Bob was in trouble. He forgot his wedding anniversary. His wife was
really pissed.

She told him "Tomorrow morning, I expect to find a gift in the
driveway that goes from 0 to 200 in 6 seconds AND IT BETTER BE THERE !!"

The next morning he got up early and left for work. When his wife woke
up, she looked out the window and sure enough there was a box
gift-wrapped in the middle of the driveway.

Confused, the wife put on her robe and ran out to the driveway, brought
the box back in the house.

She opened it and found a brand new bathroom scale.

Bob has been missing since Friday.

The geographical entity in the north-western region of India called Punjab, the land of five rivers, has been and still is an integral part of the common pool of Indian culture. Its arts and crafts also form an important part of the deep-rooted artistic tradition of India and are equally rich and significant.

The culture of Punjab prior to the partition of 1947 was a mixture of three strains one flowing frorn Kangra hills, the second from south-western area from Multan to Lahore, and the third from Peshawar w Lahore. Patiala and contiguous areas were not active culturally. The three aforesaid areas contributed to the culture of the five river land. Lyallpur, Jhang, Montegomary, Rawalpindi, Sialkot and Lahore were Muslim dominated areas. Religion naturally left its impress an culture. Its influence can be seen on almost all arts and crafts, specially glazed pottery and woodcarving. The artisans of Chiniot near Lyallpu were famous for their skill in these crafts. 

Hindus and Muslims of this area dressed themselves in the same manner. The art, culture and costumes of this zone present a sharp contrast to those of the north-eastern areas of the Punjab. People in the north-western frontier zone wore Salwar (bottomwearl aod turban with a Kullah, Loose turbans, a long Kurta (Shirt) and a loose lungi (tahrnet or tamba) were in vogue in Multan, Jhang, Lahore and Amritsar.

Turban wrapped in a sophisticated manner known as Dogra-Pahari style was common in Lahore, Amritsar and the contiguous area up to Ambala. The combination of Patiala and Dogra styles of turbans was also common in these areas.

Amritsar, Gurdaspur, Hoshiarpur, etc. had a distinctive culture of their own owing to the deep influence of the Pahari culture of Kangra hills. The metalwork, jewellery, embroidery, mudwall paintings, wall paintings in the temples and mansions of the rich (Havelis), figurative woodcarving, folk songs, musical instruments and even the dishes have a typically Pahari character, here. The men and women of these areas speak a different dialect from those of the north-western frontier zone.

Lahore, on account of its being the capital as well as the government headquarters, could not develop a distinct culture of its own, for people from different places came to reside here. Its culture remained hybrid, a conglomeration of odd elements. Despite so much cultural diversity, there are points of common contact which unite the culture of the Punjab. This is evident from the architecture of ordinary dwelling houses, Punjabi poetry, folk songs, idiomatic expressions, jokes, etc. This aspect shall be dealt with in the following paragraphs.

As elsewhere in India, the culture of Punjab thrived in both urban and rural areas. Historical examples in classical style such as Buddhist relics, pottery, sculptures, etc., which flourished in urban areas exist in fragments in the museums of Taxile and Lahore. One may chance upon more architectural and sculptural ruins in Pakistan in archaeological and historical sites. A number of magnificent sculptures and stupas have been unearthed from Gandhara and Taxila. The temples of Malot and Bilot in Kafirkot and Dera Ismail Khan dating back to the 8th century A.D. are superb examples of classical art of Punjab having stylistic affinities with Gandhara and Kashmir, which is evident from the trefoil and triangular arches.

While Specimens of classical art forms in this part have been destroyed by centuries-long waves of barbarian invasions?their counterparts have remained more or less intact in the more secluded and sheltered parts of western Himalaya such as Chamba, Kulu, Simla hills, Kangra, etc. The earliest temples in these areas date back to the 7th century and are of wood and stone, namely Lakshna Devi temple in Brahmaur. Shakti Devi temple in Chhatrarhi, Markula Devi temple in Lahaul and the monolithic temple of Masrur in Kangra Valley, to name a few.

The glazed tile mosaics in Wazir Khan mosque in Lahore and Lahore fort are also in the refined tradition of urban culture. These are believed to have been executed in Jehangir's period (early 17th century).

