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Culture of Bankura district - Wikipedia

Background[ edit ] As the Bankura district and adjoining areas, forming a part of ancient Rarh , were inhabited from pre-historic times by Austroloid and Dravidian tribes who were subsequently assimilated with the people and culture of the Indo-Europeans or Aryans , who prevailed in northern India, cultural traces of all these groups are visible in Bankura district to the present day. Around three-fourths of the Santals living in West Bengal, live in the Rarh region.

Many of these peoples were initially martial races and were great heroes at some point of history. It is not that they form a majority in the district or region but they are substantial in numbers and probably were comparatively more numerous as a proportion of the total population in earlier days. Over the ages these people have exerted tremendous influence in shaping the folk culture of the region. Thus various historical factors have shaped the culture of Bankura district.

Bankura district is a land of temples. There are more historical temples in Bishnupur than in any other place in West Bengal. There are several aspects of temple art, architecture and construction that need to be considered. While some of the older temples were built of laterite the area has numerous brick built temples, some with exquisite terracotta carvings. Terracotta carvings are also found in some temples outside the district, as for example at Jaydev Kenduli or Antpur , but the art of terracotta carvings seems to have flourished with the rise of the Rajas of Bishnupur and virtually died out with the fading of their supremacy.

Some of the earlier temples built by the Bardhaman Raj have terracotta carvings, possibly by artisans from Bankura district, but by the time Rani Rashmoni decided to construct the Dakshineswar Kali Temple , in the mid nineteenth century, the art of terracotta carvings had obviously faded out. The Shyamrai temple built by Raghunath Singh in is perhaps the oldest pancharatna temple in Bengal. With curved roofs in thatched style, it has one deul in the centre and one in each corner. The Jor Bangla temple was built in also by Raghunath Singh.

It is a fine example of the Bengal style of temple architecture. Gods and goddesses were thought of as being close to human beings and as such placed in temples that resembled human habitation, the hut with thatched roof. The first has a single square on a curved roof and is represented by Malleswar temple. The second has a single tower on a curved roof. The best examples of this are Madan Mohan temple in brick and in laterite Lalji and Radha Shyam temples.

The pancharatna temple has five towers on a curved roof. The best examples are Shyam Rai temple in brick and Madan Gopal temple in laterite. The fourth type is the Jor Bangla type with two buildings shaped like a typical Bengal hut joined together with a small tower on top. It is the most interesting one from the architectural point of view. The Shyam Rai temple has the finest specimens of carved tiles. Even the fort at Bishnupur seems to have been constructed for the protection of temples.

The approach is through the Pathar Darja, a large laterite gateway with arrow slits. In the western part of the fort is a building with four solid walls and no entrance except from top. It has no roof. It is believed to have been a dungeon where criminals were thrown in. There are a number of cannons, including the famous Dalmardan commonly pronounced Dalmadal.

It was earlier used for putting up idols during the Ras festival. It has been praised for "its elegant stance and unique abstraction of basic values". Originally used for village rituals, it now adorns drawing rooms across the world as symbols of Indian folk-art. Each place has its local style. The Panchmura-style of pottery is considered the best and the finest of all the four types.

The potters of Sonamukhi and Panchmura turn out thousands of manasachali for worshipping Manasa or the snake goddess.

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When, with the advent of the British, the Baluchari started declining in Murshidadabad, its original home, Subho Tagore, painter, art-collector and nephew of Rabindranath Tagore , invited Akshay Kumar Das, a master weaver of Bishnupur to learn the intricacies of jacquard weaving. The latter infused the Baluchari into the rich traditions of silk weaving at Bishnupur. The silk strands are dyed separately and then put into a loom. Designs are woven with the help of a series of punch cards that are hung from the top of the loom.

Mythological stories that formed the wall sculpture in many a temple in Bishnupur, found their way on to the body of the sari. One sari may have an entire episode from the Mahabharata woven into its border and pallu. The fairs of Bankura are often organised in consonance with religious festivities. Bhadu Puja and Tusu Puja find wide participation of women.

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Idols of Manasa, specially made for the occasion, are carried round the village. The day is also of great significance for snake charmers in the region with some kissing their snakes. About , people visit the mela. Besides display and sale of handicraft items, cultural programmes including folk songs, are organized on three stages simultaneously, portraying the rich cultural heritage of this part of Rarh Bhumi.