Culture of Gujarat
The Culture of Gujarat is both ancient and modern. In many Gujarati communities, the engagement ceremony is known as Gaud Dhana, which means "Jaggery and Coriander seeds" and refers to the practice of distributing a small amount of jaggery mixed with coriander seeds. Marriage is a auspicious occasion in Indian culture. According to the Vedas, the Hindu scriptures, marriage is a sacred lifelong commitment between a man and a woman, it is considered to be the strongest of all social bonds and is the initiation into a lifetime of togetherness. The Vedic wedding ceremony consists of prayers and vows recited in Sanskrit, the most ancient surviving language; the Vedic wedding ceremony dates back to over five thousand years and is performed under a decorated canopy, the mandap. The four pillars that surround the mandap represent the parents of the groom; this signifies the important part they have played in raising their children to become the responsible adults they are today. The ceremony is performed before a sacred fire, or agniaa, the eternal witness of the marriage and all vows taken.
Every Hindu ceremony begins with the worship of deity of peace and wisdom. This is done. Varghodo The original form of a barat is a procession from the groom's house to the bride's house for the wedding ceremony; the wedding day begins with the playing of Shehnai and Dhol. Swagatam The groom and his family are greeted at the doors of the mandir by the bride's parents and family; the mother of the bride greets and welcomes the groom and his family into her own family. She blesses the groom by placing a tilak on his forehead; the groom is led to the mandap where the wedding ceremony will take place. Ganesh Puja Madhuparka While the groom is sitting under the mandap the madhuparka is performed where his feet are washed by the bride's parents, he is offered panchamrut, a drink composed of milk, ghee and sugar. Kanyaa Daan The bride accepts her change of status from an unmarried woman to a wife by spreading turmeric powder on her hands. Kanya Daan is performed by the father of the bride in presence of a large gathering, invited to witness the wedding.
Vivaaha The bride and the groom face each other, the priest ties their garments in a knot, symbolizing the sacred union. The bride and the groom exchange the rings. Next the nuptial fire, symbolizing the divine witness, the sanctifier of the sacrament, is installed and worshipped. Both the bride and the groom pray to God for His blessings. Samagree, consisting of crushed sandalwood, sugar, rice and twigs is offered into the sacred fire to seek God's blessings for the couple. Mangal Phera The groom holds the bride by the hand and both walk three times around the sacred fire. Both offer oblations and recite appropriate Vedic hymns to Gods for prosperity, good fortune, conjugal fidelity, they touch each other's pray for union of their hearts and minds. Saptapadi This is the most important rite of the entire ceremony. Here the bride and the groom take seven steps together around the sacred fire and make the following seven promises to each other: As per the Vedic rituals, the groom sings "With God as our guide, let us take": The first step to nourish each other The second step to grow together in strength The third step to preserve our wealth The fourth step to share our joys and sorrows The fifth step to care for our children The sixth step to be together forever The seventh step to remain lifelong friends The perfect halves to make a perfect whole!
The Satapadi ceremony concludes with a prayer. At the end of this ceremony, the groom and the bride become wife. Mangal SutraThe Mangal Sutra Dharana is the tying of the thread containing the marks of the Vishnu or Shiva on the neck of the bride by the groom. Suhaag or SindhoordanaThe groom places sindoor on the bride's hair symbolizing her as a married woman. Aashirvaad The groom's parents bless the couple and offer clothes or flower to the bride, symbolizing her joining the groom's family. All those assembled at the ceremony shower flowers on the couple and bless them completing the marriage. Kanya Viday; the traditional folk dance forms include Garba, Dandiya Raas, Padhar and Dangi. Dandiya RaasDandiya Raas is a romantic energetic and playful dance originating in the state of Gujarat, its roots lay from the days of Lord Krishna who played raas on the shores of Yamuna river on a moonlit night with his beloved Gopis. Men and women dressed in colorful clothes dance in two concentric circles - one moving clockwise, one moving counter-clockwise.