The mosque of Wazir Khan in the city of Lahore is a monument of great dignity and elegance. It is in Iranian-Mughal style, though founded by a Punjabi. The beautiful figurative Kashi or tile-work, stretching for several hundred yards and to a considerable height along the outer wall of the Lahore Fort, is the most spectacular achievement in a very different vein. These Lahore tiles were also used in the same period on the nearby mosque of Wazir Khan. This is the only specimen of urban culture without parallels in any areas of Punjab. This architecture is Persian in style and character, but the elephants, birds and flower motifs are similar to those on the tiles embellishing the outer wall of the Man Mandir palace of Gwalior, and have no affinity with abstract decorations on Persian mosques. The mosque of Wazir Khan in Lahore was built by Hakim Aliuddin in 1634 A.D. inside Delhi gate. Wazir Khan, a minister of Aurangzeb, a man of considerable parts, great munificence and fine taste as is evident from this mosque.

HUKKA

Smoking has been a favourite pastime of men and women in the Punjab, as everywhere else in the country. The Muslims shared their hukka with one and all, while the Hindus either preferred to keep one for their personal use or shared it with members of their own caste. Ladies generally do not smoke but some elderly women and those from lower castes smoke hukka. In pre-independence era, women of royal and aristocratic families used to smoke hukka occasionally, as we can see in Pahar'i miniature paintings.

In the Punjab, the folks often coined humorous couplets, two of which are related to hukka:

"Hukka hukm khuda da, chilam hukke di dhi, Jitthe hukka dekhiye, otthe layiye pi"

The meaning is that God almighty has ordered us to smoke hukka, and chilam (the earthenware for burning coal) is its daughter; therefore, wherever one sees a hukka, one should not hesitate to smoke it. In response to this couplet, someone said

"Hukka hukm khuda da, chilam hukke di runn, Jitthehukka dekhiye, otthe dayiye punn.".

Hukka is included in the commandments of god and chilam is its wife, wherever one sees it, one should break it into pieces.

The sadhus of Punjab were hukka-addicts. They raised its importance by equating it with microcosm and macrocosm on account of its being composed of five elements, i.e. Earth, Water, Fire, Air and Ether.

Bhangra
Originally, Punjabis performed Bhangra to celebrate the sucess of the harvest. Now people perform Bhangra at wedding parties, receptions, birthdays, competitions, and other happy occations. On the day of Baisakhi, April 13, many farmers, engineers, teachers, shop owners, and other sorts of people perform Bhangra. In the villages, with large drums, called dhols, people circle round and round leaping and laughing. Persons of all types of social classes perform Bhangra together. Even the elders occationally join the young to celebrate and dance Bhangra.
Giddha
Giddha is Punjab's most famous folkal dance for women. In Giddha, the women enact verses called bolis, folk poetry, and dance. The subject matter of these bolis include everything from arguments with the father-in-law to political affairs. The dance rhythm is set by the dhols and the distinctive hand claps of the dancers. These days, people associate Giddha with Bhangra.

Jhumar
This dance, originally from Sandalbar (now in Pakistan), is very much a part of Punjab's folk heritage. It is a graceful dance based on a Jhumar rhythm. Dancers circle around the drummer and sing graceful lyrics as they dance.

Luddi
Luddi is a victory dance where people do special movements of their heads. The costume is a simple loose shirt. The dancers put one hand on their backs and the other hand in front of their faces. The body movement is sinuous, snake-like. There is also a drummer in the center of the dance.

Dankara
Also called the Gaatka dance, this is a dance of celebration. Two men, each holding colorful staves, in rhythm with the drums dance round each other and tap their sticks together. This dance is often part of marriage celebrations.

Julli
Muslim holymen, called pirs, perform this dance. Generally they dance in their hermitages (khangahs). People perform the dance while sitting. Sometimes they dance around the preceptor's grave. Normally the dancer wears black.

Sammi
Traditionally women of the Sandalbar region, now in Pakistan, perform Sammi. The dancers dress in bright coloured kurtas and full flowing skirts called lengas. A particular silver hair ornament is associated with this dance.

Dhamal
Similar to bhangra, men dance in a circle.

