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	<title>Deepti Kulkarni &#8211; Kalabodh</title>
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		<title>The Timeless&#8230;</title>
		<link>https://kalabodh.com/the-timeless-elegance-of-nauvari-saree-a-journey-through-history/</link>
		
		<dc:creator><![CDATA[Deepti Kulkarni]]></dc:creator>
		<pubDate>Mon, 16 Jun 2025 04:05:41 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
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					<description><![CDATA[The Nauvari saree, a traditional Maharashtrian drape, is...]]></description>
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                The Timeless Elegance of Nauvari Saree: A Journey Through History
                
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			<style>/*! elementor - v3.22.0 - 17-06-2024 */
.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}</style>				<p>The Nauvari saree, a traditional Maharashtrian drape, is more than just a garment; it is a symbol of pride, heritage, and cultural identity. This iconic nine-yard saree, known for its unique draping style, has a rich history that dates back centuries. From being a warrior’s attire to a contemporary fashion statement, the Nauvari saree has evolved while retaining its essence. Let’s take a closer look at its historical significance, evolution, and modern-day relevance.</p>						</div>
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							<h5><span style="font-weight: 400;">Origins of the Nauvari Saree</span></h5>						</div>
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							<p>The Nauvari saree derives its name from the Marathi words ‘Nau’ (meaning nine) and ‘Vari’ (meaning yards), indicating its length. Unlike the conventional six-yard saree, the Nauvari’s extra fabric allows for a distinctive draping style. Historical records suggest that the Nauvari saree dates back to the 17th and 18th centuries, during the reign of the Maratha Empire.</p>						</div>
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							<p>One of the most fascinating aspects of the Nauvari saree is its association with women warriors. Women like Rajmata Jijabai, Maharani Saibai, Maharani Soyrabai, Maharani Tararanisaheb, Ahilyadevi Holkar, the famous Zansi ki Rani wore it daily and also during crucial times of battle for it was so easy to ride horses with wearing saree and not having to worry about it. Inspired by men’s attire, women adopted the Nauvari saree in a dhoti-style drape, allowing ease of movement while riding horses, wielding swords, and participating in warfare. This practical yet elegant draping method set the Nauvari saree apart from other traditional garments.</p>						</div>
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							<h5><span style="font-weight: 400;">The Role of the Peshwa Era</span></h5>						</div>
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							<p>The Peshwa period further cemented the importance of the Nauvari saree in Maharashtrian culture. Women from royal and aristocratic families wore finely woven Nauvari sarees made from silk and adorned with gold borders. The saree became synonymous with grace, dignity, and status. Peshwa queens and noblewomen showcased different draping styles, some of which are still followed today.</p>						</div>
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							<h5><span style="font-weight: 400;">Significance in Different Communities</span></h5>						</div>
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							<p><span style="font-weight: 400;">While the Nauvari saree was initially associated with warrior women and royalty, it gradually became an integral part of daily wear for women across various Maharashtrian communities.</span></p><ul><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Brahmin Women: The Nauvari saree became a staple among Brahmin women, particularly in Pune, Nashik, and Kolhapur. They draped it in a modest style, often covering the head with the pallu as a mark of respect.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Koli Community (Fisherwomen): Women from the Koli community, known for their vibrant lifestyle, adopted the Nauvari saree with a tighter drape, allowing them to move freely while engaging in fishing activities.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Rural Maharashtrian Women: In rural Maharashtra, women continued wearing the Nauvari saree while working in farms. The practical dhoti-style drape enabled them to perform laborious tasks without hindrance.</span></li></ul>						</div>
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							<h5><span style="font-weight: 400;">The Nauvari Saree in Cultural Traditions</span></h5>						</div>
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							<ul><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">The Nauvari saree is deeply rooted in Maharashtrian cultural traditions and festivals.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Lavani Dance: The vibrant folk dance of Maharashtra, Lavani, is incomplete without women draped in bright Nauvari sarees. The pleated drape enhances the dance movements, adding to the visual appeal.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Ganesh Chaturthi and Gudhi Padwa: During festivals like Ganesh Chaturthi and Gudi Padwa, women dress in Nauvari sarees to celebrate the occasion with traditional fervor.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">Maharashtrian Weddings: Brides in Maharashtra often choose Nauvari sarees, especially in traditional wedding rituals like Antarpat and Mangalsutra ceremonies. The saree’s timeless appeal makes it a perfect choice for auspicious occasions.</span></li></ul>						</div>
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							<h5>Conclusion</h5><p><span style="font-weight: 400;">The Nauvari saree is more than just a piece of fabric; it is a testament to the resilience and elegance of Maharashtrian women. From battlefields to dance performances, from rural fields to red carpets, the Nauvari saree continues to hold its rightful place in Indian culture. Whether worn in its classic form or with a modern twist, it remains an enduring symbol of heritage, empowerment, and grace.</span></p><p><span style="font-weight: 400;">As we move forward, preserving and celebrating the Nauvari saree is essential in keeping our cultural identity alive. So the next time you see a Nauvari-clad woman, remember—you are witnessing a legacy that has withstood the test of time.</span></p>						</div>
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			<p><strong>About the Author:</strong></p><p><strong>Author: Deepti S. Kulkarni</strong></p><p><span style="font-weight: 400">She did her graduation in History and Master’s in Archaeology from Deccan College, Pune. Her areas of interest include Art, Architecture, Iconography and Religious Studies.</span></p>		
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		<title>Maharashtrian Wada&#8230;</title>
		<link>https://kalabodh.com/maharashtrian-wada-culture/</link>
		
