Culture and Landscape of India-R2

CULTURE &
LANDSCAPE
OF INDIA
RACHANA
KULKARNI
ABSTRACT
Culture and Landscape is a symbiosis of human activity and environment. In order to live in places, humans
needed to adapt their lifestyles. The relationship between people, their culture, and the physical landscape is
known as human-environment interaction or the culture-landscape co - existence. Culture adapts to a
particular place, and that place is changed by people. Types of landscapes created by the interaction of people
and their physical environment is known as cultural ecology
Landscapes are cultural byproducts. The way that we use the local resources generates the visible landscape.
Architecture, economic activities, clothing and entertainment are all visible to anyone interested in looking at a
place. Because of the varying physical landscape across region, culture also varies across region, then the
cultural landscape is variable as well.
• Introduction
-Cultural & its evolution through art forms
- Components and their association with Landscapes.
- Tangible and intangible aspects of culture and landscape.

CONTENTS • Cultural Landscape of India
- Cultural landscapes of different scenarios
• Conclusion
CULTURE
• “Set of distinctive spiritual, material,
intellectual, and emotional features of
society or a social group, and that it
encompasses, in addition to art and
literature, lifestyles, ways of living together,
value systems, traditions and beliefs.” By
UNESCO
• The ideas, customs, and social behavior of a

particular people or society.
• Way of living.
• Culture is dynamic not static.
• No culture is inferior or superior.
https://bluefieldstate.edu/sites/default/files/userfiles/oii/windowsontheworld/South%20Indian%20Culture_Divyapriya%20G.
pdf
ART INFLUENCES THE
CULTURE AND SOCIETY:
Visual art
(Architecture, painting etc.)
• Art influences society by changing opinions, instilling
values and translating experiences across space and
time.
• Painting, sculpture, music, literature and the other Performing arts

arts are often considered to be the repository of a (Music, dance, cinema,
Arts and Culture
society’s collective memory. Art preserves what fact- martial art, animal sports
etc. )
based historical records cannot: how it felt to exist in a
particular place at a particular time.
• Art in this sense is communication; it allows people

Miscellaneous
from different cultures and different times to
communicate with each other via images, sounds and (Festivals, crafts, language,
stories. Art is often a vehicle for social change. It can cuisine, marriage ceremony
give voice to the politically or socially disenfranchised.
etc. )
A song, film or novel can rouse emotions in those who
encounter it, inspiring them to rally for change.
pdf
VISUAL ART PERFORMING ARTS FOOD & FESTIVES
pdf
COMPONENTS OF CULTURE
AND THEIR ASSOCIATION
WITH LANDSCAPE
https://www.masterpiecemixers.com/art-affect-culture-society/
CULTURE AND LANDSCAPE
Culture Sense of Identity
Landscape Sense of Place
• Provide a sense of place and identity

• Map our relationship with the land over time
• They are part of our national heritage and each of our lives.
• Provide geographers information about how a culture lives

• What they value
• How they interact with the land.
• Example - urban neighborhoods, agricultural fields, relics, and
heritage sites.
https://helpfulprofessor.com/cultural-landscape-examples/
• A geographic area, including both cultural and natural resources and the wildlife or
domestic animals therein, associated with a historic event, activity, or person, or
exhibiting other cultural or aesthetic values.
Aspects of Cultural Landscape
Tangible aspects Intangible aspects

(physical artefacts) (oral traditions, and living expressions)
• Terrain • Concepts
• Softscapes • Ideas
• Hardscapes • Traditions
• Water • Climate
• Elements of landscape like
plants, texture, color etc. CULTURAL
• Road networks
LANDSCAPE
https://helpfulprofessor.com/cultural-landscape-examples/
HAMPI – A Market Place on the VARANASI – A Pilgrimage site
valley LADAKH – High Altitude Plateau
At an elevation of 80.71 meters (264.8 ft) PAVGAD – Fort and the hill
The highest altitude plateau region in India,
Located on the banks of Tungabhadra in the center of the Ganges valley of North Hilly terrain with rock formations of incorporating parts of the Himalayan and
river with rocky terrain surrounded by India. rhyolite, green bedded tuffs, porphyritic Karakoram mountain ranges and the upper
boulders. basalt, olivine dolerite and nonporphyritic Indus River and valley.
alkaline basalt.
PLACES &
TERRAIN
HAMPI
THE CAPITAL OF VIJAYANAGARA EMPIRE Click icon to add picture
https://www.hampionline.in/city-guide/physical-features-of-hampi
HAMPI
NATURE & GEOGRAPHY
Hampi is situated in the Krishna-Tungabhadra basin, which shaped