Jaago
Literally Jaago means wake up! When there is a marriage in the house, girls dance through the village streets carrying a pot (gaggar) decorated with lightened candles and sing Jaagu songs. The themes of the songs are social and usually a bit of teasing, often aimed at elders, goes with the song.

Kikli
Women perform this dance in pairs. They cross their arms, hold each other`s hands and whirl around singing folk songs. Sometimes four girls join hands to perform this dance.

Gatka
Gatka is a Sikh martial art in which people use swords, sticks, and daggers. People believe that Guru Hargobind Sahib started the art of gatka after the martyrdom of fifth guru Guru Arjan Dev. Wherever there is a large Khalsa Sikh population, there will be Gatka participants, which can consist of small children and adults. These participants usually perform Gatka on special holidays such as Bhaisakhi and Gurpurab.

Toys and Games

People of Punjab entertain themselves in a variety of ways. These include games, dhangals (wrestling bouts), folk songs and dances, kite flying, cock fights, etc. The games in Punjab are suitable for children, youth, adult and old people alike. Many of these games have been lost in the evolution of history, and the ones that remainare losing for perhaps these are not in fashion except a few which still survive.

GAMES

Tirinjen

One of the popular organized forms of work and entertainment for young girls is Tirinjen - where the girls spin and sing. Tirinjen is a kind of social club, which can be organized in any home, where place for spinning wheels and the girls is available for a day/night. The girls would sing and dance, would express their sorrow and happiness, pangs of separation and joy of meeting. The spinning wheel plays a significant role in the life of the women, as a companion, counselor in distress, friend and guide. An example of a song sung by a married girl during Tirinjen:

Charkha mera rangla, vich sone dian mekhan,
Ni mai tenu yaad karan, jad charkhe wal dekhan.
My spinning wheel is multi colored
Inlaid with nails of gold,
I think of you
Whenever I see my spinning wheel.
Har charkhe de gere
Yad awen toon mitra
Each circle of the wheel,
Brings your sweet memories to my mind.

'Teej' or Teeans, which is celebrated in the month of Sawan (July), is also a source of entertainment for girls. Teej festival starts on the third day of Sawan and continues for about thirteen days. This is a period when rainy season is at its best, having said good bye to the scorching heat, people are out to enjoy the rains. It is also the time for sowing. The whole atmosphere is relaxed and people have a sigh of relief. The girls celebrate it by having swings. One sees girls, even today, on the swings all over the villages during the rainy season. They have new clothes, special dishes to eat and special songs for the occasion. This festival has also made inroads into the urban society. A number of songs are sung during the occasion pertaining to various aspects of the social life.

Ral auo sahio ni,
Sabh tian khedan jaiye
Hun aya sawan ni
Pinghan piplin ja ke paiye
Pai ku ku kardi ni,
Sahio koel Hanju dolhe
Papiha wekho ni,
Bherha pee-pee kar ke bole.
Paye pailan pande ni,
Bagi moran shor machaya.
Arhio khil khil phaulan ne,
Sanu mahia yad kariya.
Come on all friends!
Let’s go and play Tian,
The Sawan Heartens us,
Let us hang the swings on the Peepal.
Swinging ku-ku O friends!
The cuckoo sheds its tears
And behold this Papiha
Which goes on singing pia-pia.
The peacock dances gleefully
Filling the garden with its crowings
These wretched blossoming flowers
Remind us of our Ranjan.

Kikli
This is another game, basically for women. Two girls clasp their hands and move in circle. This was a game, which was played by two or four girls and multiple of two thereof.
Kikli kleer di,
Pag mere vir de,
Daupatta mere bhai da
Phitte mun jawai da

Gheeta Pathar
Some pebbles, stones or broken earthenware could be broken further into pieces and used for playing Gheeta Pather. This was a game, which did not involve running or jumping and was played sitting on the floor.

Khidu
The girls would sing along with Khidu (Ball), in fact these rhymes and game is suitable for the children: This was for the first round, there was the second and third till the end was reached by counting ten and singing the tenth song.

Kokla Chhapaki
This game is popular even today amongst the children. Both boys and girls play it. Children sit in a circles and a child who has cloth in hand goes around the circle-singing: It is a kind of warning for the children sitting in a circle not to look back. The cloth is then dropped at the back of a child. If it is discovered before the child who had placed it there had completed the round, the child who discovered the cloth would run after him and try to touch him with it till he sits in the place vacated by the one who had discovered the cloth.