		<dc:creator><![CDATA[Deepti Kulkarni]]></dc:creator>
		<pubDate>Thu, 05 Jun 2025 04:29:00 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
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					<description><![CDATA[Maharashtra, a land rich in history and cultural...]]></description>
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                Maharashtrian Wada Culture
                
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							<p>Maharashtra, a land rich in history and cultural heritage, is known for its majestic forts, vibrant traditions, and age-old architectural marvels. Among these, the concept of ‘Wada’ stands as a significant symbol of the state’s socio-cultural and architectural legacy. The Wada culture, which flourished primarily during the Maratha and Peshwa eras, continues to hold historical and aesthetic value today.</p>						</div>
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							<h5>What is a Wada?</h5><p><span style="font-weight: 400;">A Wada is a traditional mansion or courtyard house that served as the primary dwelling for the noble and elite families of Maharashtra. These grand structures were influenced by both indigenous and Mughal architectural styles, reflecting a blend of functionality, aesthetics, and social hierarchy.</span></p>						</div>
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							<h5>Architectural Significance</h5><p><span style="font-weight: 400;">A typical Wada is characterized by its massive wooden doors, intricately carved pillars, and expansive courtyards. The layout usually consists of multiple sections:</span></p><ul><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">The Mahadwara (Main Entrance) – A large, artistically carved wooden door that serves as the entry point.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">The Chowk (Central Courtyard) – The heart of the Wada, where social gatherings, religious rituals, and discussions took place.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">The Devghar (Temple) – A dedicated space for worship, highlighting the deeply rooted spirituality of the inhabitants.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">The Diwankhana (Hall) – Used for official meetings and guest receptions.</span></li><li style="font-weight: 400;" aria-level="1"><span style="font-weight: 400;">The Kholi (Private Rooms) – Residential quarters designed to offer privacy and comfort to family members.</span></li></ul>						</div>
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							<p>The construction materials mainly included teak wood, stone, and bricks, ensuring durability and protection from the elements. Many Wadas also featured secret passages and strong fortifications as a defense mechanism during times of conflict.</p>						</div>
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							<h5>Cultural and Social Relevance</h5><p>Wadas were more than just residential spaces; they were the epicenter of social and political activities. Many prominent leaders, including the Peshwas, conducted administrative affairs from these grand mansions. Festivals like Ganesh Chaturthi and Diwali were celebrated with grandeur, bringing together families and communities within these large, interconnected spaces.<br />In addition to being family homes, Wadas also functioned as centers of learning, with scholars and poets engaging in discussions on various subjects. The vibrant frescoes and carvings adorning the walls depicted mythological stories and historical events, preserving cultural narratives for future generations.</p>						</div>
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							<h5>The Decline and Preservation Efforts</h5><p>With changing times, many Wadas fell into neglect due to urbanization and modernization. However, efforts are being made to restore and preserve these historical structures. Organizations and heritage enthusiasts are advocating for the conservation of iconic Wadas like Shaniwar Wada in Pune and Vishrambaug Wada, ensuring that future generations can appreciate this remarkable aspect of Maharashtra’s history.</p>						</div>
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							<h5>Conclusion</h5><p>The Wada culture of Maharashtra is a testament to the state’s glorious past, showcasing its architectural brilliance and social dynamism. These structures not only reflect the lifestyle of their inhabitants but also narrate stories of valor, tradition, and community bonding. While modernization has transformed urban landscapes, the legacy of Wadas continues to inspire architects, historians, and culture enthusiasts alike.<br />Preserving and celebrating this heritage is essential to maintaining a connection with our roots. As we move forward, embracing the old with the new, the timeless charm of Maharashtrian Wadas remains a symbol of cultural pride and historical significance.</p>						</div>
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			<p><strong>About the Author:</strong></p><p><strong>Author: Deepti S. Kulkarni</strong></p><p><span style="font-weight: 400">She did her graduation in History and Master’s in Archaeology from Deccan College, Pune. Her areas of interest include Art, Architecture, Iconography and Religious Studies.</span></p>		
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		<title>The Timeless ..</title>
		<link>https://kalabodh.com/the-timeless-elegance-of-traditional-marathi-necklaces/</link>
		