Men and women carry. In addition to footwork, one of the most enjoyable part of this dance is the creative use of dandiyas; the song sung on the occasion is an amorous one. Raas is a playful dance providin
The Brahmanas are a collection of ancient Indian texts with commentaries on the hymns of the four Vedas. They are a layer or category of Vedic Sanskrit texts embedded within each Veda, form a part of the Hindu śruti literature, they are a digest incorporating myths, the explanation of Vedic rituals and in some cases speculations about natural phenomenon or philosophy. The Brahmanas are noted for their instructions on the proper performance of rituals, as well as explain the original symbolic meanings- translated to words and ritual actions in the main text. Brahmanas lack a homogeneous structure across the different Vedas, with some containing chapters that constitute Aranyakas or Upanishads in their own right; each Vedic shakha has its own Brahmana. Numerous Brahmana texts existed in ancient India. A total of 19 Brahmanas are extant at least in their entirety; the dating of the final codification of the Brahmanas and associated Vedic texts is controversial, which occurred after centuries of verbal transmission.
The oldest is dated to about 900 BCE, while the youngest Brahmanas, were complete by about 700 BCE. According to Jan Gonda, the final codification of the four Vedas, Brahmanas and early Upanishads took place in pre-Buddhist times; the Brahmana are a layer of texts in Vedic Sanskrit embedded within each Veda, form a part of the śruti literature of Hinduism. They are a digest incorporating mythology and Vedic rituals and in some cases speculations about natural phenomenon or philosophy; the Brahmanas layer of Vedic literature contain the exposition of the Vedic rituals. For example, the first chapter of the Chandogya Brahmana, one of the oldest Brahmanas, includes eight suktas for the ceremony of marriage and rituals at the birth of a child; the first hymn is a recitation that accompanies offering a Yajna oblation to deity Agni on the occasion of a marriage, the hymn prays for prosperity of the couple getting married. The second hymn wishes for their long life, kind relatives, a numerous progeny.
The third hymn is a mutual marriage pledge, between the bride and groom, by which the two bind themselves to each other, as follows, The next two hymns of the first chapter of the Chandogya Brahmana invoke deities Agni, Vayu and Surya to bless the couple and ensure healthful progeny. The sixth through last hymn of the first chapter in Chandogya Brahmana are not marriage-related, but related to hymns that go with ritual celebrations on the birth of a child, wishes for health and prosperity with a profusion of milch-cows and artha; the Brahmanas are noted for their instructions on the proper performance of rituals, as well as explain the symbolic importance of sacred words and ritual actions in the main text. These instructions insist on exact pronunciation, precise pitch, with coordinated movement of hand and fingers – that is, perfect delivery. Satapatha Brahamana, for example, states that verbal perfection made a mantra infallible, while one mistake made it powerless. Scholars suggest that this orthological perfection preserved Vedas in an age when writing technology was not in vogue, the voluminous collection of Vedic knowledge were taught to and memorized by dedicated students through Svādhyāya remembered and verbally transmitted from one generation to the next.
The Brahmanas are a complex layer of texts within the Vedas. Some embed speculations about natural phenomenon such as sunset. For example, section 3.44 of the Aitareya Brahmana speculates whether sun rises or sets. The sun set; when people think the sun is setting it is not so. For after having arrived at the end of the day, it makes itself produce two opposite effects, making night to what is below and day to what is on the other side; when they believe it rises in the morning this supposed. Having reached the end of the night, it makes itself produce two opposite effects, making day to what is below and night to what is on the other side; the Panchavimsha Brahmana speculates on rivers starting in mountains, fed by snow and rain, flowing over the ground and underground, both emptying into the sea. These speculations, are in the context of rituals; each Vedic shakha has its own Brahmana. A total of 19 Brahmanas are extant at least in their entirety: two associated with the Rigveda, six with the Yajurveda, ten with the Samaveda and one with the Atharvaveda.
Additionally, there are a handful of fragmentarily preserved texts. They vary in length; the Brahmanas were seminal in the development of Indian thought and scholarship, including Hindu philosophy, predecessors of Vedanta, astronomy, linguistics, the concept of Karma, or the stages in life such as brahmacarya, grihastha and sannyasa. Brahmanas lack a homogeneous structure across the different Vedas, with some containing sections that are Aranyakas or Upanishads in their own right; the Shathapatha Brahmana discusses soteriological questions. The language of the Brahmanas is a separate stage of Vedic Sanskrit, younger than the text of the samhitas, ca. 1000 BCE, but for the most part are older than the text of the Sutras. As with the whole of Vedic literature, no dating more precise than within a few centuries is possible; the Brahmanas as a whole are placed in the first half of the 1st millennium BCE, with the oldest parts dat
Kumkuma is a powder used for social and religious markings in India. It is made from any other local materials; the turmeric is dried and powdered with a bit of slaked lime, which turns the rich yellow powder into a red color. The CDC has identified this as a major source of lead poisoning in children. In India, it is known by many names including kuṅkumam, kunku, kunkuma, kuṅkumam. Kumkuma is most applied by Indians to the forehead; the reason has to do with the ancient Indian belief that "the human body is divided into seven vortices of energy, called chakras, beginning at the base of the spine and ending at the top of the head. The sixth chakra known as the third eye, is centered in the forehead directly between the eyebrows and is believed to be the channel through which humankind opens spiritually to the Divine". Thus, the kumkuma is placed where Indians believe to be the most important spot for receptivity to be enhanced. Shaivites: Followers of Shiva apply three white horizontal lines with a dot of kumkuma at the center.
Vaishnavas: Followers of Vishnu make use of "white clay to apply two vertical lines joined at the base and intersected by a bright red streak." Many times the clay is applied in a U-shape. Swaminarayana: Followers of the Swaminarayan faith apply kumkuma at the center of the forehead and between a U-shaped tilaka; the tilaka is yellow and made from sandalwood. Chandrakor: Many Maharashtrians - men and children alike - wear it traditionally in the shape of crescent moon. In the Vaishnava tradition, the "white lines represent the footprint of their God, while the red refers to his consort, Lakshmi"; the Swaminarayana tradition holds that the tilaka "is a symbol of the lotus feet of Paramatma," and the kumkuma "represents the bhakta". In both of these traditions, the forehead mark serves as a reminder that a devotee of God should always remain as a servant at the feet of God; the ` color' of the womb is symbolically represented by turmeric. The blood stains on the womb is represented by kumkuma, it is believed that the combination of kumkuma represents prosperity.
When a girl or a married woman visits a house, it is a sign of respect or blessings to offer kumkuma to them when they leave. However, it is not offered to widows; when visiting a temple, married women from southern India dip their ring finger in yellow turmeric powder and apply a dot on their forehead. Men, women and boys apply a dot on their forehead of red turmeric powder, when visiting a temple or during a pooja. Kumkuma at temples is found in heaps. People apply it on the forehead or between the eyebrows. In most of India, married women apply red kumkuma to the parting of their hair above their forehead every day as a symbol of marriage; this is called vermilion, or in Hindi, sindoor. In southern India, many unmarried girls wear a bindi every day unlike northern India where it is only worn as a symbol of marriage. Kumkum is made from turmeric by adding limestone and is an Ayurvedic facial material along with turmeric. Kumkuma is widely used for worshiping the Hindu goddesses Shakti and Lakshmi, a kumkuma powder is thrown into the air during Holi, a popular Hindu spring festival.