Chicho Chich Ganerian
This game is for both boys and girls. It is generally played by two teams and involves drawing as many vertical lines as possible.

Lukan Miti (Hide & Seek)
This was also played by both boys and girls and continues to this day. Two teams can also play this. One has to hide, the other has to seek but before doing it a call is given.

Guli Danda
This is basically a game for the boys and is the simplest version of modern cricket. It is played with a wooden stick and 'guli' (another small wooden piece pointed at both the ends.) Two teams divide themselves, one throws the guli and the other team uses the danda- (stick) to strike it. There are various other games that are played with Guli Danda

Kidi Kada or Stapoo
This is a game played both by the girls and boys. It is still common amongst some of the children. This game is played with in small boundary (court), drawn on the ground and a piece of stone.

Ghaggar Phissi
This is another game for the boys. One boy would bend and the other boys, may be one or two or three get on top of him, if he could bear the weight, he would win. In case he could not bear the weight and fell, he would lose.

Kabbadi
This game is popular even today and is played now by both boys and girls. This was included in the Asian Games also and is popular all over south Asia. The game is played between two teams. A line is drawn between the two teams and each team would send a player across the line. If the player after crossing the line is able to touch a player of the opposite side and came back without being caught, the team doing so would win and a point was added to its score. This process by the player crossing the line has to be performed in a single breath. The team with higher score would be the winner

Rasa Kashi (Tug of War)
The men generally played this game. These day’s women also participate in the game which is played by two teams. A line is drawn between the two teams, each having one end of the rope in its hands. The team, which is able to drag the other team to its side, is the winning team.

Akharas
These were very popular. Located near the well outside the village, sometimes near the temple. These were the places where the boys learnt wrestling from a Guru or Pehlwan-Wrestler.

Martial Art
This was also a part of the teaching in Akharas, where the boys learnt the use of weapons. Nihangs practice martial arts to keep up the traditions.


Kite Flying (Patang Bazi)
It is now very much an urbanized game and is popular with the rural folks as well. It has now assumed an International character.
Besides the games mentioned above, Chaupat, Shatranj (Chess), camel and bullockcart races, cock fights in addition to Kabutar bazi, chakore bazi and bater bazi are well known.
LATTOO ( yo-yo), played mostly by the boys.

SPORTS MEET

Today in almost 7000 villages in Punjab in one decade or the other rural sports competitions are being held. Rural folk organize them. In fact these village sports have opened the floodgates of village development.
Before Independence in 1947 major importance was given only to Kabaddi and wrestling, after Independence the circle of rural sports also got widened. The rustic "Khido Khaoondi" (literally a ball made out of cuttings of cloth and a stick twisted at the end like a flat hockey and players from villages, having no facilities beyond uneven grounds to play began to dominate in the game. Twelve of our country’s greatest hockey players have come out of a single village called SANSARPUR in Jalandhar District.

TOYS
The earliest hand-made toys of Punjab can be traced back to the Indus Valley Civilization, dating from 2500 to 1700 BC. These bear a remarkable resemblance to the traditional toys of a much later period, which remained popular though the ages till recently when factory made toys found their way to the villages. However, in some the remote village’s traditional toys are still made, though the factory made mass-produced toys are pushing them out gradually.
Among the most prominent toys of Indus Valley Civilization is the exceptionally large number of small terracotta carts. In their expression is a preoccupation characteristic of Indian Art of the subsequent epochs. As example we may cite the immense 12th century Temple of the Sun at Konark, a building of vast dimensions supported by gigantic stone wheels and conceived and erected in the form of a cart. Or the Indian temple cart in which images of the gods, taken from the shrines, were carried in solemn procession through the streets. These more obvious instances are paralleled by later works of folk art depicting animals, equestrian figures and wheeled vehicles, all of which, though varying in quality and intended for different purposes, also mostly as toys, may be regarded as belonging to a constantly recurring type.
Traditional toys generally serve a two-fold purpose. They can be used as playthings by the children and as decoration pieces by the adults. Toys of cloth stuffed with cotton are still made by the women in the villages. Dolls, birds and animals are some of the common subjects. These are embellished with colorful additions of beads, buttons, feathers, tinsels and tassels. Sometimes the body of the toy is appliqued. The material used in this folk art reflects the dynamic spirit of improvisation. Besides their ornamental quality these toys have a sentimental value as well as emotional appeal
The popularity of the clay toys is diminishing day by day but still there are to be seen sporadic instances of miniature dolls in clay, animals and kitchen utensils, roughly colored with kharia mitti and decorated with motifs in bright colors.
Edible toys in sugar have a great variety of shapes. In village fairs one comes across toys with a scientific touch though naively native in character. In a basin of burnt clay is a figure of a man carrying Lord Krishna and a concealed siphon. When the water is poured into the basin, it rises to the feet of Lord Krishna and flows away, commemorating the rise of the waters of the Jamuna to touch the divine feet.

