134 Sentences With "palanquins" | Random Sentence Generator

Royal palanquins and a golden chariot have been prepared for the five-day cremation ceremony, which weaves together 93-year-old spiritual traditions.

For the warrior class and for the nobility, the most luxurious vehicles were human-powered palanquins called norimono, expensive and with a comfortable interior.

While thousands of Kashmiris work to clear the path, thousands more rent ponies and palanquins to the pilgrims, and tents for them to sleep in.

But more importantly, it casually dismisses those hardships using existing luxury concepts like palanquins, vehicles that have long been signifiers of affluence and high status.

Palanquins were made sharp at each End, to cut the Air; the warmest Mantles and Hoods were made for the Bearers, and the Projector's and my Palanquin were close, and lined with Down.

In her PhD thesis 2013 Regula Tschumi makes the first deep research about the formerly unknown figurative palanquins of the Ga. She shows how the figurative palanquins are related with the figurative coffins, and why the figurative palanquins were used in Accra as early as 1930. She discovered that differently from what many Ga believe, no chief has ever been buried in his figurative palanquin.

In the parade, some people are carried in colourful decorated palanquins shaded by umbrellas.

It is not taken out again unless needed for an important occasion, such as the Homowo festival. Accordingly, the figurative palanquins of the Ga are very rarely shown in public and especially for foreigners they are difficult to see. Therefore, it is not surprising that although the palanquins look similar to the figurative coffins which are well known to the western art market, the figurative palanquins remained completely unknown until recently. These palanquins are also, contrary to what was believed formerly by many researchers and even many Ga, still used and built by the same craftsmen who make the figurative coffins.

Ataa Okos called his coffins and palanquins simply "coffin-akpakai" or "coffin-palanquin". He made no difference between figurative coffins and palanquins. On the photo: Ataa Oko with the artisan Kudjoe Affutu, 2009 While the figurative coffins of the Ga became world-famous on the Western art market, the figurative palanquins remain up to the present hidden and unknown as an art form. It was long believed that the Ga would no longer use figurative litters and the old palanquins no longer exist because as Thierry Secretan wrote, the Chiefs allegedly would have been buried in them.

Regula Tschumi: The Figurative Palanquins of the Ga. History and Significance. In: African Arts, 46 (4), 2013, S. 60-73.

Bern: Benteli 2008, p. 52-66. The Christians had taken over the figurative coffins from the traditional Ga who were using figurative palanquins and coffins already since the beginning of the 20th century.Regula Tschumi: The Figurative Palanquins of the Ga. History and Significance, in: African Arts, Vol. 46, Nr. 4, 2013, S. 60-73.

One of the most important palanquin builders of the last 30 years was Paa Joe who was known until now only for his figurative coffins. But as artisans are not supposed to talk about figurative palanquins and other royal insignias, Paa Joe is not giving out easily information about the palanquins he had formerly built.

A figurative palanquin. Drawing by the Ghanaian artist Ataa Oko. In Southern Ghana the Akan and the Ga-Dangme carry their chiefs and kings in palanquins when they appear in their state durbars. When used in such occasions these palanquins may be seen as a substitutes of a state coach in Europe or a horse used in Northern Ghana.

During the festival, there is a durbar of chiefs. The leaders of the community ride in palanquins. There is also drumming and dancing.

Longer journeys required that they be borne inside larger, covered palanquins with silk covers, with some taking the form of a miniature hut.

The image's wooden base is referred to as the peana while its carriage or carroza used in processions is called the ándas (from the Spanish andar, "to move forward"). The term ándas commonly refers to the shoulder-borne palanquins of religious images and was retained for the icon's carriage which replaces the palanquins used in processions up until the late 20th century.

Palanquins belong to the powerful royal insignias which in the Ga culture may never be buried. Therefore, kings were not buried in their palanquin, but in a coffin that looked the same like their palanquin. This was necessary because the Ga believe that enstoolments and funerals are complementary.Regula Tschumi, The Figurative Palanquins of the Ga. History and Significance, in: African Arts, vol.

The social anthropologist Regula Tschumi found only a short notice in the Gold Coast Independent 1925 indicating that the King of Accra, the so-called Ga mantse used an elephant shaped palanquin in those years. According to Tschumi, the use of figurative palanquins spread in the course of the 20th century from Accra to other coastal towns where these palanquins, to some extent, are still used today.

The first figurative coffins used to bury the traditional chiefs, were therefore not a new invented art form but only the copies of the figurative palanquins.

Therefore, in the West the figurative coffins acquired high artistic status which in fact would have belonged to the Ga original art form, the figurative palanquins.

During the festival, there is pomp and pageantry. The chiefs are carried in palanquins whiles there is drumming and singing. There is also the initiation of new development projects.

The building now houses the National Museum of Kandy. In 1919 the association was incorporated as a public trust, and is now administered by the Government Agent of Kandy District and a management committee. In 1924 the association was relocated to its present location, the former Kunam Maduwa (House of the Palanquins), which housed the palanquins used by the Kandyan royal court. The Kunam Maduwa was built by King Vimaladharmasuriya in the 16th Century.

Consequently, those chiefs who used a figurative palanquin at their installation ceremony had to be buried in a substitute, hence in a figurative coffin, that looked the same as their palanquin. The first figurative coffins therefore were simply copies of the palanquins which were used as a substitute. Though outwardly similar, figurative coffins and palanquins of course belong to a different category of objects: palanquins are royal insignia made to last and to be conserved in the family house after the death of their users, while the figurative coffins may be sacrificed and are buried with the deceased. The figurative palanquin become sacred after the death of their users and the family keep them in order to maintain contact with the ancestors.

The observance of the fair is marked on the Shivaratri day when the village gods are carried in palanquins or rathas (chariots by people) to Mandi to pay homage to Madho Rai and the Raja. Members of caste denominations such as Brahmin and Kshatriya carry their gods and goddesses by palanquins or on their back. However, some exceptions of carrying them in vehicles by some caste groups have been noted. Thereafter, the fair lasts for seven days.

Kunstmuseum, Bern 2006 Unlike the Akan, the Ga use their palanquins only for secular sub- chiefs. Women and their highest spiritual leaders, the wulomei, do not use palanquins for different reasons. A palanquin is made new purposely for the enstoolment of a chief and is also used for the first time during his installation ceremony. After the installation the palanquin is kept as a royal insignia hidden away in the stool house of the respective family.

The doorway is profusely ornamented with rupastambhas of Abu style. The figures and carvings include gandharvas, ascetics, horse riders, elephant riders, chariots, palanquins and the events of life, from birth to death.

During a durbar, which is a special parade, some chiefs are carried in a palanquin. Subchiefs have to walk. The palanquins can have the form of a chair or of a bed.

