
left in Sindh and it is a highly specialized craft. The blocks are thrown
into the river when the craftsmen are done with a pattern. Block making is
a family craft and passed down from generation to generation.
The process by which the Ajrak is made is considered intuitive to the Ajrak makers. It is part of
the existence of the craftsman and therefore not a 'job' but a form of
life.
The basic process is called the Teli Ajrak. However, variations on the theme have emerged. Broadly the
main processes are:
1. Teli Ajrak
2. Sabuni Ajrak
3. Do Rangi Ajrak
4. Kori Ajrak
The Teli Ajrak
When worn and washed, the colors of the Ajrak become more brilliant and
luminous. This is the most tedious and time consuming process and very few
craftsmen today go through all the stages.
1. The fabric used is usually
Latha. (Pure Cotton/Calico). 40 pieces of 5 meter lengths are torn to make
one lot.
2. The pieces are washed in the river. The cloth is also soaked in a
solution of Soda Bicarbonate and water.
3. The fabric is then steamed to remove the impurities. (Chemical
finishing). This is on a special mud stove called Khumbh for about 16
hours.
4. It is washed again in the river and beaten to dislodge the impurities.
5. Camel dung is soaked in water and the fabric is soaked in it to make
the fabric soft and also acts as a bleaching agent (Alkaline). This helps
the printing of the fabric.
6. The fabric is then soaked in a solution of a special oil and Soda
Bicarbonate. This is quite a complicated procedure and takes several days.
The treatment is alternated and there are several steps to this. By the
end oil is completely impregnated in the fibre. This is what gives the
suppleness to the Ajrak as well as making it virtually indestructible.
7. The next stage prepares the fabric for the printing stages. Gurrh
(molasses), dried lemons, castor oil Sakun (tamarisk) and water are used
to make a dough. This dough is mixed in a big vessel with water and the
cloth is soaked in it.
8. Chapayi/Printing: Gum and Lime is mixed with Alizarine for Kiryana
(Printing of the white outlines) Blocks are soaked in the solution (brown)
and the white outlines are printed over. This will be washed later to give
the white outlines.
9. Kut: Printing of the black areas: Gum, Ferrous Sulphate, Fullers earth
and water are used to make the black outlines.
10. The fabric on which Kut and Kiryana have been printed are now
reprinted with the Kiryana mixture. This ensures that when the cloth is
soaked in dye these areas will remain sparkling white or black and the
color will not dye these areas.
11. The next step is printing over the red areas. Amongst the ingredients
used is Ata (wheat flour), Phitkari (alum), (Phitkari), Gurrh (molasses)
and Saunf (fennel). The areas to be dyed red are printed and while still
wet are dusted with ground cow dung or rice husk to protect against the
indigo dye to be printed later.
12. Indigo, Chuna (lime), Soda and Gurrh (Molasses) is used to dye the
Indigo parts of the Ajrak.
13. The dyed and dried Ajrak is taken to the river to be washed. The Ajrak
is submerged in water to dislodge the gums, alums and dung.
14. The Ajrak is then dyed with red dye which dyes the parts left over.
Care is taken that the white areas are not dyed inadvertently.
15. The Ajrak is treated with Camel dung and water to brighten the whites
and make the colors brilliant.
16. The Ajraks are again washed in soda water and in the river beaten to
remove the dung. After drying they are ready for meena.
17. All the areas except the ones dyed in indigo are covered by block
printing with a mixture of Alum, gum and wheat flour. The resist print is
then dusted with dry powdered dung to dry it.
18. The Ajrak is again dyed in indigo (natural or chemical).
19. The Ajraks are washed in Soda and water with bleaching powder to give
a sparkle to the colors. Viola! Finally the Ajrak is ready.
....................
Sindhi Ajrak : An Ancient Art Form.
The Ajrak is an essential
part of the apparel of a Sindhi person. Men use it as a turban, a
cummerbund and wound it around the shoulders. Women use it as a dupatta
and chaddar, as a shawl and sometimes as a makeshift swing for children.
