India Thread

India Thread

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DESIGNATED

What a beautiful country

SHITTING

> POO IN LOO

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Streets

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Every Indian guy I've worked with is a god-tier employee. They are shocked when the workday ends at 8 hours and they wait until lunch break to shit in the parking lot

butifel and clean country

Are those building melting?

>Too much poo

No thanks, I'm eating.

india is greatest

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Jesus fucking Christ what the hell is wrong with you dot heads? How can you be a nuclear power and still avoid building toilets?

The Indian government has built many toilets but the population decided to use them as places of worship

yes, because theyre made of poo

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TAKE THE POO TO THE LOO!!!

youtube.com/watch?v=_peUxE_BKcU

>6 Baths
Kind of a waste tbqh.

if they poo in loo then their soil isn't as fertile so there aren't enough crops to feed their insane population.

Ever played the civ games?

Apparently sanitation is not a requirement for nuclear fission

Got me mad till the end

...

I notice we dont really see any more pajeets posting anymore. Did we meme them out of pol?

They're probably just lurking or using a proxy now. They know posting with their old flag is detrimental to any discussion.

even the center of their flag looks like parshant anus

POO

...

KEK

TOP KEKS

IN

LOO

Flawless, I'm proud of you.

With love from Canada

TOP FUCKING JEJ

These are not healthy stools

Is this a side effect of poutine for every meal?

Poor photoshop, the text of toilet isn't bold enough

By the late eighteenth century, many Mughal-trained painters in central and eastern India were looking to the emerging British ruling class for patronage. The products of this new Company School were often albums of flora and fauna and other exotic sights of India, made to be taken back to Britain. Although this tradition reached its climax in the late eighteenth century, it continued well into the nineteenth. Of the varied subjects, bird studies, such as this bold depiction of a sturdy black stork, may be deemed a classic type. Paintings of birds, animals, and flowers had been an important genre in Indian art since the time of the Mughal emperor Jahangir (r. 1605–27), and the continuation of such subjects under British patronage was a natural extension of that established tradition, although the results were often quite different stylistically. In this painting, the stork is standing upright in a receding landscape of considerably reduced scale that contains a meandering river. The dramatic contrast in size between the bird and the vista it dominates gives the composition a distinctively idiosyncratic mood.

I hadn't had a good shit in a few days.

I also drink a fair bit of coffee so it tends to turn all shit in my gullet to liquid, then it re-solidifies and I shit it out later as a soilid.

I had a poutine breakfast this morning and my poo was a lot worse than that.

why not poo in loo though

The well-preserved surface and traces of paint provide an idea of what this head looked like when it was being used in worship. The abstracted treatment of the eyes and the intersecting plains defining forehead, eyebrows, and nose are stylistic features shared with imagery produced in north India during the Gupta period. The fact that this north Indian way of presenting the Buddha had penetrated into Afghanistan suggests a shared Buddhist tradition.

Fuck off Ranjeet
poo in the loo

The artist Mansur became such a master in painting flora and fauna that he received the title nadir al-'asr, "rare one of the age." Ornithologically accurate, the vultures as revealed by the brush of Mansur are far more than avian specimens. His masterful hand is evident in the subtle gradations of sooty hues and pearly beige and gray shades of the feathers. The sketchy rock suggestive of ground plane and the linear outline of the half-toned rock are not an actual habitat but a plausible setting out of the artist’s imagination.

Maitreya is the Buddha of the next age, much as Shakyamuni is the Buddha of our age. He resides in Tushita heaven waiting for his final rebirth. As befits his highest rebirth, he wears the garments and jewels of a prince, though his halo clearly demarks his deified status. He can be identified by the sacred water flask in his left hand.

But did they poo in the loo?

This page is not entirely characteristic of Jain painting: the illumination is larger, the range of color wider, and the ornamentation more elaborate than usual. The work's provenance is Jaunpur in Central India, not Gujarat in western India, the primary Jain center. Nevertheless, the patterned surface made up of flat unmodeled forms outlined with wiry black lines, the use of mainly primary colors, the stylized facial type in which the far eye projects beyond the profile (a device derived from earlier painting styles), and the elaborate borders with scrolling foliate designs convey the essence of Jain style. It is one of the most important indigenous (pre-Mughal) Indian painting traditions to survive.

If a single icon had to be chosen to represent the extraordinarily rich and complex cultural heritage of India, the Shiva Nataraja might well be the most remunerative candidate. It is such a brilliant iconographic invention that it comes as close to being a summation of the genius of the Indian people as any single icon can. Sculptures of Shiva dancing survive from at least as early as the fifth century, but it was under the rule of the great Chola dynasty of southern India (ca. 860–1279) that the world-famous iconographic type evolved.

