Because clothing, food, and shelter are basic human needs, they provide excellent entries to cultural values and individual aesthetics. Everyone gets dressed every day, but body art has not received the attention it deserves as the most common and universal of material expressions of culture. The Grace of Four Moons aims to document the clothing decisions made by ordinary people in their everyday lives. Based on fieldwork conducted primarily in the city of Banaras, India, Pravina Shukla conceptualizes and realizes a total model for the study of body art—understood as all aesthetic modifications and supplementations to the body. Shukla urges the study of the entire process of body art, from the assembly of raw materials and the manufacture of objects, through their sale and the interactions between merchants and consumers, to the consumer’s use of objects in creating personal decoration.
Mục lục
Contents
Acknowledgments
Part 1. Introduction
1. Body Art in Banaras
2. Getting Ready
3. Gaze, Sacred and Secular
Part 2. Production and Commerce
4. Shopping for Clothes
5. Weaving Saris
6. Making Jewelry
7. Kanhaiya Lal
8. Shopping along the Vishvanath Gali
9. Assembling Bangle Sets
Part 3. Personal Adornment
10. Nina Khanchandani
11. Neelam Chaturvedi
12. Mukta Tripathi
Part 4. Body Art in the Lifecycle
13. After the Wedding
14. Before the Wedding
15. The Wedding
Part 5. Conclusion
16. The Study of Body Art
Glossary
Notes
Bibliography
Index
Giới thiệu về tác giả
Pravina Shukla is Associate Professor in the Department of Folklore and Ethnomusicology at Indiana University. She is author of Costume: Performing Identities through Dress (IUP) and editor (with Ray Cashman and Tom Mould) of The Individual and Tradition: Folkloristic Perspectives (IUP).
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