the core of the Vijayanagar Empire, established in 1336.
 The natural landscape at Hampi is enriched with symbolism from

mythological references with universal recognition for beauty.
The small village of Hampi is located on the banks of the river, Click icon to add picture
Tungabhadra and is now, recognized as UNESCO World Heritage
site.
The landscape of Hampi mostly consists of granite which is

responsible for shaping of the city into a heritage site – the carving
out of the world famous monuments here.
The valley is surrounded by the river Tungabhadra on one side and

hills on the other three. The valley is rich in boulders scattered with
la-goons, islands and smaller pools of water.
Boulder
Valley
River
Tungabhadra
Boulder Valley was utilized as

market place.
NATURE & THE CITY
The attributes like strategic location and abundance of natural

resources, rendering this spectacular landscape befit for a Capital
City.
They had very much arranged plantations and delightful gardens
with sculptural themes like the lotus and corbels.
The Vijayanagar kings showed interest and developed gardens Click icon to add picture
beautifully before the Mughals did.
 The rulers of the Vijayanagar also built several canals and tanks.
One of the important storage tanks was the Ananthraj Sagar tank built
with a 1.37km long earthen dam across the Maldevi river.
 The integration of the geographic setting with man-made features in
the design and functional layout of the entire capital can still be
discerned and the form of the original city planning with suburban
pattern is evident.
Today there is a continuity of several religious rituals, associations,
traditional skills and occupations within the society that have been
maintained.
https://whc.unesco.org/en/list/241/
WATER AND WELL
 The Vijayanagara Kingdom had developed various hydraulic
structures by taking advantage of natural topography and scientific
techniques to convey water from hilly area to urban habitat.
 It was supplied with water from an inland source of water through a

masonry canal system. The canal is in good condition even today.
 In terms of landings, construction technique, jointing, recesses,

access to water and water deities, influence of the Chalukya
architecture is established on the stepwell at Hampi.
Influence of Chalukya architecture on Hampi stepwell Arunchandra Pathak, U.

D. Kulkarni
COLOURS AND THE
MATERIALS
• The use of the materials i.e.

stones, was the City’s
Geography.
• That is, the granite boulder
terrain.
• The colors that is Grey color
to the whole city planning is
also outcome of the same.
• Warm colors characterize the
city
CULTURE AND HERITAGE
Speaking of festivities, there were regular festivals celebrated

throughout the year, specially in the temples. One of the most celebrated
festival was known as the Hampi Utsav or Vijaya Utsav during the king's
time.
After the kingdom came to the ruins, the Karnataka government named
the event as Nada Utsav. This festival is conducted in the month of Click icon to add picture
November every year, where lot of artiste, international tourists,
musicians come from all over India to perform and enjoy.
Traders are offered tokens of gold coins and diamonds recreating the
once world famous for open trade in stones.
https://whc.unesco.org/en/list/241/
https://www.hampionline.in/city-guide/hampi-culture
LEGENDS OF HAMPI
Hampi, as mentioned earlier is