The setting of Shiva's dance is the golden hall of Chidambaram, at the center of the universe, in the presence of all the gods. Through symbols and dance gestures, Shiva taught the illustrious gathering that he is Creator, Preserver, and Destroyer. As he danced he held in his upper right hand the damaru, the hand drum from which issued the primordial vibrating sound of creation. With his lower right hand he made the gesture of abhaya, removing fear, protecting, and preserving. In his upper left hand he held agni, the consuming fire of dynamic destruction. With his right foot he trampled a dwarflike figure (apasmara purusha), the ignoble personification of illusion who leads humankind astray. In his dance of ecstasy Shiva raised his left leg, and, in a gesture known as the gaja hasta, pointed to his lifted leg to provide refuge for the troubled soul. He thus imparted the lesson that through belief in him, the soul can be transported from the bondage of illusion and ignorance to salvation and eternal serenity. Encircling Shiva is a flaming body halo (prabhamandala, or surrounding effulgence) that not only establishes the visual limits of this complex and dynamic composition but also symbolizes the boundaries of the cosmos.

All those hands. Which one does it wipe with?

Among the most exquisitely carved objects from South Asia is a group of miniature Pala-style (ca. 700–1200) sculptures in one of two types of material: an extremely fine-grained yellow-beige stone, known as argillite (which can take several forms, such as pyrophyllite or kaolinite) or an extremely fine-grained black or dark brown phyllite. Most portray Esoteric Buddhist deities; however, a few, such as this example, represent Hindu divinities. Durga is portrayed as the sixteen-armed slayer of a buffalo inhabited by the fierce demon Mahisha. A threat to the world, Mahisha was invincible. Even the Hindu gods who had challenged him could not kill him. In desperation they created the goddess Durga to be their champion and gave her their weapons. Here, a missing right hand held the spear with which she is about to stab Mahisha. In her other right hands she holds an arrow, sword, chisel, hammer, thunderbolt, elephant goad, and war discus. The objects in her left hands are a shield, bow, bell, mirror, and noose. Durga has just severed the buffalo's head with her many weapons. Mahisha, in the form of a tiny, chubby man, his head backed by snake heads, emerges from the buffalo's decapitated body and looks up admiringly at the warlike but beautiful Durga even as his toes are being bitten by her lion. Durga smiles serenely as she hoists Mahisha by his hair and treads gracefully on the buffalo's body.

All of these narrative details are skillfully composed and placed on a double-lotus base in a carving no larger than a human hand. This sculpture must rank as one of the finest known Indian miniatures. Its astonishing plasticity and subtlety make it comparable to the finest large-scale Pala-period sculptures, while its size affords the viewer the delights of personal discovery.

>Gupta
>Poos in the loo

toppest kek

kek

In Hinduism the conch shell is usually associated with the god Vishnu, Lord of the Waters, but the brass fittings on this shell indicate a link with Shaivite ritual. The mouthpiece suggests a lotus, while the heavily decorated conical end depicts rows of nagas (serpent divinities) and wreath-bearing kirtimukhas ("Faces of Glory"). A yoni design (symbol of female energy) is interspersed between each naga and kirtimukha. The fitting terminates with the head of a makara (elephant/crocodile monster), atop which strides a yali (elephant/lion monster). Three figures rest at the upper edge of the shell's opening: the lingam/yoni, symbol of Shiva and representation of the unified male/female force; Ganesh, the elephant-headed son of Shiva; and Nandi, a milk-white bull who serves as Shiva's vehicle. The opening of the hoofed stand represents a yoni.

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how can they be so hygienically indifferent?

Beverage of the Gods

This tāmbūra is the larger in a set of two and thus called the male. It is richly decorated with ivory inlay on the dark wood body. Its resonator is bowl-shaped and made of wood. This instrument was part of the collection of Y. G. Srimati, an Indian dancer and singer. She danced for Gandiji and Kasturba and sang bhajans (devotional songs) at his prayer meetings in Madras in 1936.

It's crazy when you remember we share the same air and we'll die the same death. It's all a crime joke.

There is something hypnotic and disquieting about this near mirror image of a syce, or groom, flanked by almost identical horses. The artist has chosen a pictorial format whose power is as decorative as it is descriptive. The strict symmetry is relieved, however, by subtle differences in the sizes, proportions, and harnessing of the horses, as well as by slight left-right variations in the posture and dress of the groom. The darks are very dark and the lights very light, intensifying the decorative appeal of the composition. Although the color is severely restricted, the artist has beautifully realized the feel of Indian light, and the low horizon line makes both the space and the foreground trio appear truly monumental. The painting's beauty and subtlety testify to the high quality that late Company School artists could attain.

Ring stones are an important and enigmatic category of early Indian sculpture. They are small, doughnut-shaped objects whose top surfaces, richly decorated with raised carvings, are contoured in the form of gentle parabolas that curve down and in to constitute the walls of their central voids. The perimeters and bottom surfaces of ring stones are flat and smoothly finished but never decorated. Their bravura miniaturized carving, whose individual elements look more like repeated stamped impressions than integrated bas-relief carvings, seems to have closer affinities with the aesthetics of Near Eastern seals and early Greek mold-made ceramics than with later Indian sculpture.