In the past, village workers would bring a newborn infant toys, representative of their respective trades. Thus a carpenter’s wife would bring a miniature bedstead or a toy cart to earn a rupee from the infant’s parents. The potter would bring a small earthen vessel or a toy in clay and the cobbler a leather necklace and receive some grain in return.
As the countryside is becoming more urbanized, the tradition of handmade toys is dying out and with it the individuality of design. This is not something, which can be revived artificially, for to do so would be to get the antithesis of the genuine tradition. But by preserving samples from the past we may, through contemporary designers, regain some of the beauty, individuality and delight of the simple form of old toys.


Folk Toys of Punjab

A large number of those belonging to art circle tend to ignore creative works of the village folk and thus add their bit not to conserve village culture already gravely undermined by rapid changes. Their concern, particularly of those whose philosophy of life-style revolves round self-ego, are little concerned with the past and the cultural heritage. This vision of theirs often perpetrates that of their former colonial masters and, sometimes, they even go to the extent of deprecating observations made by the great Indian men of art like A.K. Coomaraswamy.

In this context it is nearly paradoxical that they appreciate great modern masters like Gauguin and Picasso without even realising that Gauguin's success depended on his interest in primitive art and that of Picasso on the discovery of African Negro sculpture.

Among the native art forms one of the most ignored is of folk toys, which unfortunately, like many other forms of village culture, has been considered a kind of vanity or at the most as synonymous with mere decoration, but this is not true. They are the products Of artistic and social values combined.

The earliest hand-made toys of punjab can be traced back to the Indus Valley Civilisation, dating from 2500 to 1700 B.C. These bear a remarkable resemblance to the traditional toys of a much later period which remained popular through the ages till recently when factory made toys found their way to the villages. However in some of the remote villages traditional toys are still made, though the factory made mass produced toys are pushing them out gradually.

Among the most prominent toys of Indus Valley Civilisation are the exceptionally large number of small terracotta carts. In their expression is a preoccupation characteristic of Indian Art of the subsequent epochs. As example we may cite the immense 12 th century Temple of the Sun at Konark, a building of vast dimensions supported by gigantic stone wheels and conceived and erected in the form of a cart. Or again we might recall the Indian temple carts in which images of the Gods, taken from the shrines, were carried in solemn procession through the streets. These more obvious instances are parallelled by countless later works of folk art depicting animals, equestrian figures and wheeled vehicles, all of which, though varying in quality and intended for different purposes, also mostly as toys, may be regarded as belonging to a constantly recurring type.

Traditional toys generally serve a two-fold purpose. They can be used as playthings by the children and as decoration pieces by the adults. Toys of cloth stuffed with cotton are still made by the women in the villages. Dolls, birds and animals are some of the common subjects. These are embellished with colourful additions of beads, buttons, feathers, tinsels and tassels and also with coweries. Sometimes the body of the toy is appliqued. The material used in this folk art reflects the dynamic spirit of improvisation. Besides their ornamental quality these toys have a sentimental value as well as emotional appeal.

The popularity of the clay toys is diminishing day day but still there are to be seen sporadic instances of miniature dolls in clay, animals and kitchen utensils, roughly coloured with kharia mitti and decorated with motifs in bright colours.