A popular folklore associates Hampi believed to be the erstwhile mythical CHINTAMANI TEMPLE is a
with the Hindu epic Ramayana. The monkey kingdom. In the intense cave temple which is just across Hampi
monkey kingdom Kishkinda is river. Continuing the Ramayana legend of
battle between the two brothers Vali Hampi, the temple is surrounded by the
portrayed as the region around Hampi
and Sugreeva, they threw boulders at natural caves where Rama conducted his
and the ANJANEYA HILL across each other and apparently those entire meetings with Sugreeva and Hanuma. This
the river Thungabhadra is believed to also believed to be the place where Rama
be the birth place of Hanuman.
BOULDERS piled up all around killed Vaali during his battle with Sugreeva.
Hampi.
https://www.goheritagerun.com/myths-legends-hampi/
VARANASI
GANGA
FLOWS BY MY SIDE
Varanasi or Banaras is one of the oldest cities in the world.
It is situated on the bank of river Ganga spreading over 1535 sq.km area
in the state of Uttar Pradesh.
It is located between the confluences of river Ganga and Varuna and Assi
river.
The city aligns to the river, this alignment rises to the culture and
practices in the city.
file:///D:/M.L.ARCH/Sem-2/Seminar/Amita%20Sinha%20-%20Cultural%20Landscapes%20of%20India_%20Imagined,%20Enacted,%20and%20Reclaimed%20(2021,%20University%20of%20Pittsburgh%20Pr
ess)%20-%20libgen.li.pdf
PILGRIMAGE BY THE RIVER
 The great rivers of the Indo-Gangetic plain in northern India have inspired a way of seeing, imagining,
and celebrating the life-enhancing powers of water as perhaps no other rivers in the world have.
 Conceived of as flowing axis mundi, connecting this world and others, the Ganga and Yamuna have
attracted myths and legends celebrating their descent to earth, and association with the supreme gods of
Hinduism—Shiva and Vishnu’s avatar, Krishna.
 The rivers are worshipped for their life-giving and protective powers and bathed in for spiritual and
bodily purification.
 It is the landscape itself—the phenomenal form of Ganga and Yamuna—that has the greatest impact on
shaping place memory.
 The Ganga liberates one from the cycle of death and rebirth when cremation occurs on her banks.
 . Cultural practices are spatial in that they are defined by places; built forms and practices mutually
constitute and impact the cultural landscape.7 Steps and landings, pavilions, platforms, shrines, and
niches become behavior settings and loci of activities that are congruent with formal language of the
ghats.
 Steps to the river facilitate bathing and other rituals centered on the holy waters and washing clothes,
while those above the landings are used as sitting spaces to watch public life
Interpretation of the landscape
• The space leading to the river is used for
public gathering for religious events
Section across Dashashwamedh Ghat
Section across Assi Ghat
https://issuu.com/aanchalvidyasagar/docs/landscape_of_ghats__dissertation/39
Ghats
 Aarti—daily felicitation to the Ganga—and cremation occur on the riverfront, most spectacularly at Dashashwamedh and Manikarnika Ghats, attracting large crowds. In life
and death processes considered to be polluting in Hinduism, fire and water are purifying agents, and they are part of both events.
 Manikarnika Ghat appears as a stage set in a theater of death where the drama of the end of life plays out. On the moving boat, as the smoking pyres and grimy temple
towers come into view, attention is focused almost involuntarily
 The largest and most popular of celebrations occurs every evening at Dashashwamedh Ghat, drawing large crowds of visitors. Aarti to Ganga is a performance for about
thirty minutes at dusk by a local organization called Ganga Sewa Nidhi.
Ghats River Sun
Spatial
arrangement
SUN & WATER
On the banks of Ganga in Varanasi, the sun and the river are
central to spatial practices and are worshipped as transcendent
divine entities made immanent through their material form and
physical presence. As symbols of natural archetypes of fire and
water, they are sources of energy that create and sustain all life.
At the ghats, time, space, and cultural practices come together in
commemorating divine nature and engaging with in its material
forms.
The visually arresting unfolding panoramic views of the ghats

from the river have dominated representations of the holy city of
Varanasi in paintings and photographs.
The cultural landscape of ghats should be interpreted not just as a

picturesque view but as a situated event, of text enacted and
performed, and experienced through all the senses.
The study states that –
• There are temperature changes in the river water in Varanasi

Jan
Feb-Mar during various month, according to a research carried out.
November • The temperature of the water is lower during the months -
December November-February.
November
Jan-Feb
Jan-Feb • The pattern of devotees observed is during November –
February.
November
• It is observed that most of the religious events happen during the
Jan-Feb
November-February periods when the water is relatively cooler.
THE STUDY OF RIVER WATER