The function and iconography of ring stones have been much discussed. Their connection with a fertility cult has always seemed likely, given the nudity and splayed attitude of the ubiquitous goddesses, the plant imagery (palmettes, lotuses, and fruiting trees), and the obvious analogy of the ring's form with female genitalia: the ring stones seem to give metaphoric birth to female goddesses, animals, and plants from their central voids.

The convex surface of this ring stone shows four nude goddesses alternating with four trees framed by a quadripartite border. The goddesses wear a characteristic wiglike coiffure and are adorned with large circular earrings, tripartite collar-necklaces, bangles, and girdles. Each hourglass-shaped tree trunk supporting a palmette may represent an oriental date palm. The central band is carved with a cross-and-reel motif and is surrounded by two borders with demilune profiles carved with a plaited pattern. These in turn are set within a wide, raised, undecorated border with a demilune profile.

>the obsession with anus shaped symbols extends far back into their history

The place of these earrings in the history of Indian art is assured, not only for their intrinsic beauty but also because of the light they shed on the superb quality of goldsmithing early in this region. Early Indian statues of both male and female figures were usually portrayed wearing elaborate jewelry that sometimes seemed fanciful, since very little comparable jewelry from that period survives. The discovery of this pair of earrings provided the first tangible evidence that the jewelry depicted by sculptors was in fact based on real models, for a very similar pair is shown on a first century B.C. relief portrait of a "Universal Ruler" (chakravartin), from Jaggayapeta.

These earrings, judging from their material worth, excellence of craftsmanship, and use of royal emblems (a winged lion and an elephant) as part of their design, were most probably made as royal commissions. Each earring is composed of two rectangular, budlike forms growing outward from a central, double-stemmed tendril. The elephant and the lion of repoussé gold are consummately detailed, using granules, snippets of wire and sheet, and individually forged and hammered pieces of gold. The two pieces are not exactly identical: on the underside they are both decorated with a classical early Indian design of a vase containing three palmettes, but the patterning of the fronds differentiates them. They are so large and heavy that they must have distended the earlobes and rested on the shoulders of the wearer, like the pair worn by the "Universal Ruler."

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These snorting, stamping buffaloes were drawn and tinted by Miskin, Akbar's most incisive animal painter, in recollection of an actual combat staged for the entertainment of the emperor and members of his immediate circle. Animal combats, whether between elephants, buffaloes, tigers, or smaller beasts, were frequent events at court, viewed by the emperor and his guests from a terrace or rampart. Miskin's draftsmanlike style is unmistakable, and his gift for conveying both the inner spirit and outer form of animals probably inspired Akbar to summon him for the present assignment. By delicate modulations of tone, which he achieved with invisibly small brushstrokes, Miskin modeled the animal masks and bodies into tautly rounded forms, ornamental yet starkly powerful. The Mughal artist stopped action at the most telling instant and achieved such a degree of empathy that we are practically able to hear the animals bellowing.

I want to stick my dick into that ringstone

india is fucking disgusting

I seek the wisdom of the Hindu's

Do Hindu's hate Sikh's?

If so, why?

Happy Independence day niggers

But where would they poo? It must be a typo.

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Happy Independence Day to you Pajeet, I will insert my penis into your finer women that go to my Uni

would Sup Forums fuck?

In my experience, no Hindus don't typically hate Sikhs. They view them as exemplifying the best of the warrior virtues which Hinduism espouses, and as a shared part of the Bhakti devotional movement. They tend to view the Sikhs as heroes for rescuing Hindus during the Islamic onslaught, which is accurate.

No! I don't have a scat fetish you disgusting fuck!

Without question. I've already ordered my plane ticket Bollywood.

I will wade through streets of shit and Pajeets asking to help with my computer just for a chance to rape her.

pol has literally 1 stock insult towards india.

Don't see many PooLoos around nowadays. Bantering those witless, butthurt subhumans was fun.

Her face looks deformed. I'll take pic related instead and plant some Aryan seed.

no thanks, she looks too white

No such thing as too white user

agreed heh

Let's hope so, they are the most butthurt shitstains on here, after roaches. And most Canadian shit posters are poos and chinks.

But can he poo in loo? Since he has a water bottle in his left hand, I think not.

Holy fuck... India...

Wow...

AND I THOUGHT I WAS SHITPOSTING!

There it is!

You're the poorer mudslime version of us lmao

Fuck off, this is unexpectedly interesting.

Fuck off you mullah, get raped by Balochi ISIS

I was gonna say he's not in the place to make fun of India but I didn't want to deal with the "fuck you and your mothre bich i fuk u everyday ok"
Fuck Pakistan.

To be fair, they were infested with Toilet Witches.

...

Here we see the majestic poo goblin

The love for india is immense here. I hope you feel very welcomed.

drop

out

of

life


with


log


in


hand


follow

the


stench

to

the


shit


filled


land

Aum namahshivaya

Fuck off Bhakt.