The chiefs of the Ga (mantsemei) in the Greater Accra Region (Ghana) use also figurative palanquins which are built after a chief's family symbol or totem. But these day the figurative palanquins are very seldom used. They are related with the figurative coffins which have become very popular among the Ga in the last 50 years. Since these figurative coffins were shown 1989 in the exhibition "Les magicians de la terre" in the Centre Pompidou in Paris they were shown in many art museums around the world.

Palanquins were a popular means of travel and circumambulation for the ladies of the nobility up to the second quarter of the 20th century. They were also used by male nobility and royals on special occasions.

The actual wedding rituals start by making the Birapat-Chhita' during the Chan-Bila Akawa ritual. The airos make sun, moon, birds and palanquins on a bamboo screen and paint auspicious symbols on earthen lamps and pottery.

The Malay and Javanese form is palangki, in Hindi and Bengali, palki. The Portuguese apparently added a nasal termination to these to make palanquim. English adopted it from Portuguese as "palanquin". Palanquins vary in size and grandeur.

From the early 9th century the greater Chittagong area, including Cox's Bazar, was under the rule of Arakan kings until its conquest by the Mughals in 1666 AD. When the Mughal Prince Shah Shuja was passing through the hilly terrain of the present-day Cox's Bazar on his way to Arakan, he was attracted to its scenic and captivating beauty. He commanded his forces to camp there. His retinue of one thousand palanquins stopped there for some time. A place named Dulahazara, meaning "one thousand palanquins," still exists in the area.

Figurative palanquin; drawing by Ataa Oko from Ghana A figurative palanquin connected with the totem of its owner is a special kind of litter used in the Greater Accra Region in Ghana. These palanquins called in the Ga language belong to the royal insignias and are used only by the Ga kings or mantsemei and their sub-chiefs when they are carried in public at durbars and festivals like Homowo. With these figurative palanquins the Ga create ethnic differences between themselves and their Akan neighbours that only use simple boat- or chair-shaped litters.

In precolonial times, the Ga did not use litters, but carried their Chiefs on human shoulders. The ethnologist Margaret Field believes that the boat-shaped Akan litters were introduced in Accra by the Akwamu living there since the 17th century. In the course of the 19th century, when the Ga took over from the Akwamu parts of their military organization, they also adopted the use of palanquins. However, there are no exact sources describing when the Ga started to use palanquins in the form of their family symbols.

In the middle of the platform's base there is an arched portal - where people, carts, horsemen, and palanquins could pass through. Many images of people and animals were carved inside the arched gate tunnel and around the portal.

The procession is headed by an old palanquins, chariots, bullock carts and performance by folk artistes. After the processions are complete, the idols of Gan and Gauri are brought to this ghat and immersed in the Lake Pichola from here.

Documents of Yase village recorded that they served as bearers of palanquins in Tokyo in the Meiji era. Citing the book Meiji no Gyoko (Travels of Emperor Meiji), Inose wrote that about 100 Yase people joined in Emperor Meiji's first trip to Tokyo in 1868 as bearers of the palanquin; ten people remained in Tokyo.Inose[1983:89–90] It was an important point when the Meiji Imperial Household Agency recognized that the Yase people would serve as bearers of Imperial palanquins. The Imperial Household Agency solved the problem of Yase's rescinded tax exemptions by paying their taxes to the shogunate.

The idea of making and using custom coffins was inspired by the figurative palanquins in which the Ga chiefs were carried, and in which they were sometimes buried.The buried treasures of the Ga. Coffin art in Ghana. Regula Tschumi. Bern: Benteli 2008, p.

According to Himanshu Prabha Ray, in 1418 in Tiruvannamalai temple, Sengunthars were given the right to blow the conch, ride palanquins and elephants and wave the temple fly whisk. In 16th century some of the Kaikolars were migrated to Kerala region from Tamil region.

57, 221-22. Ataa Oko (b.1919), of La, according to a few sources, could have started making custom coffins and figurative palanquins around 1945. Along with Kane Kwei from Teshie and Ataa Oko from La, other carpenters may have started this innovative art form the early 1950s.

The scene's setting appears to be outside, amidst a forest. Kneeling attendants hold over His Majesty a profusion of fans, fly whisks and parasols that denoted rank. Princesses are carried in elaborately carved palanquins. Whiskered Brahman priests look on, some of them apparently preparing things for a ceremony.

In courtyards, this art is drawn using a piece cloth. The art includes drawing tree motifs, flowers, ferns, creepers, plants, peacocks, palanquins, geometric patterns along with vertical, horizontal and oblique lines. These arts add to the festive atmosphere.Drawing Designs on Walls, Trisha Bhattacharya (13 October 2013), Deccan Herald.

There is a grand durbar of chiefs during the festival. Activities such as pouring of libations and chiefs riding in palanquins in the midst of singing war songs. There are pomp and pageantry activities too. The chiefs also sit in state whiles their subjects pay homage to them.

The palanquins of Mahasu Devta is generally of roof type-Box type design. In roof type-box type palanquins, the deity's image (Murti or Muharas) is hidden inside the box. Usually made up of silver and sometimes inlaid with gold,both the box and the roof are typically ornamented with repousse images of Shiva,Ganesha,Krishna,The Pandavas and Kauravas and Gopis. The placement of silver parasol at the peak of the roof and the four ball at each of the corner of the box reproduces the mandallic geometry of centre and four directions,the visual signature of world-ordering sovereignty gives visual form to Mahasu's paramount status as "king of the gods" ().

The Prince came to Kathmandu via Birgunj, Bhimphedi, Chitlang and Chandragiri. His travel arrangements were made by British Major Lawrence. The travel was done in a caravan of elephants, ponies and number of hill palanquins. A group of Nepali soldiers also joined the group serving as a guard of honour.

The Randoli Perahera begins after five nights of the Kumbal Perahera. Randoli refers to palanquins on which the Queens of the ruling Kings traditionally traveled. 2018 Kandy Esala Maha Perahera (Randoli Perahera) was held on 25 August 2018, the full moon poya day with the participation of hundreds thousands people.

After the revolt, pamphlets appeared putting forth the claims of Kshatriya status of the Nadars. Members of the caste claimed the right to wear the sacred thread and to ride palanquins to wedding ceremonies. By 1891 at least 24,000 Nadars had given their caste to the census enumerator as being kshatriya.

The procession waiting for the pilgrim. On the right are camels kneeling down. On the left are the silver- and-ivory palanquins, 1911 In the fairly long history of hajj, the nomadic tribes of desert – known as Bedouin – had been a somewhat persistent issue for the hajj caravans.Peters (1994), p.

The fact that even many Ga still believe that their chiefs were formerly buried in figurative palanquins can, as Regula Tschumi writes it, be explained easily: Burials of initiates formerly involved human sacrifices and, to this day, neither uninitiated nor Christian Ga would want or be allowed to attend such funerals. Chiefs are also buried secretly, therefore it is and was difficult to say how a chief is buried when it occurs in the middle of the night. Hence, nobody outside the royal families noticed that their chiefs were interred in substitute palanquins. As a chief had to be buried the same way as he had been installed in office, it was imperative to bury him in a coffin that was the copy of his palanquin.

On 10 October 2010, Li presided over a group of cross-strait marriages featuring several couples between Taiwanese and Chinese mainland people. The marriage was done to celebrate the national day of the Republic of China. The wedding ceremony featured traditional rites, such as parade floats and the couple sitting in palanquins and on horses.

Thousands of people from the state participate in the "Aadi Pooram" festival celebrated in the Andal Temple. After early morning special pujas, the presiding deities, Sri Rengamannar and Goddess Andal are taken in decorated palanquins to the car.Rajarajan, R.K.K. (2010) Some Rare Sculptures of the ‘Yester’ Śrīvillputtūr Tēr. In Rajarajan, R.K.K. and S. Ganeshram eds.

It was named thus because the word kara could also mean "noble" or "elegant", and was often added to names of objects considered grand or intricate regardless of origin."karamon 唐門". JAANUS. Retrieved on June 12, 2009. The karahafu developed during the Heian period and is shown in picture scrolls to decorate gates, corridors, and palanquins.

This is also a time for male rites of passage, when young men are introduced to warfare. The festival also coincides with the harvest cycle, when these special customs and ceremonies are performed. These include purification ceremonies. The celebration reaches its climax with a durbar of chiefs, a colourful procession of the Chiefs in palanquins with their retinue.

Practically synonymous with Mandi and located in its very heart, Bhootnath Temple is as old as the town itself and dates to the 1520s. In March, the festival of Shivratri is a major event and the Bhootnath Temple is its focus. For an entire week, the town celebrates the arrival of hundreds of local deities on elaborately decorated palanquins.

After early morning special pujas, the presiding deities, Sri Rengamannar and Goddess Andal are taken in decorated palanquins to the car. The festival marks the adoption of presiding deity, Andal, by Periyalvar after he found her near a Tulsi plant in the garden of Vadabadrasai Temple at Srivilliputhur on the eighth day of the Tamil month of Adi.

This is also a time when the young men are introduced to warfare to become warriors. The festival also ushers in the harvest cycle for this special customs and ceremonies are performed. These include purification ceremonies. The celebration reaches its climax in a durbar of chiefs, a colourful procession of the Chiefs in palanquins with their retinue.

Craftsmen spend months on each piece. In Murshidabad shola crafts are flowery designs, decorative headwear of gods and goddesses, garlands, figurines such as the faces of gods and goddesses, elephant howdahs, peacock boats and palanquins. Shola products are exported to across the world. In South 24 Parganas, many poor families earn their livelihood from shola products.

At the same time the totem's magical powers are transferred to the chief who is sitting in the figurative palanquin. In contrast to the conventional boat- or chair- shaped Akan litters, the figurative palanquins of the Ga also function as marks of distinction between themselves and their Akan neighbours, and they even denote differences between the different Ga clans.

Research focuses on the relationship between the powerful kingdom of Calakmul and La Corona.Martin and Grube 2000: 100-113 A famous sculpted panel (now in the Dallas Museum of Art) depicts two large palanquins each carrying a royal woman from Calakmul, one standing in a temple pavilion, the other overshadowed by a supernatural protector; the text, however, refers to three women who came from Calakmul's ruling dynasty to marry the kings of La Corona. Two palanquins, Dallas Museum of Art In AD 721, a daughter of the Calakmul king (Yuknoom Took' K'awiil) was married off to a king of La Corona.Freidel and Guenther 2003 Four decades earlier, in 679 AD, a daughter of Calakmul's powerful Yuknoom Ch'een had already been given in marriage to a La Corona king.

This art is known as chowk-poorana or chowkpurana in Punjab and is given shape by the peasant women of the state. In courtyards, this art is drawn using a piece of cloth. The art includes drawing tree motifs, flowers, ferns, creepers, plants, peacocks, palanquins, geometric patterns along with vertical, horizontal and oblique lines. These arts add to the festive atmosphere.

Gong Kai’s second most famous work of art is Zhong Kui Traveling, also from the Yuan Dynasty. It is sometimes referred to as Zhong Kui Traveling with his Sister. In the painting, Zhong Kui and his sister are being carried in “palanquins” by several demons. Towards the back of the processional, nine more demons are carrying luggage and other items.

During the festival, visitors are welcomed to share food and drinks. The people put on traditional clothes and there is durbar of chiefs who are carried in palanquins. There is also horn blowing, dancing and drumming. Sacrifices are made and prayers are offered to the gods and the ancestors for peace, tranquility, prosperity, good health and long life in all their endeavors.

The festival also coincides with the harvest cycle, when these special customs and ceremonies are performed. These include purification ceremonies. The celebration reaches its climax with a durbar of chiefs, a colourful procession of the Chiefs in palanquins with their retinue. They are accompanied by traditional military groups called 'Asafo Companies' amidst drumming, singing and dancing through the streets and on the durbar grounds.

The history of Cox's Bazar begins in the Mughal period. On his way to Arakan, when the Mughal Prince Shah Shuja (1616–1660) passed through the hilly terrain of the present day Cox's Bazar, he was attracted to the scenic nature of the region. He commanded his forces to camp there. A place named Dulahazara, meaning "one thousand palanquins", still exists in the area.

The smallest and simplest, a cot or frame suspended by the four corners from a bamboo pole and borne by two bearers, is called a doli. Larger palanquins are rectangular wooden boxes eight feet long, four feet wide, and four feet high, with openings on either side screened by curtains or shutters. Interiors are furnished with bedding and pillows. Ornamentation reflects the social status of the traveller.

A palanquin in Calcutta Royal palanquin of Mehrangarh Fort Palanquins are also known as palkis , was one of the luxurious methods primarily used by the rich and noblemen for travelling and also to carry a deity (idol) of a God. Many temples have sculptures of God being carried in palkis. Modern use of the palanquin is limited to Indian weddings, pilgrimage and carrying idols of Gods.

Despite the social freedom that came with being a member of the royal household, Mughal women did not go about unveiled and were not seen by outsiders or men other than their family. Instead, when they traveled they covered their heads and faces in white veils, and they were transported in howdahs, chaudoles, carriages and palanquins with covering on all sides, to maintain the modesty and seclusion required of purdah. When entering or exiting the zenana itself, female pall bearers carried their palanquins, and they were only transferred to male servants and eunuchs outside the walls of the zenana. Should outsiders be required to enter the zenana, as in the case of an illness where the lady could not be moved for her health, the visitor was covered from head to foot in a shroud and led blindly to the lady by a eunuch escort.

A very long verandah with a crumbling roof, supported by a twin-pillar system, overlooked the compound. Opening onto the verandah were dilapidated chambers, which used to function as offices in the past, when the mansion was in a working state. In the past, one or more end-rooms of the verandah had housed palkis (palanquins). One particular palki was enormous and twelve bearers were required to carry it.

Two of the processions involved using the Phra Yannamat Sam Lam Khan (]golden palanquin with three poles'), an 18th-century seven metric ton palanquin carried by 60 men. The two-century-old sandalwood golden teak urn held Galyani's remains, whose body was seated in upright position, on top of an elaborately decorated fourteen-ton golden carriage.Royal Carriages and Palanquins in the Royal Cremation Ceremony. Retrieved 15 November 2008.

Some of them carry Palkhis (palanquins) with the images of the saints of Maharashtra. Dnyaneshwar's image is carried from Alandi,Namdev's image from Narsi Namdev, Tukaram's from Dehu, Eknath's from Paithan, Nivruttinath's from Trimbakeshwar, Muktabai's from Muktainagar, Sopan's from Sasvad and Saint Gajanan Maharaj from Shegaon. These pilgrims are referred to as Warkaris. They sing Abhangas (chanting hymns) of Saint Tukaram and Saint Dnyaneshwar, dedicated to VitthalBig text.

They also banned pilgrims from bringing musical instruments and mahmal (richly decorated palanquins) – both often brought by pilgrims but incompatible with Wahhabi religious standards, and later "boys or other beardless persons". In 1805, a year before the destruction, Iraqi and Iranian Muslims were not allowed to perform Hajj. Syrians and Egyptians were refused permission to perform Hajj in 1806 and 1807. Maghrebi Muslims were not prevented from performing the hajj.

Hemratan's Gora Badal Padmini Chaupai (1589 CE) follows a similar plot: Alauddin invades Chittor to obtain Ratan Sen's wife Padmini, and deceitfully captures Ratan Sen. The frightened nobles of Chittor consider surrendering Padmini to Alauddin. But warriors Gora (or Goru) and Badal (or Badil) agree to defend her and rescue king Ratansen. They pretend to make arrangements to bring Padmavati to Alauddin's camp, but instead bring warriors concealed in palanquins.

Gangaur is one of the most important local festivals in Rajasthan. Traditional processions of Gangaur commences from the City Palace, and several other places, which passes through various areas of the city. The procession is headed by an old palanquins, chariots, bullock carts and performance by folk artistes. After the processions are complete, the idols of Gan and Gauri are brought to this ghat and immersed in the Lake Pichola from here.

They rode horses and would buy slaves to work in their houses to retain their proud customs. The Nadan women followed strict gosha, revealing themselves only to the men of their own household, and rode in covered palanquins. The Nadans built Hindu temples and also met the costs of festival expenses. The oldest and highest Nadans were the Adityans of Kayamozhi, who claimed they were the descendants of Surya, the sun god.

The title of Thampi was also rarely given to some families in Travancore by the Maharajah of Travancore, as a reward for exemplary military, social or government services. Thampis indeed had some special social privileges in Travancore. Besides only the Maharajah, they were the only people permitted the use of Palanquins. They also had the right to visit their Royal Cousins, their father's heir as per the Marumakkathayam law, Without formally previously Announcing their visit.

This whole mountainous region was covered by thick forest and was formerly known as Dong Phaya Fai or "jungle of the fire lord". There were no roads, hence it was not possible to use a cart. Travel across the forest had to be on foot or using palanquins. The whole area was reputed to be unhealthy and travelers who dared to pass through the woods exposed themselves to malaria and other illnesses.

The museum within the fort called the Junagarh Fort Museum was established in 1961 by Maharaja Dr.Karni Singhji under the control of "Maharaja Rai Singhji Trust". The Museum exhibits Sanskrit and Persian manuscripts, miniature paintings, jewels, royal costumes, farmans (royal orders), portrait galleries, costumes, headgear and dresses of gods’ idols, enamelware, silver, palanquins, howdahs and war drums. The museum also displays armoury that consists of one of the assorted collection of post medieval arms.

He published a book in 1687 describing the lot of helpless victims. While he was in jail, he had heard the cries of tortured people beaten with instruments having sharp teeth. All these details are noted in Charles Dellon's book, Relation de l'Inquisition de Goa (The Inquisition of Goa). The viceroy ordered that Hindu pandits and physicians be disallowed from entering the capital city on horseback or palanquins, the violation of which entailed a fine.

The Taungdwingyi Cultural Museum is a museum to display cultural materials of the Pyu Period excavated from ancient city. It houses lacquer wares, clay- pipes, Pyu coins, glass-wares, Buddha images, burial, palanquins and divans located in Near Shwe Inntaung Pagoda, Taungdwingyi, Magway District, Magway Division (Upper Myanmar).New Page 1 It was established in December 1996. Admission fees is 2 US $ and opening hour is from 10:00 am to 3:30 pm (from Tuesday to Sunday).

Yamunotri Temple is situated in the western region of Garhwal Himalayas at an altitude of in Uttarkashi district, Uttarakhand. The temple is dedicated to Goddess Yamuna and has a black marble idol of the goddess. The Yamunotri temple is a full day's journey from Uttarakhand's main towns -- Rishikesh, Haridwar or Dehradun. The actual temple is only accessible by a trek from the town of Hanuman Chatti and a walk from Janki Chatti; horses or palanquins are available for rent.

Nani Palkhivala was born in 1920 in Bombay (now Mumbai) in what was then the Bombay Presidency to blue collar, middle-class Parsi parents. His family name derives from the profession of his forefathers (a common practice among Parsis), who had been manufacturers of palanquins ("palkhis"). He was educated at Masters Tutorial High School, and later at St. Xavier's College, both in Bombay. He was a dedicated scholar and, not letting a stammer hold him back, he excelled.

These are lively affairs which invariably involve firecrackers and flower-covered floats broadcasting traditional music. They also variously include lion dances and dragon dances; human-occupied puppets (often of the "Seventh Lord" and "Eighth Lord"), Kungfu-practicing and palanquins carrying god-images. The various participants are not considered performers, but rather possessed by the gods and spirits in question. Fortune-telling—including astrology, I Ching, and other forms of divination—has long been considered a traditional Taoist pursuit.

Many artists who used to work for the film distributors have turned to other tasks. They are painting street signs that are still very popular in Ghana, and in the Greater Accra Region some are also assisting other artists like Paa Joe or Kudjoe Affutu in painting their figurative coffins, palanquins and small sculptures. Some sign painters, such as Heavy J., Moses, Jasper, Farkira or LeonardoTschumi, Regula: Hors-Champs. Genèse de l'affiche de l'exposition. Exh. Cat.

Sealdah railway station handles in all around 20 lakh (2 million) passengers daily. A bulk of those using the station, around 12 lakhs, commute daily for work in 917 local trains. The East-West Metro line, now under construction, will have a station at Sealdah and around 5 lakh passengers are likely to use the Metro station. Horse-drawn tram – life-size model at City Centre arcade, Salt Lake 19th century Kolkata was a city of palanquins and horse-drawn carriages.

They are adept in various methods of river fishing and are regularly employed as a worker on a ferry. They monopolizes growing Singade or water nuts in tanks; also grows melons, cucumbers and other vegetables on the sandy stretches along the banks of streams, but at agriculture proper they do not excel. Their connection with water has led to them becoming the water-carrier for Hindus. With the introduction of wheeled transport, these people’s occupation as carriers of palanquins or litters has dwindled.

On 10March 1792 the Daniells left Calcutta once more, this time for Madras (now Chennai), reaching it on the 29th of the same month. They left Madras after only 11 days, having hired the services of a considerable retinue, including two palanquins and their bearers, taking a route which more or less followed that of the British army which had defeated Tipu Sultan the previous year. They were back in Madras in January 1793. A briefer third tour took them through western India.

During 1851, the Nadars tried to conduct a marriage procession in one of the four car streets, which was blocked by other castes. The Zamindar ruled that the Nadars can go up to the Pillaiyar temple in East Giri Street. There was another attempt made by the Nadars in 1866 when he District Collector negotiated a compromise by allowing Nadars to go in palanquins up to the Pillayar temple. There were further attempts in 1885, when the Zamindar sought legal action.

On 19 January 1847, Rosina Widmann sat in a basket to acclimatise to the lush green of the tropical rainforest of the Akan inland. Hammocks, stretchers, palanquins and baskets were most commonly used as means of transporting missionaries to the hinterlands during that period. After her wedding, she spent eighteen months trying to master the Twi language. She became proficient in Twi to the point of saying, “In the evening, I prayed with my girls [from Akropong who lived and worked with them].

Dnyaneshwar's palkhi (palanquin), holding the footwear of the saint, is carried with honour in a silver bullock cart from Alandi to Pandharpur. The festivals associated with Vithoba primarily correspond to the bi-annual yatras (pilgrimages) of the Varkaris. The pilgrims travel to the Pandharpur temple from Alandi and Dehu, towns closely associated with poet-saints Dnyaneshwar and Tukaram respectively. Along the way, they sing abhangas (devotional songs) dedicated to Vithoba and repeat his name, carrying the palkhis (palanquins) of the poet-saints.

During the three days, Malayappa swami arrives on Gaja (Elephant), Asva (Horse) and Garuda (Eagle) vehicles while Sridevi and Bhudevi arrive in separate palanquins. After the kalyanotsavam and cultural performances, the lord and consorts are taken back to the temple. Pushpa Pallaki festival is celebrated in July at the start of financial year for the lord with the utsava murtis taken in procession on a richly decorated floral palanquin. The utsava murtis are taken in procession on various vehicles during the annual Brahmotsavam celebrations.

The fantasy or figurative coffins from Ghana, in Africa also called custom, fantastic, or proverbial coffins (),Alternate Histories of the Abebuu Adekai. Roberta Bonetti, African Arts, Autumn 2010. are functional coffins made by specialized carpenters in the Greater Accra Region in Ghana. These colourful objects which have developed out of the figurative palanquins are not only coffins, but considered real works of art, were shown for the first time to a wider Western public in the exhibition at the Musée National d'Art Moderne in Paris in 1989.

The leader of craftsmen, Mir Syed Ali Hamdani, a Sufi mystic, also known as Shah-i-Hamdan, was also instrumental on converting people in Kashmir to Islam. These artists who were also well-versed in other handicrafts such as woodcarving, copper engraving and carpet weaving made Kashmir their permanent home. They settled here along with their families. Earlier to this period the practice was to draw colourful paintings on wood on household furniture such as ceilings, bedsteads, doors and windows, palanquins and so forth.

Travellers going to Kodaikanal starting their journey at Ammaianayakkanur village travelled in 12 to 14 hours by bullock cart up to Krishnamma Nayak Thope. From there, the journey to Kodaikanal was undertaken by foot, horse, or palanquins with hired coolies. An improvised palanquin, called a dholie In 1854, an improved bridle path was built from Krishnamma Nayak Thope. In 1875, the Indian Railways extended its line from Chennai to Tirunelveli and a train station named Kodaikanal Road was built near Ammaianayakkanur village, to facilitate visits to Kodaikanal.

In 1539 CE, the Fort of Rohtas passed out of the hands of the Hindu kings into those of Sher Shah Suri. Sher Shah Suri had just lost the Fort at Chunar in a fight with the Mughal emperor Humayun and was desperate to gain a foothold for himself. Sher Shah requested the ruler of Rohtas that he wanted to leave his women, children and treasure in the safety of the fort, while he was away fighting in Bengal. The king agreed and the first few palanquins had women and children.

After the independence of India, Singh became Chancellor of Banaras Hindu University, from where he was awarded a D.Litt.. He also established Vishwa Sanskrit Pratisthanam for Sanskrit research under the guidance of Vagish Shastri. He established Akhil Bhartiya Kashiraj Nyas which published several books on oriental studies. He established Kashi Raj trust which also runs the museum comprising exhibits like palanquins, costumes, swords, sabres etc. On 28 January 1983 the Vishwanath Temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust of which Singh was president.

Pilavakkal is a dam in watrap village and is one of the picnic spots of Srivilliputhur. Thousands of people from the state participate in the "Aadi Pooram" festival celebrated in the Andal Temple. After early morning special pujas, the presiding deities, Sri Rengamannar and Goddess Andal are taken in decorated palanquins to the car. The festival marks the adoption of presiding deity, Andal, by Periyazhwar after he found her near a Tulsi plant in the garden of Vadabadrasai Temple at Srivilliputhur on the eighth day of the Tamil month of Adi.

46, Nr. 4, 2013, S. 60-73 As the anthropologist Regula Tschumi recently wrote, the figurative coffins developed out of the figurative palanquins which were formerly used like the figurative coffins in Accra only by the traditional chiefs. Around 1960 the use of figurative coffins for Ga burial rites became widespread. Design coffins are acknowledged as symbolic of contemporary creation in Africa. At the death of Kane Kwei, his son Sowah took over the workshop, then Cedi - Kane Kwei's younger child - after the death of Sowah in 1999.

Instead of a retinue of palanquins containing women they were full of armed warriors, which took the guards of the fort by surprise. When it seemed to the Rawal that he was fighting a losing battle he slaughtered his womenfolk with his own hands as there was insufficient time to arrange a funeral pyre. Tragically immediately after the deed was done, reinforcements arrived, sparing the men from the Jauhar and Amir Ali was defeated and blown up by a cannonball. Hence, it is called a half jauhar or Sako.

According to oral history, a large stone near the Nanjakana house was used as a seat by Andriambelomasina and Andrianampoinimerina when reflecting on governance decisions. Andrianampoinimerina added a two-story house called Manambitana ("favored by fate") that was the largest of all the traditional houses at Ambohimanga. The king's children slept on the upper floor during visits to the royal city, while the ground floor housed such royal property as palanquins and storage chests. This house was destroyed in the 1861 fire and was reconstructed under Rasoherina, who used it as a residence.