TEMPERATURE AND PATTERN OF
DEVOTEES AROUND THE YEAR
https://link.springer.com/article/10.1007/s12524-022-01514-x
COLOURS &
CULTURE & ART
It has a rich and original variety of paintings and sculptor styles and
MATERIALS
equally rich treasures of folk art. During the ages Varanasi has produced
master craftsmen and Varanasi has earned name and fame for its Sarees,
handicrafts, textiles, Toys, ornaments, metal work, clay and wood work,
leaf and fibre crafts.
Antique fashions come alive in the city with exquisite work and ancient
embroidery techniques, known as 'kal balta' and 'khinbab’.
The craft culture of Varanasi is often associated with myths and legends.
They display unique sense of aesthetics that reflect deep Indian flavour.
Pink enamelled 'minakari' jewellery and artefacts form the most famous
and exclusive arts of Varanasi. Pattern, motifs and weaves of the past can
still be found living in the works of the traditional weavers of Varanasi.
• The city is characterized by cool greyish blue colors and the grey sandstone colours -
neutral colour palette.
• Sandstone is the prominent material.
https://nitishpriyadarshi.blogspot.com/2008/04/varanasi-ancient-buildings-made-of.html
CHAMPANER PAVAGADH
PAVAGADH  Pavagadh Hill, the southern end of the Aravalli range, rising abruptly
from the surrounding plains to a height of 830 meters, is a striking
and isolated landmark in the landscape, visible from miles around.
 It is part of the ancient ridge running from western to northern India,

made of igneous rocks from lava flows that are now exposed in
vertical escarpments in cliffs separated by narrow steep gorges.
TOPOGRAPHY
Although the settlement was established at the base of the hill

rather than on its plateaus, topography continued to shape the
settlement pattern, location of gateways, and bodies of water.
The city’s fan-shaped layout was the result of connecting the

lowest plateau of Pavagadh with Saria-Vakaria Hill by an outer
fort wall.
The remnants of fort walls, gateways, palaces, granaries, and

water structures on the hill and its foot are clues helpful in
answering the question of how topography determined the
location, layout, and form of architecture and how building
activities and structures in turn transformed the natural
landscape and made it habitable and secure.
At Pavagadh, the natural terraces on the northeast provided a

somewhat even surface, though limited in area, for building
fortified structures.
THE FORT & THE HILL
Its steep rise on all sides except northeast make it a naturally

defensible feature. For the Rajputs withdrawing from the area
overrun by Islamic forces, the hill was a natural fortress that they
made an impregnable “seat and sanctuary” through ingenious
building efforts.
The forts strove for self-sufficiency in water by constructing

elaborate macro and micro catchments for harvesting rainwater. Food
supplies were stored in granaries (kothars) situated near gateways or
the edge of cliffs.
At each line of defense heavily guarded gateways controlled access

to the settlements within. Their location was strategic, coinciding
with overlook points and natural barriers such as a narrow neck of
land and ravine.
Buildings within the fortified enclosures were located for not only
strategic reasons but also for symbolic needs. Kalika Mata Temple,
on the pinnacle of the toe-shaped hillcrest, proclaimed her supremacy
and served as a destination for pilgrims climbing up the hill.
WATER
Water management at Champaner-Pavagadh in Gujarat was a marvel of engineering of the medieval
era.
Pavagadh Hill and its historic settlements are in a semiarid region with an average annual rainfall of
823 millimeters, mostly in the monsoon season.
 The region is dry in other seasons, making water resource management imperative. Abundant
rainfall over a short period needs to be harvested and stored for later use.
Traditional knowledge and technologies involving an intimate understanding of terrain, groundwater

table, and percolation rates in soils evolved around this necessity for storing water.
 However, holistic knowledge of site hydrology, though essential for survival, was unrecorded and
largely based upon lived experience. Water harvesting was a cultural practice based upon the
collective wisdom of local communities.
There are no perennial rivers or streams in Champaner-Pavagadh. Small rivulets such as Jhorvan in
the plain and Vishwamitri on Pavagadh Hill dry up in the summers.
The hilly topography creates watersheds that were utilized to build waterworks for the historic
communities.
 The hill cascades down in five plateaus on the northeast and has sheer vertical faces on its other
sides. Its plateaus were prime sites for water harvesting in talaos around which temples, palaces, and
mansions were built in fortified settlements by the Rajputs.
COLOURS AND MATERIALS
• Reddish-yellow coloured stone formation.
• Cool colour palette.
LADAKH
Ladakh is the highest plateau in india with most of it being over 3,000 m (9,800 ft).
It extends from the himalayan to the kunlun ranges and includes the upper indus river valley.

