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Sambalpuri textiles today include furnishing materials, dress materials and saris in silk, cotton and mercerised cotton in a variety of colours and many different designs. Baandha craftsmen are also masters of the 'extra warp' and 'extra weft' style of designing which can be seen in almost all forms of Baandha textiles.
Born on 20-11-1909 at Sambalpur. Died 19-5-1961. He invented the first handloom to weave textiles of ninety inches width. The Sambalpuri Sari is his creativity. He nurtured, tutuored and guided the weaving community to improve their skills . He is known as the father of Sambalpuri -Textiles who herald the era of Baandha Art.
The dhap is in the shape of a Khanjari made up of wood with one side open and the other side covered with a piece of animal skin. The dhap dancer holds the dhap with his left hand, the sling slung over his left shoulder, and beats with his right as well as left hand. Karma Naach: Karam or Karma literally means 'fate' in Sambalpuri. This ...
A sari (sometimes also saree [1] or sadi) [note 1] is a women's garment from the Indian subcontinent. [2] It consists of an un-stitched stretch of woven fabric arranged over the body as a robe, with one end attached to the waist, while the other end rests over one shoulder as a stole, [3] sometimes baring a part of the midriff.
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Aadim Vichar (English: The Ancient Justice) is a 2014 Indian Sambalpuri language drama film directed by Sabyasachi Mohapatra. [1] The film won 62nd National Film Award for Best Feature Film in Odia [2] and is a sequel to the 2012 movie "Sala Budha". [3] Atal Bihari Panda and Sushree Smita Panda played lead roles in the film. [4] [5]
Bhukha is a 1989 Indian Sambalpuri-language film directed by Sabyasachi Mohapatra. [1] The movie was produced by Mohapatra under the banner of Kumar Productions and had music by Ramesh Kumar Mahananda. This movie is based on the Sambalpuri play Bhukha written by Manglu Charan Biswal.
Traditional Sambalpuri nose ornament of pure gold hangs down from her imaginary nose. Beaten gold leaves fixed on two disproportionate golden eye-like depressions on the face act as substitute for her eyes in an attempt to define the face of the mother deity on a mass of self shaped rock, the devi's idol inspires sublime sentiments of awe, fear ...