Uttarakhand has a rich cultural heritage and also has innumerable stories about the customary traditions and rituals that were performed once upon a time. Aipan is also one such traditional art which is still practiced in many households.
Aipan is one of the conventional workmanship (painting structure) of Kumaon. It has incredible social, social and religious criticalness. Aipans are known by various names and in prominent in numerous parts of India with bigger varieties. It is called Alpana in Bengal, Satiya in Gujrat, Rangoli in Maharashtra, Chowk pooran in UP, Kolam in south India, Madne in Rajasthan, Arichan in Bihar and Bhuggul in Andhra Pradesh.
In Uttarakhand, Aipan is prominently drawn at spots of love, houses, and fundamental section entryways of the house and in the front yard. Some of these masterful manifestations have awesome religious significance and these are drawn amid specific religious functions or propitious events, for example, relational unions, Threading service, naming function and so on to perform ceremonies while others are for specific God/Goddess and a couple for a tasteful look.
Doorsteps of the house are enriched with this sort of Aipan. These are flawlessly planned beautiful Aipan with incredible stylish esteem. The entryway steps are beautified with this kind of Aaipan is mix with "Vasudhara" the vertical lines made by trickling the "biswar" (Rice floor arrangement made by splashing the rice and after that granulating it which is utilized for drawing Aipan).
Vasudhaara-Pooja Vedika, entryway ventures of the house, Place of love, Tulsi (A structure made around the Tulsi Plant) and so forth are enriched with Vasudhara. Without Vasudhara, Aipan is viewed as inadequate. These are made by painting the place with "Geru" (sifted red shading soil) and from that point making vertical lines by trickling "Bishwar" (splashed rice powder). The dribbling of "Biswar" is completed by ring finger also known as Anamika.
Any Aipan without spots is viewed as inadequate and ominous. Amid drawing the Aipan, one needs to take mind that the gathering or piece of lines in conventional Aipan ought to end with the dabs. Aipan without dabs is drawn on the twelfth day of a few ones passing (Peepal Pani or Shanti Path).
Have a look at the types of Aipan that draws the immediate attention of spectators:
Lakshmi Padchinha: On Deepawali day, impressions of Goddess Lakshmi are drawn from principle passage of the house to place of love.
Lakshmi Peeth: This Aipan is drawn at the poojas (place of love) where we worship of Goddess Lakshmi, the Goddess of riches and flourishing, is performed on especially on Diwali day.
Bhuiyan: Bhuiyan alludes to the negative and unsafe forces or awful sign. This is drawn on the external side of a "Soop" which is, for the most part, a monstrous and terrible looking portrayal of an evil spirit. On the inward side of the "Soop" Lakshmi–Narayan are drawn. On a specific day, this "Soop" is beaten with a sugarcane stick at each room and corner of the house. This alludes to the expelling of an awful sign, sick destiny or negative forces and welcome of Lord Vishnu and Goddess Lakshmi, the God/Goddess of bliss and success.
Dhuliarghya Var Chauka: At the season of Dhuliarghya, the groom is made to remain on the Chauka when presentation and welcome of the spouse are performed by chanting "Vedic" mantra.
Acharya Chauka: Acharya, "Kulguru" who plays out the marriage ceremonies from groom's side stands on this chauka at the season of Dhuliarghya.
Janeo: At the place of "Janeo" or threading service, drawing this Aipan is compulsory. This drawing has 15 spots on the inside. Customary is likewise drawn at where men change their "Janeo" on Raksha Bandhan day.
Bhadra: It is drawn at the place of love and yajna. Bhadra is of different structures relying on the numbers of dabs, for example, 12 Bindu Bhadra, 19 Bindu Bhadra, 24 Bindu Bhadra and 36 Bindu Bhadra and so on. Jyuti Sixteen mother goddess' are worshiped subsequent to worshiping Lord Ganesha for inconvenience free execution of any errand close by the ceremony.