GROWTH OF TERRACE FARMING -
TOPOGRAPHY,CLIMATE AND CULTURE Ladakh lies between 32o 15’ - 36o N and 75o 15’ - 80o 15’ E, and is a high altitude cold arid region of India.
Due to harsh winter, and heavy snowfall, Ladakh remains cut off for almost seven months i.e. from October –
May from rest of the world by surface transportation.
Agriculture with harvesting glacier water in the lap of Himalaya has come-up as a small-scale farming system,
well adapted to this unique and extreme environment.
Region experiences mean annual precipitation of 80-300 mm, which is scanty and negligible in the thirsty laps
of mountains.
Himalayan Mountains and the Indus river system are two of the gigantic land features that limit the possibility
of large scale agricultural activities in Leh region.
Its agriculture in the past rendered the region self-sufficient in food grains especially with small land holdings.
Families rely more essentially on subsistence agriculture based on principal crops like wheat, barley and potato
on their stone-built terraces.
Terraced fields on slopes of high mountains are irrigated with glacial meltwater and fertilized with
undecomposed farmyard-manure, human "night soil" and a starter dose of fertilizers like urea, DAP and
muriate of potash.
Festival called SAKA denotes the onset of agriculture season in Ladakh around April and Dzo are honored
with chhang and barley products, as it is thought that they have full-right for these foods.
Prioritizing crop sowing is a very amazing and competitional phenomenon when all the farmers remain on the
fields and women being a main stakeholders support the sowing along with folk songs.
Terraced crop fields of Saka dawa festival
Ladakh
https://www.ijcmas.com/8-9-2019/M.S.%20Raghuvanshi,%20et%20al.pdf
COLOURS AND MATERIALS
• Cool color palette.
• Materials -stones, timbers and mud
https://www.ijcmas.com/8-9-2019/M.S.%20Raghuvanshi,%20et%20al.pdf
CULTURE  Ladakh is a picture of the Tibetian culture. The words “mini
Tibet” will immediately be uttered by those that have been to
Tibet at some point or the other.
 From the costumes worn by the people to their cuisine, almost

everything is heavily influenced by Tibetan culture & Buddhism.
However, despite this, the culture of Ladakh is rich and
fascinating.
 The demography of Ladakh too, has played a strong role in

shaping its culture as it exists today. Much of the everyday life
of the Ladakhi people revolves around the gompa or
monasteries, which is a major part of their culture.
 The people of Ladakh also celebrate several festivals throughout

the year, some of the most famous ones being Losar, Hemis
Tsechu & Saka Dawa. A lot of their time is also spent in making
stone jewellery, woollen clothes, and mural paintings on the
walls of the monasteries, which is done by both laymen and
monks and symbolises the various aspects of Buddhism.
https://www.tourmyindia.com/states/ladakh/arts-and-culture.html
Comparison
Hampi Varanasi Pavagad Ladakh
The boulder and river side The river terrain was celebrated for its The hilly topography was utilized as fort wall The climatic conditions and the need for food for the
topography was utilized as a life giving and protective power. and the people were warriors. survival the Ladakhi people started developing
commercial market area where Every natural element was celebrated. terraced farming which gave rise to even their
people were merchants and Thus was a pilgrimage site. Ladakhi culture.
traders.
Comparison Hampi Varanasi Champaner Pavgad Ladakh
Humid
Climate Dry & hot subtropical Hot/humid Cold and dry
climate.
Vertical escarpments in
Terrace Boulder valley Riverine cliffs separated by narrow Plateau
steep gorges
Colors Warm Tone Neutral Tone Cool Tone Cool Tone
Culture Merchants & Trading Pilgrimage Warrior culture Farming culture

culture culture
Conclusion
• The land is responsible for the shaping up of any culture, and its components along with climate too.
• The same terrain can be perceived in many ways according to the need of the settlement at that particular time.
• Some landscape elements are not designed and are the by products of topography and need of the people.
• As the region changes, the similar topography can be interpreted in different ways and can give birth to different culture, - also
within the region the interpretation of the landscape can be varying.
Thank you
DWARAKA
DWARAKA
Dwaraka rises at the mouth of the Gulf of Kutch, on the western shore of the Okhamandal peninsula's western shore and along the banks
of river Gomti – Dwaraka is one of the most significant Hindu pilgrimage destinations.
INTRODUCTION
Dwarka is a site of memory as an enacted landscape of pilgrimage and an archive of fragments
buried underground and scattered on the seabed at the coastal edge.
 Place myths, temples and shrines, pamphlets, local folk art, and songs create and buttress
memory of Krishna’s heroic feats and his eternal city. Oral traditions have been tenacious in
keeping those memories alive yet there appears to be the need to authenticate the past through
empirical knowledge.
Myths enacted by the devotee are successful in reliving the past in the present and are in that
sense “living history” despite being considered by historians to be works of imagination.
In the quest to turn myth into history, archaeologists have sought to “prove” the existence of
historic Dwarka and Krishna through material remains. In translating myth into history through
empirical research, reconstruction of past events is given a factual basis, and therein lies its
appeal. The psychological immediacy of the enacted myth is complemented by the detached
perspective used in documenting history.
In the attempt to reconcile myth and history, Dwarka becomes a representational space—of
myth, symbols, traditional spatial practice—as well as a space of representation—of timelines,
taxonomies, and networks that describe empirical knowledge systems.
Both ways of seeing and remembering the past can inform the present and may be considered in
projecting Dwarka’s future.
MYTHS AND MYTHOLOGY
Dwarka is mentioned in a number of