		<dc:creator><![CDATA[Deepti Kulkarni]]></dc:creator>
		<pubDate>Mon, 12 May 2025 05:50:02 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
		<guid isPermaLink="false">https://kalabodh.org/?p=7486</guid>

					<description><![CDATA[Maharashtrian jewellery is a reflection of the region’s rich ...]]></description>
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                The Timeless Elegance of Traditional Marathi Necklaces

                
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							<p><span style="font-weight: 400;">Maharashtrian jewellery is a reflection of the region’s rich heritage, with traditional necklaces playing a significant role in cultural and social identity. These necklaces, crafted with intricate designs and deep symbolism, have been an integral part of Maharashtrian women’s attire for centuries. Let’s explore some of the most iconic traditional Marathi necklaces that continue to be cherished today.</span></p>						</div>
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							<p><strong>1. Thushi</strong><br />A choker-style necklace made of closely strung gold beads, Thushi is a signature Maharashtrian ornament. It is lightweight yet grand, symbolizing prosperity and is often gifted to brides as a mark of auspiciousness.<br /><strong>2. Kolhapuri Saaj</strong><br />One of the most iconic Maharashtrian necklaces, Kolhapuri Saaj consists of small gold pendants with religious and floral motifs. Traditionally, it is gifted to brides as a symbol of protection and blessings, often passed down through generations.<br /><strong>3. Lakshmi Haar (Putali Haar)</strong><br />A long gold necklace featuring coin-shaped pendants engraved with Goddess Lakshmi’s image, this ornament represents wealth and divine blessings. It has been a staple in Maharashtrian households for centuries.<br /><strong>4. Chapla Haar</strong><br />A delicate, lightweight necklace featuring leaf-shaped motifs, Chapla Haar is known for its intricate craftsmanship and was favoured by aristocratic women.<br /><strong>5. Ekdani</strong><br />A simple yet elegant single-strand gold necklace, Ekdani was often worn by women as an everyday ornament while still maintaining a touch of grandeur.</p>						</div>
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							<p><strong>6. Jondhale Mani Gund</strong><br />This necklace features jondhale (sorghum-like) pearl designs, symbolizing grace and affluence. It was a preferred choice among royal women.<br /><strong>7. Mohan Maal</strong><br />A classic beaded necklace, Mohan Maal consists of small gold beads strung together, giving it a regal yet minimalistic look. It is a symbol of simplicity and tradition.<br /><strong>8. Rani Haar</strong><br />A long, multi-layered necklace, Rani Haar is a royal piece worn by queens and elite women. Its grandeur and intricate gold work make it a timeless piece of heritage jewellery.<br /><strong>9. Chinchapeti</strong><br />A closely fitted gold choker, Chinchapeti is known for its simple yet regal look. It is often paired with longer necklaces for a grand and layered appearance.</p>						</div>
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							<p>These timeless necklaces continue to be an integral part of Maharashtrian weddings, festivals, and cultural events. The exquisite craftsmanship of jewellery artisans has been preserved through generations, with modern adaptations keeping the tradition alive. Whether worn as a symbol of marital status, religious devotion, or fashion, these necklaces remain a testament to Maharashtra’s rich heritage and skilled artistry. From warriors to queens, these necklaces have adorned countless generations, weaving stories of beauty, tradition, and grandeur. As these pieces continue to be passed down as heirlooms, they connect the past with the present, ensuring their legacy endures for years to come.</p>						</div>
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			<p><strong>About the Author:</strong></p><p><strong>Author: Deepti S. Kulkarni</strong></p><p>She did her graduation in History and Master’s in Archaeology from Deccan College, Pune. Her areas of interest include Art, Architecture, Iconography and Religious Studies.</p>		
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		<title>Revisiting Visnu&#8230;</title>
		<link>https://kalabodh.com/revisiting-visnu/</link>
		
		<dc:creator><![CDATA[Deepti Kulkarni]]></dc:creator>
		<pubDate>Thu, 13 Mar 2025 06:57:54 +0000</pubDate>
				<category><![CDATA[Blogger Scholar]]></category>
		<guid isPermaLink="false">https://kalabodh.org/?p=6943</guid>

					<description><![CDATA[We have been familiar with God 'Viṣṇu' for centuries...]]></description>
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                Revisiting Viṣṇu
                
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							<p>We have been familiar with God &#8216;Viṣṇu&#8217; for centuries, but there is always something new to learn about his divine presence. He comes as a minor deity, having only 6 ṛchas dedicated to him in the Ṝgveda, but later he overpowers &#8216;Rudṛa&#8217; in importance as the supreme deity in the Hindu pantheon. The word &#8216;Viṣṇu&#8217; is derived from the root &#8216;√Vish,&#8217; which means &#8216;to enter&#8217; or &#8216;to cover.&#8217; So the word &#8216;Viṣṇu&#8217; can be interpreted as &#8216;the one who enters everywhere.&#8217; In the Ṝgveda, he is associated with light, so naturally, he is considered a form of the sun. The three forms of sun i.e. rising, noon and setting are related with the three strides taken by Trivikrama that is a form of Viṣṇu He also helped Indra to kill Vṛtṛa and hence is also known as the friend of Indra or &#8216;Upendṛa.&#8217; He is told to be related to earth and is protector of its people. He is also god Agni in all gods which later is also mention in Bhagvadgeeta as ‘<em>vasunam pavakaschasmi’ </em>(Geeta 10.23). As being protector of people on earth, he resides as Agni with man on earth. Purushasukta that is mentioned in the 10<sup>th</sup> mandala of the Ṝgveda praises lord Viṣṇu in the form of Virāt Purush. Aitareya Brāhmanak that is related to Shākala branch of Ṝgveda mentions that Viṣṇu is supreme.  </p><p>In the later Vedic period, Pāṅcharātra cult that originated from Shukla Yajurveda considers Viṣṇu as the centre of the universe. It mentions 4 vyuhas naming Vāsudeva Viṣṇu, Sankarshan, Pradyumna and Aniruddha. Later these vyuhas were expanded in the 24 forms of Viṣṇu, 39 avatars and parivar devatas. This is also reflected in Indian iconography where ‘Vaikuṅtha Murti’ or ‘Chaturvyuha’ Murti of Viṣṇu is shown with 4 faces. The middle face is of Pradyumna who is also called as ‘Nārāyan/Parāvāsudev’ in Dvait Philosophy. The Narasimha face is on South side which represents Balarama or Sankarshan. The Varāha or bore face is of Aniruddha and there is a fourth face representing Vāsudeva. This ‘Vaikuṅtha’ phenomenon is seen only in North India. In South India it is known as ‘Vibhava Avatar’. There are five main heroes of the ‘Vṛshṇi’ clan that are worshipped, first four being the main deities of the vyuhas and the fifth hero is ‘Sāṁb’ who is sometimes replaced with Akrur, Uddhava or Kapila. The expansion of the vyuhas into forms mentioned in ‘Ahirbudhnya Samhita’ is as follows:</p>						</div>
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							<table><tbody><tr><td width="150"><p><strong>Para-Vāsudeva</strong></p></td><td width="150"><p><strong>Sankarshan</strong></p></td><td width="150"><p><strong>Pradyumna</strong></p></td><td width="150"><p><strong>Aniruddha</strong></p></td></tr><tr><td width="150"><p>Keshav</p></td><td width="150"><p>Govind</p></td><td width="150"><p>Trivikrama</p></td><td width="150"><p>Hrishikesh</p></td></tr><tr><td width="150"><p>Nārāyan</p></td><td width="150"><p>Viṣṇu</p></td><td width="150"><p>Vāman</p></td><td width="150"><p>Padmanābha</p></td></tr><tr><td width="150"><p>Mādhav</p></td><td width="150"><p>Madhusudan</p></td><td width="150"><p>Shreedhar</p></td><td width="150"><p>Dāmodar</p></td></tr></tbody></table>						</div>
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							<p>By the epic or the Puranic age, Viṣṇu was included in the main trinity i. e. Brahma, Viṣṇu and Mahesh. Along with the nature of the work, his form can also be seen changing. In the Vedic period, he was seen killing demons along with Indra, but in Puranic age, the main contribution of Viṣṇu was nurturing the universe. In the same way, his form was also changing from a single deity to a syncretistic nature. For example, we can see descriptions of Harihara (Viṣṇu-Shiva), HariHarārka(Viṣṇu-Shiva-Sun) or HariHaraPitāmahārka(Viṣṇu-Shiva-Brahma-Sun) in various Puranas. These forms were later converted in icons too.</p><p>          The concept of Vāsudeva being supreme god was later adapted by Bhakti cult which later resulted into a cult. The cult was mainstreamed as Vaishṅava Cult.</p>						</div>
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British Museum (circa 1000)
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			<div class="elementor-image-box-wrapper"><figure class="elementor-image-box-img"><img loading="lazy" decoding="async" width="338" height="138" src="https://kalabodh.com/wp-content/uploads/2025/03/4-3.jpg" class="attachment-full size-full wp-image-6954" alt="" srcset="https://kalabodh.com/wp-content/uploads/2025/03/4-3.jpg 338w, https://kalabodh.com/wp-content/uploads/2025/03/4-3-300x122.jpg 300w" sizes="(max-width: 338px) 100vw, 338px" /></figure><div class="elementor-image-box-content"><p class="elementor-image-box-description">Panchavir Panel, Hyderabad Museum (4th Century)(Courtesy- Wikipedia)
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			<p><strong>References:</strong></p><ol><li>Choudhary, Raghavprasad. 1905. <em>“Pancharatragama” </em>(in Hindi). Patna: Bihar Rashtrabhasha Parishad</li><li>Rao, T. A. Gopinath. 2021. (5<sup>th</sup> edi). <em>“Elements of Hindu Iconography.” </em>Vol .1(1). Delhi: Motilal Banarasidas Publishing House.</li></ol>		
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			<p><strong>About the Author:</strong></p><p><strong>Author: </strong>Deepti S. Kulkarni</p><p><span style="font-size: 14.0pt;line-height: 150%">She did her graduation in History and Master’s in Archaeology from Deccan College, Pune. Her areas of interest include Art, Architecture, Iconography and Religious Studies.</span></p>		
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