Haldi Kumkum Bindi Tilaka List of materials used in Hinduism Category:Hindu iconography Kumkum 2008 A kumkum recall in the U. S. Jan. 16, 2008
Chandravadan Chimanlal Mehta, popularly known as C. C. Mehta or Chan. Chi. Mehta, was a Gujarati playwright, theatre critic, poet, story writer, travel writer and broadcaster from Vadodara, India. Chandravadan Mehta was born on 6 April 1901 in Surat, his primary education was in secondary education in Surat. He matriculated in 1919 and completed B. A. in Gujarati from the Elphinstone College, Bombay in 1924. In 1928, he joined Mahatma Gandhi in the Bardoli Satyagraha, he joined Navbharat daily as an editor in 1928. From 1933 to 1936, he taught at Mumbai, he joined the All India Radio -Bombay in 1938 and became the director of AIR-Ahmedabad in 1954. During his tenure, he developed the broadcasting culture in Gujarat and produced several radio plays and documentaries with directors like Adi Marzban and others. After retirement, he was associated with the performing arts departments of the Maharaja Sayajirao University of Baroda and the Gujarat Vidyapith, he pioneered the theatre education in India and started diploma and degree courses in theatre in the Maharaja Sayajirao University of Baroda.
He represented India in the international theatre fora. He married Vilas in 1925, they separated by divorces in 1938. He died on 5 April 1991. Mehta is considered as the pioneer of the modern Gujarati theatre, his plays are focused on the stagecraft which has diversity of subjects including tragedy, satire as well as historical, mythological, biographical plays. Theatre and playsIn early 1920, he presented two unscripted soliloquies, he criticized and led a protest against the depiction of women in College Kanya, a play produced by the Mumbai Gujarati Natak Mandali. Mehta wrote over numerous one-act plays and radio plays. He, along with his friends and produced several realistic plays such as Akho, Agagadi and Dhara Gurjari. Aagagadi, about an ailing fireman, marked the rise of amateur theatre movement in the Gujarati theatre, his other published plays include Mungi Stree, Varvahu ane Bija Natako, Ramakadani Dukan, Premnu Moti Ane Bija Natako, Mazamrat and Savitri- a dramatization of Sri Aurobindo's Savitri.
Hololika was in format of a traditional Gujarati theatre. He published following plays: Shikharini, Mena Popat Athva Hathighoda, Sonavatakdi, Kishor Natako Part 1-2, Kapoorno Deevo, Param Maheshwar, Karoliyanu Jalu, Shakuntala Athva Kanyaviday, Andar Andar, Abola Rani, Chandravadan Mehtana Pratinidhi Ekankio, Antar-Bahir Ane Bija Natako, he extensively wrote on the history of Gujarati production techniques. Theatre criticismHis expertise in theatre and stagecraft as well as his extensive knowledge of international theatre is visible in his works of theatre criticism, he had written eleven works on theatre criticism: Kavishri Nanalalna Natako Ane Akbarshahni Rangbhumi Par Rajuat, Natak Bhajavata, Lyric Ane Lagarik, American Theatre, Europe na Deshoni Natyashrishti, Japannu Theatre, Ekanki: Kyare Kya Ane Keva Uprant Bija Natyavishayak Lekho. Theatre bibliographyHis Bibliography of Stagable Plays in Indian Languages Part 1-2 is his work of theatre research which received him acclaim in the theatre of Europe.
It has an extensive list of plays written and staged in India in the 19th and 20th century arranged according to years and characters. It took ten years to prepare this bibliography. PoetryYamal is a collection of 14 sonnets. Elakavyo is 35 sonnets including a series of sonnets from Kanchanjangha. Chandarana is a collection of children's poetry. Ratan is a 1636 stanza long narrative poem in Prithvi metre; the poem depicts the death of a sister named Ratan. Rudo Rabari is his another narrative poem. Chado Re Shikhar Raja Ramna has 20 poems including unique poems such as "O New York" and "Colloquial Gujarati Kavita". StoriesKhamma Bapu and Vatchakaravo are his short story collections. Mangalmayi has three true stories, he wrote a novel Jeevati Putalio. ProseHis prose writings include his twelve-volume autobiographical and travel writings, Gathariyan which were in unusual prose and simple language; these volumes are Bandh Gathariyan Part 1-2, Chhod Gathariyan, Safar Gathariyan, Bhamiye Gujarat Na Relpate Na Vate, Rang Gathariyan, Roop Gathariyan, Natya Gathariyan, Antar Gathariyan Part 1-2, Dhruv Gathariyan and Ganth Gathariyan.
Other worksHis other works include Radio Roopako, Premno Tant, Navbharatna Bhagyavidhata Sardar Vallabhbhaina Jeevan Par Bar Roopako. Mehta had composed the anthem of the Maharaja Sayajirao University of Baroda. In 1960, at Vienna Conference at the International Theatre Institute under the aegis of UNESCO, he moved a resolution to celebrate 27 March, as the World Theatre Day. Gujarati writer Raghuveer Chaudhari wrote Trijo Purush, based on his life, he received the Ranjitram Suvarna Chandrak in 1936 and the Narmad Suvarna Chandrak in 1942. He rejected the Kumar Chandrak awarded to him in 1950. In 1962, he was awarded the Padma Shri by the Government of India, he won the 1971 Sahitya Akademi Award for Gujarati language for his autobiographical trave
Bharat Bhavan is an autonomous multi-arts complex and museum in Bhopal, India and funded by the Government of Madhya Pradesh. The architect of Bhavan is Charles Correa. Opened in 1982, facing the Upper Lake, Bhopal, it houses an art gallery, a fine art workshop, an open-air amphitheatre, a studio theatre, an auditorium, a museum tribal and folk art, libraries of Indian poetry, classical music as well as folk music; the early 1980s, saw a burgeoning Indian arts scene and a renewed government focus on developing arts across the nation, through regional centres for arts in state capital cities. The initiative in Madhya Pradesh was taken by cultural administrator, Ashok Vajpeyi, an IAS-officer in state Ministry of Education, behind the setting up of literary organization,'Kalidas Academy' in Ujjain, which opened in 1983. Though some cultural initiatives lost steam in years in many parts of India, one such project became a success, Bharat Bhavan in Bhopal.f India|Prime Minister]], Indira Gandhi.
It was established and funded by the Department of Culture, Government of Madhya Pradesh, though it is run by an autonomous a 12-member Bharat Bhavan Trust. In the following decade, the institution grew to become an important cultural institution of India as it started attracting artists and students from Indore, Mumbai and foreign visitors. During its formative years, theatre personality, B. V. Karanth who headed the'Rangamandal repertory', incorporated folk forms of the region into his work, staged many productions in Hindi during his stint at Bharat Bhavan; the "Bharat Bhavan Biennial of Contemporary Indian Art" started in 1986, followed by "Bharat Bhavan International Print Biennial" in 1989. The complex is most known for its art museum, which houses a permanent collection of tribal art, collected by J. Swaminathan in its early years, represents the best examples of tribal art in India. The'Vagarth' centre of Hindi poetry and literature houses a library and archive of Indian poetry, classical music, folk music.
It organizes,'Katha Prasang' festival on Hindi literature. The complex includes an art gallery of Indian painting and sculpture, a fine art workshop, an open-air amphitheatre, a studio theatre, an auditorium, a museum tribal and folk art, libraries of Indian poetry, classical music as well as folk music. Besides this, Bhavan hosts artists and writers under its artist-in-residence program at the "Ashram". Over the years, it has become a popular tourist attraction; some of the wings include: Roopankar - Museum of Fine Art: Gallery of contemporary folk and tribal art, a modern art gallery. Graphic art workshop, ceramics art workshop Rangmandal - theatre repertory Vagarth - center of Indian poetry, library and translation centre Anhad - library of classical and folk music and video archives, organizes dance recitals and classical music series like, Saptak Chhavi - center of classical cinema Nirala Srijanpeeth - the chair for creative writing, founded by the Government of Madhya Pradesh Don Rubin.
The World Encyclopedia of Contemporary Theatre: Asia. Taylor & Francis. ISBN 978-0-415-05933-6. S. Gajrani. History and Culture of India: History and culture of Central India. Gyan Publishing House. ISBN 8182050642. CS1 maint: Extra text: authors list S. H. Raza. Passion: Life and Art of Raza. Rajkamal Prakashan. ISBN 8126710403. David Abram; the Rough Guide to India. Rough Guides. ISBN 1843530899. Rashmi Sadana. English Heart, Hindi Heartland. University of California Press. ISBN 0520269578. Lalit Surjan. Reference Madhya Pradesh. Deshbandhu Publication Division. Peter Herrle. "Architecture and Contemporary Indian Identity". Constructing Identity in Contemporary Architecture. LIT Verlag Münster. ISBN 3643102763. Official website Bharat Bhavan / Charles Correa. Bart Bryant, AD Classics: Bharat Bhavan / Charles Correa, ArchDaily, 1 August 2016
Caste is a form of social stratification characterized by endogamy, hereditary transmission of a lifestyle which includes an occupation, status in a hierarchy, customary social interaction, exclusion. It is an extreme evolution of a system of legally-entrenched social classes endogamous and hereditary, such as that of feudal Europe. Although caste systems exist in various regions, its paradigmatic ethnographic example is the division of Indian society into rigid social groups, with roots in India's ancient history and persisting until today. In biology, the term is applied to role stratification in eusocial animals like ants and termites, though the analogy is imperfect as these involve stratified reproduction; the origins of the term'caste' are attributed to the Spanish and Portuguese casta, according to the John Minsheu's Spanish dictionary, means "race, lineage, or breed". When the Spanish colonized the New World, they used the word to mean a "clan or lineage", it was, the Portuguese who first employed casta in the primary modern sense of the English word ‘caste’ when they applied it to the thousands of endogamous, hereditary Indian social groups they encountered upon their arrival in India in 1498, as a direct extension of the concept of ‘casta’ in contemporary Portugal.
The use of the spelling "caste", with this latter meaning, is first attested in English in 1613. Modern India's caste system is based on the artificial superimposition of a four-fold theoretical classification called the Varna on the natural social groupings called the Jāti. From 1901 onwards, for the purposes of the Decennial Census, the British classified all Jātis into one or the other of the Varna categories as described in ancient texts. Herbert Hope Risley, the Census Commissioner, noted that "The principle suggested as a basis was that of classification by social precedence as recognized by native public opinion at the present day, manifesting itself in the facts that particular castes are supposed to be the modern representatives of one or other of the castes of the theoretical Indian system." The system of Varnas propounded in ancient Hindu texts envisages the society divided into four classes: Brahmins, Kshatriyas and Shudras. The texts do not mention any untouchable category in Varna classification.
Scholars believe that the Varnas system was never operational in society and there is no evidence of it being a reality in Indian history. The practical division of the society had always been in terms of Jātis, which are not based on any specific principle, but could vary from ethnic origins to occupations to geographic areas; the Jātis have been endogamous groups without any fixed hierarchy but subject to vague notions of rank articulated over time based on lifestyle and social, political or economic status. Many of India's major empires and dynasties like the Mauryas, Shalivahanas,Chalukyas,Kakatiyas among many others, were founded by people who would have been classified as Shudras, under the Varnas system, it is well established that by the 9th century, kings from all the four castes, including Brahmins and Vaishyas, had occupied the highest seat in the monarchical system in Hindu India, contrary to the Varna theory. In many instances, as in Bengal the kings and rulers had been called upon, when required, to mediate on the ranks of Jātis, which might number in thousands all over the subcontinent and vary by region.
In practice, the jātis may or may not fit into the Varna classes and many prominent Jatis, for example the Jats and Yadavs, straddled two Varnas i.e. Kshatriyas and Vaishyas, the Varna status of Jātis itself was subject to articulation over time. Starting with the British colonial Census of 1901 led by Herbert Hope Risley, all the jātis were grouped under the theoretical varnas categories. According to political scientist Lloyd Rudolph, Risley believed that varna, however ancient, could be applied to all the modern castes found in India, " meant to identify and place several hundred million Indians within it." In an effort to arrange various castes in order of precedence functional grouping was based less on the occupation that prevailed in each case in the present day than on that, traditional with it, or which gave rise to its differentiation from the rest of the community. "This action removed Indians from the progress of history and condemned them to an unchanging position and place in time.
In one sense, it is rather ironic that the British, who continually accused the Indian people of having a static society, should impose a construct that denied progress" The terms varna and jāti are two distinct concepts: while varna is the idealised four-part division envisaged by the Twice-Borns, jāti refers to the thousands of actual endogamous groups prevalent across the subcontinent. The classical authors scarcely speak of anything other than the varnas, as it provided a convenient shorthand. Thus, starting with the 1901 Census, Caste became India's essential institution, with an imprimatur from the British administrators, augmenting a discourse that had dominated Indology. “Despite India's acquisition of formal political independence, it has still not regained the power to know its own past and present apart from that discourse”. Upon independence from Britain, the Indian Constitution listed 1,108 castes across the country as Scheduled Castes in 1950, for positive
Unjha is a town and a municipality in Mehsana district in the Indian state of Gujarat. Unjha is located at 23.8°N 72.4°E / 23.8. It has an average elevation of 111 metres; as of 2011 India census, Unjha had a population of 57,108. Males constitute 53% of the population and females 47%. Unjha has an average literacy rate of 77%, higher than the national average of 65%: male literacy is 80%, female literacy is 73%. In Unjha, 10% of the population is under 6 years of age; the average income of population living here is high compared to the national average, because of trading business of Jeera located here. There is a temple dedicated to Hindu goddess Umiya, she is considered as a clan deity of Kadva Patidar community. This temple located in the centre of the town is a place of pilgrimage. Other major temples include Baloj Mata temple near bus station. There is a Dwarkadhishji Temple of Pushtimarg Vaishnava tradition located in Nava Mahad, Near Bramhan Chora. There is an Kabir Ashram for the followers Kabir.
There is century-old Kunthunath Jain temple in the town. There are 2 other main Jain temples, one of them located in the heart of the city Aadinath Jain temple, and the third temple has a ancient idol of lord Mahavira present over there. Unjha has many schools including a B. B. A. College. Law College, a Teachers Training College, a Women's Residential College, a commerce and arts college also. Now a days, Unjha has many high schools of science and arts too. Near the center of the town is a pond. Other places are various places where marriages and other occasions are held, it has many wadis and a particular sub caste of Patel has a particular wadi. For e.g. - Rangpur Samaaj wadi, Raman wadi, Unava Desh ni Wadi, Bhraman ni wadi, umiya desh ni wadi, sanskarbhavan wadi, Achleshawar Ni Wadi. Unjha is known as biggest spices and oil seed market of Asia and one of the biggest regulated markets throughout India; the APMC market of Unjha is the place where farmers and traders from states like Rajasthan, Saurashtra come to trade and sell spices and oil seeds like cumin seeds, fennel seeds, fenugreek seeds, dill seeds, ajwain seeds, Mustard Seeds, Sesame seeds, Coriander Seeds etc.
Aside from Rajastan, Unjha is the only place that can grow cumin and Isabgol seeds. There are nearly 800 big businesses; the annual volume of total trade is US $353 million for the financial year 2012–13. The nearest seaport is Mundra Port, which gives location advantage to exporters of spices in Unjha by exporting best-quality spices at competitive rates. There are many direct manufacturer exporters of Indian spices and oil seeds in Unjha having their own manufacturing plant of highest quality standards for serving worldwide requirement. Major importing countries are US, Central America, New Zealand, Poland. Dev Patel, the actor in popular Hollywood movie Slumdog Millionaire, has family roots from Unjha although he was born and brought up in The United Kingdom. Musician and sarod player Vasant Rai's family is from Unjha. There is a music school commemorating his memory in Unjha; the APMC market was founded by Mr. Mohanbhai Haribhai Patel in the early 1950s, renovated and modernized by Mr. Narayanbhai L. Patel around 2004.
He is MLA for 5 terms. Unava