Colonial views on devadasis are hotly disputed by several groups and organizations in India and by western academics as the inability of the British to distinguish them from the girls who danced in the streets for the reasons other than spiritual devotion to the deity as in socio-economic deprivation and perusal of folk arts. During colonial times, reformists worked towards outlawing the devadasi tradition on grounds that it supported prostitution. As a result, devadasis were left without their traditional means of support and patronage. Often their patrons had another wife who served them as housewife.Дuring British rule in the Indian subcontinent, kings who were the patrons of temples and temple arts became powerless. They had children from their husbands who were also taught their skills of music or dance. After marrying wealthy patrons, they spent their time honing their skills instead of becoming a housewife. Traditionally devadasis had a high status in society. Originally, in addition to taking care of the temple and performing rituals, these women learned and practiced Sadir (Bharatanatya), Odissi and other classical Indian artistic traditions and enjoyed a high social status as dance and music were essential part of temple worship. The dedication takes place in a Pottukattu ceremony which is similar in some ways to marriage. In South India, a devadasi (Sanskrit: servant of deva (god) or devi (goddess) ) is a girl 'dedicated' to worship and service of a deity or a temple for the rest of her life. Watching the Merchant/Ivory film 'The Courtesans of Bombay' (1983) alerted me to the Devadasi or 'dancing girl' tradition in India. (June 7, 2016) The followers of the queen of Sheba - the 'queen of the south' may have extended as far east as India. The pilgrimage to India was probably started from somewhere in South Arabia. Work on this website strongly suggests that during late Roman times, what we call 'Arabia' was under the rule of black African kings. The Nubian capital in those days was in MeroГ«, which is in present day Sudan (although it was later move to Axum, in present day Ethiopia.) Note the close proximity of MeroГ« to Mecca across the Red Sea. The Walters also has a wall sized modern mosaic of the ancient world suggesting where in Africa Dionysus may have been raised. I call this photo, also taken in August 2015: This is a detail from the Walters 'Sarcophagus with the Triumph of Dionysus.' I call this photograph taken in August 2015: The enormous attention to detail on this sarcophagus exemplifies the talents of the best Roman relief carvers.' Walters Gallery of Art. On the lid is the birth of Dionysus and his reception by nymphs, shown between satyr heads (on the ends), one smiling and one frowning. Many of the animals depicted had special significance in the mystery cult of Dionysus Sabazius. A bird's nest is concealed in the tree at the far right on the same tree a snake is pursuing a lizard.

Preceding him is a procession of his followers and exotic animals, including lions, elephants, and even a giraffe. At the left, Dionysus rides in a chariot pulled by panthers. The triumphal march of Dionysus (or Bacchus, as he was generally known in Rome) through the lands of India was equated in Roman thought with the triumph of the deceased over death. Note the African animals depicted including elephants, a lion, a giraffe, a lizard and a snake indicating that the young Dionysus was raised in Africa.ДЄccording the Walters: '. The main body depicts scenes from a journey the infant Dionysus made to India. The lid portrays scenes from the birth of Dionysus. It is one of 7 sarcophagi found in the tomb of the family Calpurnii Pisones.

It was discovered on the Via Salaria in Rome, Italy and is cut from marble from Cape Vathy Quarry in Greece. This is a c.190 AD ' Sarcophagus with the Triumph of Dionysus' at the Walters Gallery of Art, Baltimore.

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