During the reign of the Vijayanagara Empire, "Rani Vasam" was a common tradition that was considered a "boon" for young women. According to the tradition, young women were made the official residents of the palace when palanquins were sent to fetch them from their homes, offering large quantities of gold and jewellery to the parents in exchange. While the families of these women continue to cherish their daughters, these women were prohibited from having any contact with any male or letting any male visit them without permission. The ones who violated the rule were hanged.

During most of the Mughal period, the Jains were prohibited from taking out a religious procession. In 1810, Harsukh Rai was able to obtain the permission of the emperor to have a Jain religious procession. The Rath Yatra caused considerable resentment among the non-Jains and resulted in some disturbances. In 1877, after the Indian Rebellion of 1857, the Jains (called Sarawagi in the records) again sought permission to take out a permission to take out a procession with "50 musicians, one elephant carrying a banner, seven camels bearing flags, fifty palanquins, three chariots ..".

While the majority of the Nadar population in the south of Thamirabarani river were poor, landless palmyra climbers, there also existed a small endogamous sub group of aristocratic Nadars, known as the Nelamaikarrars or Nadans, who owned vast tracts of land. These Nadans either held their position directly under Nayak rulers in the Tiruchendur area or as petty lords under the Palaiyakkarar. They commanded high respect among the population, including from groups such as the Nadar climbers, the minority Vellalars and the Brahmins. Nadan men rode horses and their women rode in covered palanquins.

The karahafu developed during the Heian period and is shown in picture scrolls to decorate gates, corridors, and palanquins. The oldest existing karahafu is found at Hōryū-ji temple. Initially, the karahafu was used only in temples and aristocratic gateways, but starting from the beginning of the Azuchi–Momoyama period, it became an important architectural element in the construction of a daimyōs mansions and castles. The karamon entrance was reserved for the shōgun during his onari visits to the retainer, or for the reception of the emperor at shogunate establishments.

Many festivals are celebrated in the province, as decided by an Organising Board. Some of the important festivals are: ;Dong Cuong temple festival Dong Cuong Temple Festival is held in the Dong Cuong commune, Van Yen district, where the temple is located. The festival rites performed present an array of events starting with an invitation to the living and the dead, royal offerings, a procession of the palanquins of the Tutelary God and Holy Mother. The festival features traditional cultural and sport activities such as xoe dance, con throwing, en playing and traditional opera singing.

Hajon Art includes Birapat-Chhitâ which are painted on a wall of the Airo Ghor by Airo(s) on the Occasion of Wedding Ceremonies. In Birapat-Chhita aldo called 'Chan Bila Akawa' the Sun, Moon, Stars, birds, boats and palanquins are painted with powdered rice called pithli, vermilion and kohl. Other works of art is done in the preparation of Merr for Maroi Pujâ of the serpent Goddess Kani Diyao. In Merr various Gods and Goddesses and other auspicious objects are painted, intended for the worship of Kani Diyao.

Pietro Della Valle, a 17th-century Italian traveller, wrote: Being transported by palanquin was pleasant. Owning one and keeping the staff to power it was a luxury affordable even to low-paid clerks of the East India Company. Concerned that this indulgence led to neglect of business in favor of "rambling", in 1758 the Court of Directors of the company prohibited its junior clerks from purchasing and maintaining palanquins. Also in the time of the British in India, dolis served as military ambulances, used to carry the wounded from the battlefield.

Schele & Mathews 1999, p. 182. A panel beneath the portrait of the ruler depicts a bound captive.Kelly 1996, p.156. Schele & Mathews 1999, p. 182. The hieroglyphic inscription describes how Wat'ul Chatel arrived with his palanquins and his patron deities.Schele & Mathews 1999, p. 183. Stela 13 stands a little to the west of the South Plaza. It dates to AD 870.Kelly 1996, p. 157. Stela 14 dates to about AD 870 and stands at the junction of two causeways and is in a good state of preservation.

Figurative palanquin; drawing by the coffin- and palanquin builder Ataa Oko (1918-2012) from Ghana Seth Kane Kwei (1922–1992) was a Ga carpenter joiner established in Teshie, in the suburbs of Accra in Ghana. He was a long time considered to be the inventor in the early 1950s of design coffins or fantasy coffins, called Abebuu adekai ("boxes with proverbs") by the Ga people, the dominant ethnic group of the region of Accra. Though, an anthropologist recently published a different story of the origin of the coffins.Regula Tschumi: The Figurative Palanquins of the Ga. History and Significance, in: African Arts, Vol.

He became drawn towards religion and joined a church at 15, and in 1834 joined the Homerton College at Hackney. Graduating in 1836, he married Jane Peach Singer from Islington, and was appointed as a missionary to South India by the London Missionary Society. Rice along with his wife arrived at Madras on 29 December 1836 along with a batch of London Mission missionaries. They left for Bangalore on the night of 6 January 1837, accompanied by their fellow missionaries, travelling in five palanquins and accompanied by 70 bearers. The journey from Madras to Bangalore took a week’s time.

Quiriguá seems rather to have gained its independence and the control of important trade routes. An inscription at Quiriguá, although difficult to interpret, suggests that the capture took place on 27 April 738, when Quiriguá seized and burned the wooden images of Copán's patron deities. All of this seems to imply that K'ak' Tiliw Chan Yopaat managed to somehow ambush Uaxaclajuun Ub'aah K'awiil, rather than to have defeated him in outright battle. In the Classic Period the statues of Maya deities often were carried into battle on palanquins, facilitating their capture in the event of defeat.

The outer harder brown skin is removed by expert hands to reveal the inner soft milky-white and spongy material, almost similar to "Thermocol", artificially produced in a laboratory. However, sholapith is much superior to thermocol in terms of malleability, texture, lustre and sponginess. Artisans use it for making artefacts used for decoration and ornate head-wears of bridal couple. In Murshidabad the shola crafts are flowery designs, decorative head-wears of gods and goddesses, garlands, intricate figurines like faces of gods and goddesses, elephant-howdahs, peacock-boats, palanquins and so on are made of sholapith.

The grant was given with the landlord rights, receives the power of punishing the chandrabhandas or sundarbans, a race that lived in the forest. It records the grant of the land in the village of Leliya in the Kumaratalaka mandala situated in shatata- padamavati-visaya. The copperplate of Kaesava Sana tells that the king Vallal Sena carried away the goddesses of fortune for the enemies on palanquins (Shivaka) supported by staff made of elephant tusk. It also claims that his father Lakhman Sena (1179–1205) erects pillars of victory and sacrificial posts at Benaras and Allahbad and Adon Coast of South Sea.