The Ajrak is usually about 2.5-3meters. It is patterned in intense jewel
like colors. The dominant colors are rich crimson and a deep indigo. A
little bit of white and black is also used to give definition to the
geometric patterns.
The history of the Ajrak can be traced from the times of the ancient civilizations of the Indus Valley.
These civilizations have been thought to exist at around 2500 BC-1500 BC.
A bust of the King Priest excavated at Moenjodaro shows a shawl draped
around his shoulders. It is decorated with a trefoil pattern (like a three
leafed clover) interspersed with small circles, the interiors of which are
filled with a red pigment. The same trefoil pattern has been discovered in
Mesopotamia. Also on the royal couch of Tutankhamen (of the ancient
Pharaohs). The trefoil is a symbol of three sun-disks fused together to
represent the unity of the gods of the Sun, water and earth. It is thought
that the trefoil pattern survives as the cloud pattern in the modern Ajrak.
A UNIQUE PRINTING METHOD
The authentic Ajrak is printed on both sides by a method of printing
called resist printing. The printing is done by hand with hand carved
wooden blocks. Several different blocks are used to give the
characteristic repeated patterning. Making the blocks is a considerable
challenge since the pattern has to synchronize perfectly with the whole of
the Ajrak as well as cover various areas against dye.
The block maker uses the compass and the ruler for precision in making the graphs for the patterns.
The balance or the mizan has to be perfect for the final result. Various
tools are used for carving the blocks (pors) There are very few poregars
left in Sindh and it is a highly specialized craft. The blocks are thrown
into the river when the craftsmen are done with a pattern. Block making is
a family craft and passed down from generation to generation.
The process by which the Ajrak is made is considered intuitive to the Ajrak makers. It is part of
the existence of the craftsman and therefore not a 'job' but a form of
life.
The basic process is called the Teli Ajrak. However, variations on the theme have emerged. Broadly the
main processes are:
1. Teli Ajrak
2. Sabuni Ajrak
3. Do Rangi Ajrak
4. Kori Ajrak
The Teli Ajrak
When worn and washed, the colors of the Ajrak become more brilliant and
luminous. This is the most tedious and time consuming process and very few
craftsmen today go through all the stages.
1. The fabric used is usually
Latha. (Pure Cotton/Calico). 40 pieces of 5 meter lengths are torn to make
one lot.
2. The pieces are washed in the river. The cloth is also soaked in a
solution of Soda Bicarbonate and water.
3. The fabric is then steamed to remove the impurities. (Chemical
finishing). This is on a special mud stove called Khumbh for about 16
hours.
4. It is washed again in the river and beaten to dislodge the impurities.
5. Camel dung is soaked in water and the fabric is soaked in it to make
the fabric soft and also acts as a bleaching agent (Alkaline). This helps
the printing of the fabric.
6. The fabric is then soaked in a solution of a special oil and Soda
Bicarbonate. This is quite a complicated procedure and takes several days.
The treatment is alternated and there are several steps to this. By the
end oil is completely impregnated in the fibre. This is what gives the
suppleness to the Ajrak as well as making it virtually indestructible.
7. The next stage prepares the fabric for the printing stages. Gurrh
(molasses), dried lemons, castor oil Sakun (tamarisk) and water are used
to make a dough. This dough is mixed in a big vessel with water and the
cloth is soaked in it.
8. Chapayi/Printing: Gum and Lime is mixed with Alizarine for Kiryana
(Printing of the white outlines) Blocks are soaked in the solution (brown)
and the white outlines are printed over. This will be washed later to give
the white outlines.
9. Kut: Printing of the black areas: Gum, Ferrous Sulphate, Fullers earth
and water are used to make the black outlines.
10. The fabric on which Kut and Kiryana have been printed are now
reprinted with the Kiryana mixture. This ensures that when the cloth is
soaked in dye these areas will remain sparkling white or black and the
color will not dye these areas.