Edible toys in sugar have a great variety of shapes. In village fairs one comes across toys with a scientific touch though naively native in character. In a basin of burnt clay is a figure of a man carrying Lord Krishna and a concealed syphon. When the water is poured into the basin, it rises to the feet of Lord Krishna and flows away, commemorating the rise of the waters of the Jamuna to touch the divine feet.

In the past, village workers would bring a new-born infant toys, representative of their respective trades. Thus, a carpenter's wife would bring a miniature bedstead or a toy cart to earn a rupee from the infant's parents. The potter would bring a small earthen vessel or a toy in clay and the cobbler a leather necklace and receive some grain in return.

In the eastern districts of Haryana, the ironsmith's wife would bring a tiny iron ring for the child's foot and be given a garment or some sweetened bajra in return.

As the countryside is becoming more urbanis , the tradition of handmade toys is dying out and with it the individuality of design. This is not something which can be revived artificially, for to do so would be to get the antithesis of the genuine tradition. But by preserving samples from the past we may, through contemporary designers, regain some of the beauty, individuality and delight of the simple form of old toys. But a prerequisite for this would be that those of the art circle who repudiate everything of the cultural heritage, particularly of native arts and crafts, shun this attitude and, thus, strengthen the mutual understanding of cultural diversity and the affirmation of that identity on which each people's creativity is based.

cited: http://www.punjabonline.com/servlet/library.culture?P=16

Sat Shri Akal PJ Wasio,  :rockon:

Ao sab ral mil keh appa gurpreet da welcome karieye apne parivaar ch.  :hug: :happy:

 WELCOME TO PJ GURPREET!!!  :hug: :excited:

Hope u have a great time n bht changeh friends banan thode.  :blah:

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 :balle:
Have Fun!!!!!!!!!!!!!!!! :rockon:  :rockon:
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here's his id: http://punjabijanta.com/index.php?action=profile;u=15420

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Kamboj ki hunde neh?  :lost:

SSA PJ de Wasio

kiwe ne seithan...tandrust oh jwano te addiyo? oh and wish everyone a Happy NEw yEars :excited:

so meh thode nal ik gaal krna chaundi c. menu shak penda keh eh jera nawa user aya pj te _FateH_.  :cooll: Eh koi new user ni haga but apna hi old user ah " Mર. ◦[ß]гคг રừlểz™" aka brar  
kiunki brar ya gurpinder hi ehne pagal neh jere ik week ch 1000 posts bnon geh. lolz nai ta tusi appe socho...aj tak jine vi new users aye neh... ohna ne mushkal nal 50 ku posts kite hone week ch!

 
 

Sat shri akal pyari janta  :love:

tusi ik pura saal mere nal kadeya, okha sokha hoke :Laugh:

 :blah: :hihpanga:

We had loads of fun in 2010 and im lookin foward to more memories with you guys in the new year! THonu sab nu Simari walo bhot bhot wadaiyan hon nawe saal dia. Nawe saal de nal nal nawi a yaadan te fun times bnonia appa hun. eh saal appa last year nalo wad khap pohna te last year naloh jyada fun krna... mera promise ah ... pj te raunka la denia  :excited: hehehe  :blah:

Hope u guys have an awesome New Years Eve/Day!!!!!!! Spend it with your loved ones n Enjoy.

meh hun chali ah ....nawe saal ch mila geh :happy:

Last year nu hassde hassde tatata kaho...te ohn wale nawe saal nu kushina nal gaal lagh ke miloh!   :hug: :excited: :okk:

Chalo hun meh gurudware chali ah ... fer akhe mildi ah ... lol feels weird...ill leave u guys in 2010 n fer dwara 2011 ch milu gi  :woried:  :cry:

 :rockon: :rockon: :rockon: :rockon: :rockon: :rockon: :rockon: :rockon: :rockon: :rockon:

Last year ch agar kise da vi dil dukaya hove ... ta dil oh maafi mang di ah !! Bakki thonu sab nu pata..menu mzak krn di adat ah ...but mzak mzak ch kade kade kuch jyada bol jani ah ...so hath jor ke sorry mang di ah  :rabb:


  :excited: :excited: :excited: :excited: :excited: :excited: :excited: :excited: :excited:

Happy NEW Years PJ :hug: Luv u guys!  :love: