Penmai's Kolam eBook - Click here to Download Kolam Book PDF. Apartment Kolam: Simple lotus. The dot pattern is parallel dots. Dot count. 𝗣𝗗𝗙 | The kolam is a traditional hand-drawn art form in Tamil Nadu and South India comprised of books containing hundreds of kolam patterns are sold as a. Kolam Designs, Pulli kolam collections, kolam with dots, Muggulu designs Peacock Kolam Interlaced Dots-Click to enlarge · Peacock Kolam.
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A kolam is a geometrical drawing composed of curved loops drawn around a grid pattern of dots. It is sometimes called Rangoli and can be very elaborate and. patterns are referred to as Kolam in Tamil and it is a general term for all .. 11 Some of the kolam books are printed in newsprint and the cost of. Pulli-Kolams PDF Zum Herunterladen: Je 3 Übungsblätter für 9 Pulli-Kolams in verschiedenen Schwierigkeitsstufen zum Nachspuren und Zeichnen von.
Additionally, people refer to kuligey kalam, a time of the day when it is bad to die or have funeral functions.
People in general do not keep the exact timings in mind on average days, but when for example the time for a wedding is to be set, or a new business to get started, the right day and hours are essential.
Calendars, which are commonly kept on the walls in several numbers, contain the precise hours of good and bad times, as well as days for particular festivals and pujas.
The calendars, and sometimes an astrologer, are consulted before the time for an important event is set. Spatial Aspects of the Patterns 9During a dance performance, the artist translates the temporal dimension of music into spatial terms Barba and Savarese The kolam maker has a similar capacity, but the spatial terms include the evolvement of an image.
The materialisation of the temporal rhythms is generated in the movements of the woman when she draws the image, and becomes manifest in the image when she has completed the pattern. The performance and the symmetrical image it produces the duration of which varies according to the chosen material are rhythmical interactions in space. The daily kolam patterns occupy a relatively small space, but the images are usually enlarged on Fridays. The Goddess, to whom most kolams are directed, is considered to be closer and easier to reach on this particular weekday.
Before any kolam is made, the surface on which it will be drawn is carefully cleaned. When the patterns are extended, the cleaning is more thorough. The Friday cleaning includes the stove, and a kolam is thus also put there. This occurs during the harvest festival, Pongal, which is the most popular celebration in Tamilnadu cf. Gough The yielded crops bring abundance, and hope of prosperity is at a peak.
The darkest inauspicious period of the year is left behind as the winter solstice has just passed, and all kolams are turned towards Surya. The festival has developed within agricultural practices and is consequently given more importance in rural areas. Hours instead of minutes are spent on drawing, and on smaller streets there is often only a narrow path in the middle which is not covered by colourful designs.
The extended time and space allows for experiments with new materials and compositions.
Kolam makers often work together on the same image, which generates a collective creativity, and the large images increase the joyous atmosphere in the community. At the same time, there is an aspect of individuality in kolam making. During Pongal, some women engage in informal competitions where they compare their patterns and make remarks on accomplishments and mishaps.
It is also popular to participate in publicly organised competitions, where the winner earns a price as well as social prestige. The kolams that are drawn in celebration of these family functions resemble those made at festivals. But if a death has occurred during Pongal or a temple festival, the household will not participate in the joint event and the entrance is left without a kolam.
Thus, the separation between auspiciousness and inauspiciousness might clash in the complexities of everyday life. The kolam firstly communicates the state of being within the home, and secondly on the community level. In accordance with the temporal rhythms, their size or absence causes changes in the street pattern, which communicate the occurrence of events beyond the ordinary.
Perceptions of the variations induce or reinforce the aesthetic experience and emotional state of the people passing by, and sometimes bring on memories of previous events. Through the different ways women enact, or refrain from enacting, the kolam practice, their performances materialise various rhythms of life. The absence of the kolam is the weaker part in the rhythm of life, while the enlarged sizes on auspicious occasions intensify its flow. Learning Feminine Rhythms 13From a Hindu perspective, the energy that rhythmically moves time and space is divine.
The energy is understood as shakti or prakriti.
Shakti is a name of The Goddess, as well as a term that is translated as power. In this context, it is particularly linked to divine female power or energy, and characterised by a capacity to both create and destroy. Male gods depend on shakti in order to act, as the male principle purusha is passive in opposition to the female active principle prakriti Fuller All women are considered to embody shakti, and thus share the capacities of The Goddess Wadley Through kolam making, women channel the divine energy into social life, and many of them hold that shakti is the source of their skills in kolam making.
Girls develop into womanhood as they participate in kolam drawing, cooking and other female responsibilities. As they accompany elders to the temple and learn how to make puja, they gradually become aware of the religious implications of kolam.
The refinement of their skills is closely connected to their capacity to become good wives and mothers. They argue that learning takes place where participants are actively engaged in communities of practice.
Reflection and involvement, or cerebral and embodied learning, interact in the process, which gradually proceeds as a cyclic movement from periphery to centre. Apprentices become involved through the enactment of simpler tasks, and when the master decides, it is possible to be given more central responsibilities.
In the same sense, girls do not start immediately with the morning kolam, but move slowly from practicing in notebooks and on the smaller afternoon kolams. During the enactment, rhythms inherent in the body of the individual performer, such as breathing, interact with the socially learned rhythms of drawing.
She learned to make simple kolams as a child, but soon left the practice behind as she opted for studies and her parents were able to send her to higher education which resulted in an academic career outside Tamilnadu. Her decision to recommence the practice was motivated by an aim to re-establish the connection with a deceased aunt, rather than a search for Tamilness or religiousness.
Some were found, and while using them as models, the woman contends that her body recalls the rhythm of drawing from her childhood. At the time of my study, her practice was mainly something private, in a state of rehearsal inside the home. The only time she had made a kolam outside was when her brother came to visit with his family from the USA, and she felt this was the best way to welcome them.
Others have related kolam rhythms to music and dancing, and used the practice as a pedagogical tool for children with reading disabilities. Kolam workshops have also been used by companies to reduce the stress level at their offices, and some argue that its rhythmical performance is a type of yoga that reconnects mind and body as well as constitute physical exercise. Political regimes can for example rhythm people through military training in order to strengthen or re-establish eurhythmia, balance and order, and avoid arrhythmia, conflict Lefebvre The learning of the kolam practice can, in a similar way, be understood as a means to strengthen a balanced state between a multiplicity of rhythms, to uphold a gendered continuity and circumvent its disruption.
Through the repetitive movements women learn, and come to embody, the flow that is their morally correct way to interact with the rhythms of seasons and lives. But repetition entails difference, and each woman develops her own rhythm of drawing. Neither does it look the same from one day to the next. Some women deliberately stretch boundaries, while others mainly conform.
The authors stress that mutuality between master and apprentice in the constitution of a practice is a central aspect of the learning process. It is not only an apprentice that changes in the process. Although the relationship entails aspects of power, both agents are active learners. The enactments of known routines, improvisations, and shifting meanings, give space for unpredictability as well as changing strategies.
The practitioners and the activity are thus mutually constitutive Lave and Wenger The kolam practice continuously incorporates new materials and values and they are negotiated within and between the performers as well as in relation to the larger community. Reconfiguring Repeated Movements 17While difference and contingency is part of all repetition, the pace through which the kolam rhythms change has increased during the last three decades.
One aspect is the interval of making kolam, and the interval of the resulting images. Recent alterations in chosen materials and tools embody shifting meanings developing through the passing of time.
According to most kolam makers, the ideal material to make the patterns of is rice flour. It is an offering to the deities with hope of abundant return, and it is also given as food for insects and birds. Patterns of this material vanish quickly. On auspicious occasions when much effort is put into kolam making, the rice flour has been mixed with water and the images have lasted longer. While the ideal material is what most people have at hand, the last decades have brought forth new materials and tools that only can be bought.
The changes are related to new construction materials of houses and roads, and further connected to an aim towards increased economic standard. Families that can afford to build a new house in concrete can also afford to have outdoor kolams in colour powder or acrylic paint, and indoor kolams in plastic adhesive.
It articulates status to make kolams in new materials and forms. Many have an ambivalent attitude towards the changes, and make daily kolams in addition to the acrylic ones. Those who do not get more time for other chores during the day, and can thus transform their daily rhythms.
At the same time, higher education among girls is increasingly important. Their daily practice of kolam making when they come home from school has for many altered into homework and tuition classes.
Among the middle and upper classes, women have begun to employ servants to do the daily kolam. The woman of the house might continue to make them on auspicious occasions when more time is given for creativity, or she might stop completely. The transformations of daily rhythms thus also have spatial implications. Changes in how kolam are made and look materialises the passing of time as well as the changing circumstances and values it entails.
The alterations reconfigure the polyrhythmic fields of everyday life. The answer might be found in the working of modernity, with an increased pressure of consumerism and individual accomplishments.
However, it can also be related to creativity, the energy that lies in the desire to improvise. Elizabeth Hallam and Tim Ingold suggest that creativity should be understood as part of how we engage with traditions in our movements of everyday life, not as individual innovation Hallam and Ingold There is always a sense of creative improvisation when we adjust and respond to cultural forms, and this continuous process does not have to be perceived as imitation standing in opposition to the creation of something completely new.
Continuity and change are intertwined, also in the kolam rhythm.
Every morning it remakes the house into a home, and simultaneously, it provides a space to explore changes. It is an example of how various rhythms are actively reproduced, but also how they can be negotiated and reconfigured into different forms of flow.
Every time a woman repeats the act of drawing, she tries to make the design different. But the overall daily practice appears similar from last time. New rhythms are incorporated through the different qualities of the new materials, without causing complete disruption. However, some kolam makers seek to alter the established rhythms of status and belonging, and they have to be cautious of not becoming defined as too disruptive.
Children who focus on studies are sometimes sent to summer courses on Tamil traditions, including the kolam practice. These courses are mainly organised through teaching information and giving instructions.
Knowledge on kolam is also proliferated through written texts, TV shows and social media. These media can be understood as limiting due to the lack of dialogue between master and apprentice in their present forms. They do not discuss different ideas as much as present what the authors consider as common knowledge. The knowledge production in these contexts often concerns being taught about kolam, rather than learning the actual practice.
In a similar manner, this text provides limited knowledge of the meaning and effect of kolam. Inclusion of Moving Images and Sound 22My understanding of the kolam practice and its particular rhythms developed through multi-sensuous experiences of learning how to draw the images during fieldwork. It was not a conscious plan to learn the practice and subsequently build an analytical argument around the knowledge it produced. The attraction of closer engagement was based in my experiences of being an image-maker.
Through previous training and professional work within artistic as well as commercial practices, drawing and camera work remain as familiar means of investigation and social interaction.
Kolam book with dots Download. Avee Music Player Pro 1. In some cultures, cow dung is believed to have antiseptic properties and hence provides a literal threshold of protection for the home. In South India and Sri Lanka, it is widely practised by female Hindu family members in front of their houses.
From Wikipedia, the free encyclopedia. The kolams are generally drawn while the surface is still damp so the design will hold better.
The main line connects the dots on sides and the opposite line types loops without any tangles leaving the centre dot. The dot with the circle around is supposed to represent your view of an arrow coming at you.
Leave a Reply Cancel reply Your email address will not be published. Spiral kolam patterns begin with pattern of dots in a star. Kolam — Wikipedia It kola to be a matter of pride to be able to draw large complicated patterns without lifting the hand off the floor or standing up in between. Learn to draw cute things characters with easiest steps. A Kolam is a geometrical line drawing composed of curved loops, drawn around a grid pattern of dots. Image result for kolam book See More.
The ritual kolam patterns created for special occasions such as weddings often stretch all the way down the street.
It also provides contrast with the jolam powder. Watch video Technology Instagram testing Hindi language support for India: Pulli kolam images The dot sample for this rangoli is 21 to 1 ner pulli. Are you looking for Rangoli designs with dots that are easy and simple to do? Ok I Agree Learn More. Here we given simple pulli kolam designs for beginners to draw kolam easily.
It is the birthday.