11. The next step is printing over the red areas. Amongst the ingredients
used is Ata (wheat flour), Phitkari (alum), (Phitkari), Gurrh (molasses)
and Saunf (fennel). The areas to be dyed red are printed and while still
wet are dusted with ground cow dung or rice husk to protect against the
indigo dye to be printed later.
12. Indigo, Chuna (lime), Soda and Gurrh (Molasses) is used to dye the
Indigo parts of the Ajrak.
13. The dyed and dried Ajrak is taken to the river to be washed. The Ajrak
is submerged in water to dislodge the gums, alums and dung.
14. The Ajrak is then dyed with red dye which dyes the parts left over.
Care is taken that the white areas are not dyed inadvertently.
15. The Ajrak is treated with Camel dung and water to brighten the whites
and make the colors brilliant.
16. The Ajraks are again washed in soda water and in the river beaten to
remove the dung. After drying they are ready for meena.
17. All the areas except the ones dyed in indigo are covered by block
printing with a mixture of Alum, gum and wheat flour. The resist print is
then dusted with dry powdered dung to dry it.
18. The Ajrak is again dyed in indigo (natural or chemical).
19. The Ajraks are washed in Soda and water with bleaching powder to give
a sparkle to the colors. Viola! Finally the Ajrak is ready.
....................
ghazi52
PDF THINK TANK: ANALYST
- Joined
- Mar 21, 2007
- Messages
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..................................
Noori Jam-Tamachee
..
*The Story Of Noori: The Fisherman’s Daughter Who Married A King*
There once lived a woman named Noori who had spent all her life in a small fishing village next to a beautiful lake. All the villagers there lived in huts made out of straw and got their living from fishing on the lake.
The daughter of a humble fisherman, Noori loved the little village and all things to do with life by the water.
What she loved best was simply to go out on the lake no matter what the reason and just watch the blue waves shimmering in the sun. She thought she would spend her whole life in that little fishing village, but things have a way of changing…
A VERY STRANGE THING
One day while Noori was helping her father unload some nets from the boat a great clamor arose in the village. The news traveled fast from person to person: “The King is coming!” and all the villagers rushed around to make their houses and garments as presentable as possible.
The woods surrounding the village were great hunting grounds and King Jam Tamachi had been spending time there doing some hunting. Now he was ready to relax for a while by the lake before returning back to his palace.
Noori was quite curious because she had never seen the King before, or really anyone of royal status for that matter. The villagers around her whispered that he would be wearing clothes made of gold as well as the finest jewelry. She thought the idea of someone wearing clothes of gold to be kind of strange and reminded herself to look and see if this was actually true.
But as soon as the handsome King came near to where Noori was she forgot all about that, his eyes met hers and it was love at first sight for both of them.
It was a very strange thing for a king to fall in love with a poor fisherman’s daughter, but many people in the village weren’t surprised when they learned it was Noori that the King had fallen in love with. She was quite beautiful and had a face that people said shined bright like the full moon. She had been given the name Noori, which means ‘bright light’, in honor of her unusual beauty.
HAPPILY EVER AFTER?
Not too long after the first meeting of Noori and the King came something even more unusual though, the King asked her to marry him. This was pretty much unheard of because the culture there was very obsessed with status, and someone with the status of royalty would never mix with someone who lived in a poor fishing village. Until now.
Noori was deeply in love and accepted the King’s marriage proposal happily, though when it came time to go she looked back at her beloved fishing village and felt sadness at having to leave. But she knew it had to be done, her new life and home was ahead of her in the royal palace.
Now in most tales this is where the story stops and everybody celebrates a (mostly) happy ending. The poor fisherman’s daughter becomes a queen and lives happily ever after in a golden palace right? But this wasn’t the case for Noori.
THE SIX QUEENS
The King may have looked beyond Noori’s status as a fisherman’s daughter but when she arrived at the palace she found out that most people there could not do the same, or just plain chose not to.
And she had a big problem: the other queens. There were 6 of them and they burned with hatred for her, their new favorite thing to do soon became trying to poison the mind of the King against “that simple girl from the fishing village”.
Mostly the King ignored the hateful rumors that the 6 queens tried to pass on to him but there was one particular rumor that they said so many times it actually started to make him worry. What if Noori wasn’t the person he thought she was?
For months the queens had been whispering about how Noori was constantly stealing jewels from various rooms of the palace and giving them to her brother when he visited, so that he could sneak the jewels back to the fishing village.
In fact the King had heard from other more trusted people that she had often been seen secretly handing a box to her brother as he was leaving the palace. The King knew that these people wouldn’t lie to him, so it was with a heavy heart that he decided to finally see with his own eyes what was happening.
.
Noori Jam-Tamachee
*The Story Of Noori: The Fisherman’s Daughter Who Married A King*
There once lived a woman named Noori who had spent all her life in a small fishing village next to a beautiful lake. All the villagers there lived in huts made out of straw and got their living from fishing on the lake.
The daughter of a humble fisherman, Noori loved the little village and all things to do with life by the water.
What she loved best was simply to go out on the lake no matter what the reason and just watch the blue waves shimmering in the sun. She thought she would spend her whole life in that little fishing village, but things have a way of changing…
A VERY STRANGE THING
One day while Noori was helping her father unload some nets from the boat a great clamor arose in the village. The news traveled fast from person to person: “The King is coming!” and all the villagers rushed around to make their houses and garments as presentable as possible.
The woods surrounding the village were great hunting grounds and King Jam Tamachi had been spending time there doing some hunting. Now he was ready to relax for a while by the lake before returning back to his palace.
Noori was quite curious because she had never seen the King before, or really anyone of royal status for that matter. The villagers around her whispered that he would be wearing clothes made of gold as well as the finest jewelry. She thought the idea of someone wearing clothes of gold to be kind of strange and reminded herself to look and see if this was actually true.
But as soon as the handsome King came near to where Noori was she forgot all about that, his eyes met hers and it was love at first sight for both of them.
It was a very strange thing for a king to fall in love with a poor fisherman’s daughter, but many people in the village weren’t surprised when they learned it was Noori that the King had fallen in love with. She was quite beautiful and had a face that people said shined bright like the full moon. She had been given the name Noori, which means ‘bright light’, in honor of her unusual beauty.
HAPPILY EVER AFTER?
Not too long after the first meeting of Noori and the King came something even more unusual though, the King asked her to marry him. This was pretty much unheard of because the culture there was very obsessed with status, and someone with the status of royalty would never mix with someone who lived in a poor fishing village. Until now.
Noori was deeply in love and accepted the King’s marriage proposal happily, though when it came time to go she looked back at her beloved fishing village and felt sadness at having to leave. But she knew it had to be done, her new life and home was ahead of her in the royal palace.
Now in most tales this is where the story stops and everybody celebrates a (mostly) happy ending. The poor fisherman’s daughter becomes a queen and lives happily ever after in a golden palace right? But this wasn’t the case for Noori.
THE SIX QUEENS
The King may have looked beyond Noori’s status as a fisherman’s daughter but when she arrived at the palace she found out that most people there could not do the same, or just plain chose not to.
And she had a big problem: the other queens. There were 6 of them and they burned with hatred for her, their new favorite thing to do soon became trying to poison the mind of the King against “that simple girl from the fishing village”.
Mostly the King ignored the hateful rumors that the 6 queens tried to pass on to him but there was one particular rumor that they said so many times it actually started to make him worry. What if Noori wasn’t the person he thought she was?
For months the queens had been whispering about how Noori was constantly stealing jewels from various rooms of the palace and giving them to her brother when he visited, so that he could sneak the jewels back to the fishing village.
In fact the King had heard from other more trusted people that she had often been seen secretly handing a box to her brother as he was leaving the palace. The King knew that these people wouldn’t lie to him, so it was with a heavy heart that he decided to finally see with his own eyes what was happening.
.
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