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In Indian culture, the wedding dress of the bride comes from the groom's side as a shagun. Red is considered to be the most auspicious color among Hindus. While the sari is preferred as the bridal dress in South India , West , East India , traditional wear such as the mekhela sador is preferred in North-east India and brides of the North of ...
Among the Bombay East Indian Christians, the Umbracho Pani ceremony is held, a day before the wedding, in which water drawn from a well is used to bathe by the bride-to-be and groom-to-be. [12] On the wedding day, the couple meet in the presence of a priest at a church.
Non-Brahmin women in Tamil Nadu traditionally wear red-and-white checked saris. [1] The Padmasali wedding sari is a white sari that has been dyed with turmeric. [1] Gujarati women wear red and white panetar saris. [2] Sari fabric is also traditionally silk. Over time, colour options and fabric choices for Indian brides have expanded.
Wedding dress fashion has evolved significantly, shaped by shifts in aesthetic preferences, technological advancements, and broader cultural trends. Historically, bridal attire featured elaborate designs with structured silhouettes and intricate detailing, reflecting the prevailing styles of their time. [ 2 ]
Teenage girls may wear half-sarees, a three-piece set consisting of a langa, a choli and a stole wrapped over it like a saree. Women usually wear full sarees. Indian wedding saris are typically red or pink, a tradition that goes back to India's pre-modern history. [30] Saris are usually known by different names in different places.
The concept of a love marriage is not a novelty in India, as it is regarded to be the equivalent of the gandharva marriage, which is still perceived as not righteous today. Hindu literature does indicate that love marriages were recognised and accepted in ancient times, for example, the legend of Dushyanta and Shakuntala in the Mahabharata ...
Her love for vintage prints soon blossomed into glamorous, red-carpet-worthy gowns. She's tossed the jeans in favor of chic figure-hugging ensembles, with black becoming a go-to for the star.
Sukla, Ananta Charan, Art, Nature and the Artifactuality of Art and Nature: A Plea for Environmental Aesthetics in Ancient India, Journal of Comparative Literature and Aesthetics: 1996 Sukla, Ananta Charan, Art, Reality and the Reality of the Arts: Ontology, Representation and The Sister Arts Theory in Indian Aesthetics , Indian Response to ...