1/ #Thread on British plan to 'CIVILIZE' 'Uncivilized-Indians'
Src:Richard Hey 1811
2/ Britishers carried out research on Indian people, literature, scripture behaviour and presented their report to 'The House of Commons, UK' in 1813 April.
We will see how conversion to #CHRISTIANITY is akin to CIVILISING in following thread.
3/ The two gentlemen John Malcolm and Dr Buchanan speaks high of #hindus moralities, modalities and vividities. Malcolm calls Hindustan as Great World In Miniature.
4/ For Britishers, CIVILIZATION means obedient to one GOD. However, to them Indian multivariate culture was UNCIVILISED. They called Indians as Barbarians who should be turned CIVIL theough 'EDUCATION' i.e.
5/ Robertson agreed that Indians were very civilised till 15th Century when portugese first arrived. However, tyrannical and intolerant reign of #Moghuls and British conquests rendered all Public Institutions neglected and discontinued.
Leading to 'UNCIVILISATION'
6/ Their research found faultlines in the form of few #Hindus favourably disposed towards #Britain.
7/ To 'CIVILIZE' uncivilised Children (Hindus in this case). They devised 4 GENERAL PRINCIPLES
1️⃣To make Hindus feel IMPOTENT and incapable of making decisions.
2️⃣ Don't interfere with #Hindus existing state of happiness while educating them
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8/ 3️⃣ rd principle was to Administer 'Instructions' to unlearnt Child. He should not feel an individual but a part of some WHOLE.
4️⃣Child(Hindu) should be trained with 'GOOD HABITS'
9/ To apply principles of civilization, Britishers focussed on issues of SATI pratha and Infanticides although, not convinced with degree of its prevalence.
They applied 2nd principle of civilization to those who have 'FORFEITED' their cast to convert easily
10/ 3rd Principle of administering INSTRUCTION was applied on Hindu literature.
W. Jones himself said "Wherever we direct our attention to HINDU LITERATURE, the notion of INFINITY presents itself. Let us not be discouraged"
11/ They were able to find few communicative Hindus open for scrutiny of Hindu literature.
Children were targeted for 'Christian Civilization'
12/ 4th Principle of Civilization was applied to industrialise ample land in Bihar, Benaras, Bengal and make 'UNCIVILIZED' develope good habit.
13/ The Britishers' focussed on letting in Hindus in to the churches out of curiosity and that was seen as a big step towards Conversion.
The pastors were assigned duties to find SICK and INFIRM for consolation and relief (a potential for convert)
14/ Narrations were drawn to deal with possible situation of inconsistencies in Bible and Vedas.
for EG. Question of Jesus incarnation while Christianity doesn;t promote re-birth should be answered that God never became MAN except to check the disorders existing in our society.
15/ Since #Sanskrit and #persian were not commonly spoken, hence local translation (e.g. Bengalee, Hindi, etc.) of NEW Testaments were preferred to be administered.
Few chosen ones were intended to send to EUROPE to view their advancement in Christianity than being #Hindu
16/ Addressals to possible situations were summarised.
EG. 1. Question the ORIGIN of Vedas 2. If #VEDAS are infinite, How #Vyasa was able to reduced them in finite numbers that too unadultered, unperverted.
17/ 3. Challenge Hindus for their system of punishment with mere fine for kiIIing while capital punishment for theft in some cases.
18/ From the reading, It appears to me, that Euro-Indologists studied our holy scriptures to suit their policies of colonization.
They translated VEDAS with literal and wrong connotation to convince not so educated. They targeted Children and uneducated ones first.
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The Gubyaukgyi (or Kubyauk-gyi) temple, near Bagan, Myanmar, was built in 1113 AD by Prince Yazakumar after King Kyansittha's death. It's renowned for its well-preserved frescoes, the oldest in Bagan, featuring Old Mon captions that mark early language use in Myanmar.
Located near the Myazedi Pagoda, it stands beside a key historical pillar with inscriptions in Pali, Old Mon, Old Burmese, and Pyu, often dubbed the "Burmese Rosetta Stone" for its linguistic significance.
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Stone pillars with inscriptions in four ancient Southeast Asian languages: Pali, Old Mon, Old Burmese, and Pyu. The inscription on the pillar displayed by the Myazedi Pagoda is called the Burmese Rosetta Stone, given its historical and linguistic significance as a key to deciphering the Pyu language.
Compare the protection given to this pillar by a relatively smaller country. @AsiGOI can learn from these smaller countries as to how to protect heritages of national importance.
Did you know that "Bull Leaping" or "Bull Taming" finds its roots in India, and was gender neutral ? It later made its way to Europe, where it goes by different names. The earliest seal dates back to around 2600-1900 BCE. The second piece of evidence for Bull Leaping comes from Banawali, near the dry Saraswati riverbed in Haryana, dating from 2300-1700 BCE.
#Archaeology
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The subsequent known depiction of bull-leaping appears on Hüseyindede vases, originating from the early Hittite period around 1650 BCE. #Archaeology
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During the period from around 1600 BCE to 1450 BCE, the late Minoans engaged in the thrilling sport of bull leaping. This bronze sculpture, crafted through the 'Lost Wax Technique' (a method originating from India that remains in use today by @Nasa), captures an acrobat in mid-somersault.
DEVDASI | Journey from GLEAM to GLOOM | Most respected to most dejected
Thread to look back in time to where we are today. An untold story in the evocative book 'NITYASUMANGALI' by Saskia C Kersenboon
Exploring the devadasi system's transformation, this narrative traces its shift from revered spiritual practice to marginalized existence. Devadasis, once divine performers in temples, faced decline as societal changes turned respect into rejection. Kersenboon's research reflects on cultural shifts, urging readers to ponder tradition, power, and identity.
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Devdasis, also known as Rudra Ganikas, played a crucial role in temple ceremonies. They were the figures who encircled the IDOLs during rituals led by the royals. Revered as both sacred and auspicious, they symbolized wealth and protection for the populace. They also conducted various ceremonies related to weddings and births.
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The initiation into becoming a DevDasi was a CHALLENGING ritualistic journey, focused on mastering Shakti and anchoring it to a symbolic DEITY. It began with the King's consent, followed by seclusion, detachment from family, and a bond with GOD. Even upon death, a Devdasi adorned herself as SU-Mangali (a MARRIED woman).
Beyond ancient docks, lies advanced metrological wisdom.
From Mauryan architecture to now known as Qutub Minar, and Tajo Mahal the 5000 years old legacy lives on.
Bookmark this thread.
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As per latest studies, Dholavira construction used metrological units continued even in Tajo Mahal.
The author of this paper used "Dhanus" as 1.9 meters to evaluate dimensions and found that #harappan were not only fond of ratios but applied to all settlement of that period with some MOE
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The city's length EW axis and width NS are in a ratio of 5:4
The Castle also reflects the city's ratio of 5:4.
The Bailey is square (ratio 1:1).
The middle town's length and breadth are in a ratio of 7:6
The ceremonial ground's proportions are 6:1
The Brihadeshwarar Devalaya was founded by the Tamil emperor Arulmozhivarman, popularly known as Rajaraja Chola I, in 1002 CE. It was the first major building project of the great Tamil Chola dynasty.
Inspired by Shaivism, the temple stands as a significant testament to this tradition.
The frescoes on the Devalaya walls were damaged due to exposure to smoke and camphor. The Tanjore Nayak replaced the damaged paintings with their own. Later, @ASIGoI repaired the paintings. However, a few of the original artworks have begun to reappear.
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This exquisite fresco, dating back over a millennium, vividly captures the grace of two female and one male dancer in a mesmerizing performance. Nestled within the revered Brihadeshwarar Devalaya in Tamil Nadu, this ancient artwork reflects the region's rich cultural heritage and the timeless allure of classical Indian dance traditions.