Dwarka’s popularity as a pilgrim destination began
It was a fabulous Svarna Nagri (golden city), also medieval texts - Vishnu, Bhagwata, and
to grow beginning in the ninth century, when the
known as Dvaravati, “the door to eternal bliss.” The Matsya Puranas. In Harivamsa, epilogue to saint-philosopher Adi Shankaracharya chose it as
shining city rose from the sea, designed by the divine Mahabharata, Dwarka is described as a the site of Sharadapith, one of the four major
architect Viswakarma, and rivaled the heavenly Varidurga, a fortress in water, and monasteries for the study of the Vedanta doctrine
Amaravati in its splendor. The land on which it was Dronimukha, a port at the confluence of a of Hinduism
built was wrested from the sea by Krishna, the river and sea. It was naturally protected by
incarnation Vishnu had taken to destroy evil and
hills and sea on three sides and fortified by
restore the moral order in Dvapar Yuga.
a wall with four gateways.
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CULTURE &

-Cultural & its evolution through art forms

- Components and their association with Landscapes.

- Tangible and intangible aspects of culture and landscape.

- Cultural landscapes of different scenarios

• The ideas, customs, and social behavior of a

• Culture is dynamic not static.

• No culture is inferior or superior.

• Painting, sculpture, music, literature and the other Performing arts

• Art in this sense is communication; it allows people

Landscape Sense of Place

• Provide a sense of place and identity

• Provide geographers information about how a culture lives

Aspects of Cultural Landscape

Tangible aspects Intangible aspects

Hampi is situated in the Krishna-Tungabhadra basin, which shaped

 The natural landscape at Hampi is enriched with symbolism from

The landscape of Hampi mostly consists of granite which is

The valley is surrounded by the river Tungabhadra on one side and

Boulder Valley was utilized as

The attributes like strategic location and abundance of natural

 It was supplied with water from an inland source of water through a

 In terms of landings, construction technique, jointing, recesses,

Influence of Chalukya architecture on Hampi stepwell Arunchandra Pathak, U.

• The use of the materials i.e.

Speaking of festivities, there were regular festivals celebrated

Hampi, as mentioned earlier is

Varanasi or Banaras is one of the oldest cities in the world.

Section across Dashashwamedh Ghat

Section across Assi Ghat

The visually arresting unfolding panoramic views of the ghats

The cultural landscape of ghats should be interpreted not just as a

• There are temperature changes in the river water in Varanasi

THE STUDY OF RIVER WATER

 It is part of the ancient ridge running from western to northern India,

Although the settlement was established at the base of the hill

The city’s fan-shaped layout was the result of connecting the

The remnants of fort walls, gateways, palaces, granaries, and

At Pavagadh, the natural terraces on the northeast provided a

Its steep rise on all sides except northeast make it a naturally

The forts strove for self-sufficiency in water by constructing

At each line of defense heavily guarded gateways controlled access

Traditional knowledge and technologies involving an intimate understanding of terrain, groundwater

• Reddish-yellow coloured stone formation.

• Cool colour palette.

It extends from the himalayan to the kunlun ranges and includes the upper indus river valley.

 From the costumes worn by the people to their cuisine, almost

 The demography of Ladakh too, has played a strong role in

 The people of Ladakh also celebrate several festivals throughout

Hampi Varanasi Pavagad Ladakh

Colors Warm Tone Neutral Tone Cool Tone Cool Tone

Culture Merchants & Trading Pilgrimage Warrior culture Farming culture

Dwarka is mentioned in a number of

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