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The year 2018 marks 500 years since the establishment of the
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Raipur , Chhattisgarh
“A concerted effort to preserve our heritage is a

Workspace

Kolam: Patterns and Rituals

 

Abraham, Lisa & Chacko, Biju. 2017. Kolam as infographics. Online at https://www.researchgate.net/publication/314216401_KOLAM_AS_INFOGRAPHICS (Viewed on November 20, 2017) 

 

Archana, S. 1981.The Language of Symbols: A Project on South Indian Ritual Decorations of a Semi-Permanent Nature. Madras.  

 

Ascher, M. The Kōlam Tradition: A Tradition of FigureDrawing in Southern India Expresses Mathematical Ideas and Has Attracted the Attention of Computer Science. AS 90/1, 56–63.  

------. 2002. Mathematics Elsewhere: An Exploration of Ideas across Cultures, Princeton. 

------.  1991. Ethnomathematics: A Multicultural View of Mathematical Ideas. Pacific Grove: Brooks/Cole.  

 

Beck, B. 1976. The Symbolic Merger of Body, Space and Cosmos in Hindu Tamil Nadu. CIS 10/2. 213–245.  

 

Brooke, S.C. 1953. The Labyrinth Pattern in India. Folklore 64, 463–472.  

 

Chatterji, T. 1948. Alpona: Ritual Decoration in Bengal, Bombay.  

Cutler, N. 1960.Consider our Vow: An English Translation of Tiruppāvai and Tiruvempāvai, Madurai, 1979. Das Gupta, S. et al., Alpana, Delhi.  

 

Das, S.R. 1957. Folk-Ritual Drawings of Bengal: A Study in Origin. JDL 1. 81–132.  

--------. 1943 Alpona of the Kumari-Vratas of Bengal. JISOA 10. 126–132.  

 

Dehejia, V. 1990. Āntāl and Her Path of Love: Poems of a Woman Saint from South India, Albany.  

 

Dohmen, R. 2004. The home in the world: Women, threshold designs and performative relations in contemporary Tamil Nadu, South India. Cultural Geographies 11, 7-25.  

 

Hacker, L.A., Rangolī: Ritual Art of India, MA thesis, San Francisco State University, 1975.  

 

Gupta, E.M. 1983. Brata und Alpana in Bengalen, Wiesbaden.  

 

Hudson, D. 2008.  The Body of God: An Emperor‟s Palace for Krishna in EighthCentury Kanchipuram. New York. 

 

Kilambi, J. 1986. Muggu: Threshold Art in South India.  ResAA 10. 71–102.  

 

Kramrisch, S. 1983. Unknown India: Ritual Art in Tribe and Village, in: B.S. Miller, ed., Exploring India‟s Sacred Art, Philadelphia.  

------. 1985.The Ritual Arts of India, in: R. Adams, ed., Aditi: The Living Arts of India, Washington DC.  

 

Laine, Anna. 2009. Complementarity between art and anthropology. Experiences among kolam makers in South India.  Suomen Antropologi: Journal of the Finnish Anthropological Society 34.  

------. 2013. Kolam patterns as materialisation and embodiment of rhythms.  Online at http://anthrovision.revues.org/607 (viewed on November 2, 2017) 

 

Layard, J. 1937. Labyrinth Ritual in South India: Threshold and Tattoo Designs. Folklore 48, 115–182.  

 

Leslie, J.1989. The Perfect Wife: The Orthodox Woman According to the Strīdharmapaddhati of Tryambakajayvan, Oxford.  

 

Miller, B.S., ed. 1983. Exploring India‟s Sacred Art: Selected Writings of Stella Kramrisch. Philadelphia.

 

Nagarajan, V. 1993. Hosting the Divine: The Kōlam in Tamil Nadu. Ed. N. Fisher. Mud, Mirror, and Thread: Folk Traditions of Rural India, Albuquerque.  

------ .The Earth as Goddess Bhūdevī: Towards a Theory of Embedded Ecologies in Folk Hinduism  Ed.L. Nelson, Purifying the Earthly Body of God, New York.  

------. 1998b. Hosting the Divine: The Kōlam as Ritual, Aesthetic, and Ecology in Tamil Nadu, India.  diss., University of California.  

------. 2001a . (In)Corporating Threshold Art: Kōlam Competitions, Patronage and Colgate.  In: D. Hopkins et al., eds., Religions/Globalization, Durham. 161–186.  

------. 2001b. Soil as the Goddess Bhūdevī in a Tamil Hindu Women‟s Ritual: The Kōlam in India.  In: A. Low & S. Tremayne, eds., Women as Sacred Custodians of the Earth: Women, Spirituality, and the Environment, Berghan. 159–174.  

------. 2000. Rituals of Embedded Ecologies: Drawing Kōlams, Marrying Trees and Generating Auspiciousness.  In: C. Chapple & M.E. Tucker. Eds. Hinduism and Ecology. Cambridge MA. 453–468.  

------. 2007. “Threshold Designs, Forehead Dots, and Menstruation Rituals: Exploring Time and Space in Tamil Kōlams,” in: T. Pintchman, ed., Women's Lives, Womens Rituals in the Hindu Tradition. New York.

Nagata, S., & R. Thamburaj, 2006. Digitalization of Kōlam Patterns and Tactile Kōlam Tools.  In: K.G. Subramanian et al., eds., Formal Models, Languages and Applications, Singapore. 353–362.

 

Orr, L. 2000. Donors, Devotees and Daughters of God: Temple Women in Medieval Tamil Nadu. New York.  

 

Pillai, M.S., & V. Saroja. 1987. Kāla Āyvil Kōlankal, Madurai.  

 

Prusinkiewicz, P., & J. Hanan. 1980.  Lindenmayer Systems, Fractals and Plants, New York.  

------, 1985. Application of L-Systems to Algorithmic Generation of South Indian Folk Art Patterns and Karnatic Music. In: R. Narasimhan, ed., A Perspective in Theoretical Computer Science: Commemorative Volume for Gift Siromoney, Singapore, n.d.  

 

Saksena, J. 1985.Mandana: A Folk Art of Rajasthan, New Delhi.

 

Saroja, V., Mannin Manam, Madurai, 1992.

 

Siromoney, Gift. 1978. South Indian kolam patterns. Kalakshetra Quarterly 1, No. 1, pp. 9-14.

 

------. 1985. Studies on the Traditional Art of Kōlam. Madras. 

 

Siromoney, G., R. Siromoney and K. Krithivasan. 1974. Array grammars and kolam. Computer Graphics and Image Processing 3. 63-82. 

 

Steinman, R.1988. Kolam: Form, Technik und Verwendung einer im Wandel Begriffenen Rituellen Volkskunst Tamilnadus. 207–232 

 

Thiruvenkatampillai,P.T. Velayuthamuthaliyar & Rathinavelujaya.1984.Kōlaputtakam. Chennai. 

 

Tucci, G. 1961. The Theory and Practice of the Mandala, London.