Ramnagar Fort The museum is known as Saraswati Bhawan. The museum is in what used to be the Durbar Hall or the Public Audience Hall of the fort. It is well known for its unusual and rare collections of American vintage cars, bejeweled sedan chairs, ivory work, medieval costumes, gold and silver brocaded royal Palakis (Palanquins in the shape of a lotus flower). It has elephant saddles carved out of silver, jewellery, costumes made of kimkhwa silk (finest product of the weavers of Varanasi), an impressive armoury hall with swords, old guns from Africa, Burma and Japan.

Adopted by her father, Periyalvar, Andal avoided earthly marriage, the normal and expected path for women of her culture, to marry Vishnu, both spiritually and physically. In many places in India, particularly in Tamil Nadu, Andal is treated more than a saint and as a form of god herself and a shrine for Andal is dedicated in most Vishnu temples. Thousands of people from the state Tamil Nadu participate in the "Aadi Pooram" festival celebrated in the Andal Temple. After early morning special pujaas, the presiding deities, Shri Rengamannar and Goddess Andal are taken in decorated palanquins to the car.

Harems were composed of wives, female relatives, concubines, and male infants. Most women usually entered the Harem through marriage, birth, appointments or as gifts.Karuna Sharma (2009) A Visit to the Mughal Harem: Lives of Royal Women, South Asia: Journal of South Asian Studies, 32:2, 155-169, DOI: 10.1080/00856400903049457 The women were governed through strict rules of Purdah, and they could not move out of the harem as they liked, but many women travelled for affairs of pilgrimage to local shrines, hunting and sightseeing with the Emperor. They always moved out in decorated palanquins or on the back of the elephants.

After the post-marriage ceremony, the married couple being to leave the bride's home. In the ninth step, the husband and wife return to the kitchen of the wife and worship their ancestors and the seven Mother Goddesses. In the tenth, eleventh, and twelfth step, the couple leave the wife's house as she is given a garland from her parents; the wife and husband enter the jagya and are then escorted out riding on palanquins as they return to their permanent home of the husband. The thirteenth step beings once they enter the jagya of the groom and his virgin sisters welcome the wife in a ceremony called arti syäl.

The place is the home of the Ghum Monastery and the Batasia Loop, a bend of the Darjeeling Himalayan Railway. Ghum, railway station at 2257m (7407 ft), the highest point of Darjeeling Himalayan Railway Himalayan Bird Construction of the Darjeeling Himalayan Railway started in 1879 and the railway track reached Ghum on 4 April 1881. Until 1878, the journey from Kolkata to Darjeeling took 5-6 days -- using steam-engine-pulled trains, crossing the Ganges by steam ferry at Sahebganj, and then using bullock carts and palanquins. In 1878, Siliguri was put on the railway map of India, cutting down the journey to two days.

Scholars have disagreed on whether this language refers to the death of the southern claimant or King Dharanindravarman. Suryavarman II also sent a mission to the Chola dynasty of south India and presented a precious stone to the Chola Emperor Kulothunga Chola I in 1114 CE.A History of India Hermann Kulke, Dietmar Rothermund: p.125 Suryavarman was enthroned in 1113 AD. An aged Brahmin sage named Divakarapandita oversaw the ceremonies, this being the third time the priest had officiated coronation. Inscriptions record that the new monarch studied sacred rituals, celebrated religious festivals and gave gifts to the priest such as palanquins, fans, crowns, buckets and rings.

Naqqar Khana in Red Fort The pavilion named Naubat Khana in Red Fort in Delhi is near the entrance on the eastern side of the ten pillars lane, next to a different pavilion where royal palanquins and other paraphernalia were placed. It housed 18 kinds of musical instruments that used to form part of the royal entourage. It was constructed in 1636 CE by the Mughals. After the end of their patronage, Naubat Khana fell into a state of disrepair and remained in that state for almost a century until a Britisher named George Fisher restored it in 1858 for the new Zilla School (district school).

The Warkaris - whose patron deity is Vithoba - undertake the annual pilgrimage (Wari) to Pandharpur, reaching there on a day before Ashadhi Ekadashi, the eleventh lunar day (Ekadashi) of the bright fortnight (Shukla paksha) of the Hindu month of Ashadha (June - July). Pilgrims carry palanquins of the saints from their samadhi shrines. This is said to be one of the World's largest and oldest movement where people gather on a specific day every year and walk for a distance of around 250 km. Pandharpur's Ashadi Ekadashi Wari journey has been honoured by World Book of Records, London under the title 'One of the Most visited places in a day'.

The second section is a direct continuation of the previous scene, recounting an outing of young courtiers, dressed in white, going boating on a moonlit night the following day (Kankō 5, 9th month, 16th day, or 17 October 1008 in the Gregorian calendar). The ladies left behind appeared jealous according to Murasaki Shikibu. Ox-drawn carts of Emperor's ladies-in-waiting (illustration of the 3rd scene) Continuing from the previous scene, confusion occurs among the people in the boats as palanquins of ladies-in-waiting of the Emperor's court appear near the shelter for conveyances. Michinaga welcomes them happily and distributes gifts among them.

Siddhikali Temple or Siddhi Kali Temple is a cultural and religious place where mainly Biska Jatra (Bisket Jatra) of Thimi is celebrated on every 1st of Baisakh month which is also known as Siddhikali Jatra. Seven Palanquins of different god (Siddhikali, Koshi Inaye Ganesh, Bishwo Binayak, Korki Inaye Ganesh, Gaancha Inaye Ganesh, Raj Ganesh and Shiwa Ganesh) are gathered together in temple premises to celebrate a big Biska Jatra festival. A holy pilgrimage place situated on the outskirts of old city Thimi of Bhaktapur District. The Nitya Bhajan is performed everyday in the morning and every saturday night and also Ramayan Bhajan performed every friday mid-day in Siddhikali Bhawani Temple.

She visited George Newnes's office in London, to sell her first full-length manuscript; Palanquins and Coloured Lanterns, a novel set in 1920s Shanghai. Six months later, she discovered they had mislaid it. After they found it, she returned to London to meet one of its editors, the 39-year-old Hugh Alexander Pollock (1888–1971), a distinguished veteran of World War I. Hugh had been married since 1924 to his second wife, the popular children's writer Enid Blyton, and was divorced from his first wife, Marion Atkinson, with whom he had two sons, William Cecil Alexander (1914–16) and Edward Alistair (1915–69). George Newnes bought her manuscript and contracted with her to write two more novels.

Pollock had met aspiring author Ida Crowe, nineteen years his junior, after she submitted in the 1920s her first novel, Palanquins and coloured lanterns, to George Newnes and the firm lost it during six months; Pollock retrieved the book, and it was finally published in the mid-1930s. After years of friendship, Pollock now asked Crowe to join him in Dorking in a secretarial role. During a bungled firearms training session on a firing range, he was hit by shrapnel and Ida contacted Enid, who declined to visit her husband because she was busy and hated hospitals. In May 1942, during Ida's visit to her mother's home in Hastings, a bomb destroyed the house.

It records the grant of the land in the village of Leliya in the Kumaratalaka mandala situated in shatata-padamavati-visaya. The copperplate of Kaesava Sana tells that the king Vallal Sena carried away the goddesses of fortune for the enemies on palanquins (Shivaka) supported by staff made of elephant tusk. It also claims that his father Lakhman Sena (1179–1205) erects pillars of victory and sacrificial posts at Benaras and Allahbad and Adon Coast of South Sea. The plate describes the villages with smooth fields growing excellent paddy also noticed about the dancing and music in the ancient Bengal and ladies of that period used to adorn their bodies with blooming flowers.

In 1985, the palace was handed over to the Archaeological Survey of India for better preservation. The Hazarduari Palace Museum is regarded as the biggest site museum of Archaeological Survey of India and has got 20 displayed galleries containing 4742 antiquities out of which 1034 has been displayed for the public. The antiquities include various weapons, oil paintings of Dutch, French and Italian artists, marble statues, metal objects, porcelain and stucco statues, farmans, rare books, old maps, manuscripts, land revenue records, palanquins mostly belonging to eighteenth and nineteenth centuries, a bamboo from Assam and so on. The Durbar Hall of the palace which houses the furniture used by the Nawab has a crystal chandelier hung from the ceiling.

Based on archeological and other evidence, scholars have learned that the bas reliefs of Borobudur depict the everyday life of 8th- century ancient Java, from courtly palace life to that of commoners in the village. An array of temple, marketplace, architecture, flora and fauna, dress, jewelry and fashion are portrayed, as well as modes of transportation including palanquins, horse carriages and ships. In 1982, Philip Beale, a British sailor who previously served in the British Royal Navy, visited Borobudur to study traditional ships and marine traditions; he became fascinated with ten bas-relief images of ancient vessels depicted on Borobudur. He planned to reconstruct this ancient ship and to reenact the ancient maritime trade route.

So these coffins are now used by the broader mass of Ga people. Since the 1970s, such coffins have been recognized by the Western art world as works of art in the Western sense. The exhibition “Les Magiciens de la terre” 1989 and the theories of Thierry Secretan caused the Teshie carpenter Kane Kwei to be acclaimed as the inventor of figurative coffins and only his products to be classified as works of art. Through lack of knowledge, the Western art world erroneously attributed the invention of a supposedly new art form to a single artist and made him and the figurative coffins world-famous, while the significance of the already existing figurative palanquins remained until recently completely unknown.

The land was granted in the village of Leliya in the Kumaratalaka mandala, which is situated in shatata-padamavati-visaya. The copperplate of Keshava Sena records that the king Vallala Sena carried away, from the enemies, the goddesses of fortune on palanquins (Shivaka), which elephant tusk staff supported; and also states that Vallala Sena's son, Lakshmana Sena (1179–1205), erected pillars of victory and sacrificial posts at Varanasi, Allahabad, and Adon Coast of the South Sea. The copperplate also describes the villages with smooth fields growing excellent paddy, the dancing and music in ancient Bengal, and ladies adorned with blooming flowers. The Edilpur copperplate of Keshava Sena records that the king made a grant in favour of Nitipathaka Isvaradeva Sarman for the inside of the subha-varsha.

It is said that the Fireworks Festival originated from a cholera epidemic which broke out in the late Qing rule (around 1875) and lasted for more than twenty years. In order to drive out the evil spirits and ward off the disease, the survivors invited the spirit of Guan Yu (Kuan Kung), the Chinese god of war. Kuan Kung is worshipped as the God of War; since he was adept at managing finances, he is also worshipped as the patron saint of businessmen. The deities of Heaven are able to inspect the land on the day of Lantern Festival by carrying the statue of Kuan Kung in palanquins and paraded around Yanshuei and letting off masses of firecrackers, and the epidemic soon receded.

The objects displayed in the antechamber include two royal palanquins given by the King of Siam, one designed for a King and the other (with curtains) for a Queen. Inside the two salons of the museum, some of the walls are covered with lacquered wood panels in black and gold, taken from 17th century Chinese screens, along with specially designed cases to display antique porcelain vases. Other objects on display include a Tibetan stupa containing a Buddha taken from the Summer Palace in China; and a royal Siamese crown given to Napoleon III. The salons are lavishly decorated with both Asian and European furnishings and art objects, including silk-covered furnishings and Second Empire sculptures by Charles Cordier and Pierre- Alexandre Schoenewerk.

It is an accepted practice that every deity that is brought to the festival (decorated with glittering embroidered drapery) visits Madho Rai temple first to pay obeisance to Lord Vishnu and then proceed to the palace in a colourful procession called the Shoba Yatra, known locally as 'Zareb,' to honour the ruler (the regent of the Lord Mado Rai). (It is said that Madho Rai comes out of his temple only once a year on the Shivaratri day and leads the procession.). The ruler thereafter pay obeisance to Lord Shiva at the Bhootnath temple where the main festival of Shivaratri is held. The palanquins of the deities are swayed to the drum beats and folk music to indicate their happiness after visiting the temples of Vishnu and Shiva.

There are historic places of interest such as Dargah of Hazrat Sayyad Ahmad Kabeer and other Muslim saints and peers. The town is called Mangrulpir on account of these associations. The old Akola District Gazetteer published in 1910 states, 'The actual tomb is on the top of a small hill, on which are also other buildings connected with it, while below are two large courtyards containing rooms for the accommodation of pilgrims; the whole is surrounded by a massive stone wall with nine bastions and four gates, forming a large fortification. Local tradition relates that Hazrat Sayyad Ahmad Kabeer, also called as Dada Hayat Qalandar, came from Tus in Arabia in one of the Fourteen Hundred Palanquins, 652 of which actually halted at Mangrul; it is added, however, that he may have come along with the Emperor Aurangzeb, and that the time may have been 700 years ago.

Six of them formed the council of the Borbarua, but each had also his separate duties. The Naubaicha Phukan, who had an allotment of thousand men managed the royal boats, the Bhitarual Phukan, the Na Phukan, the Dihingia Phukan, the Deka Phukan, and the Neog Phukan formed the council of Phukan. The Borphukan also had a similar council of six subordinate Phukans whom he was bound to consult in all matters of importance, this council included Pani Phukan, who commanded six thousand paiks, Deka Phukan who commanded four thousand paiks, the Dihingia Phukan, Nek Phukan and two Chutiya Phukans. The Baruas of whom there were twenty or more included Bhandari Barua or treasurer; the Duliya Barua, who was in charge of the royal palanquins; the Chaudang Barua who superintended executions; Khanikar Barua was the chief artificer; Sonadar Barua was the mint master and chief jeweler; the Bez Barua was the physician to the Royal family, Hati Barua, Ghora Barua, etc.