volume 1 issue 1 by Shodh Kosh
Granthaalayah Publications and Printers, 2023
Historic gardens are a precious component of our cultural heritage and a valuable resource for un... more Historic gardens are a precious component of our cultural heritage and a valuable resource for understanding the past. They are tangible reflections of a society's values, beliefs, and practices offering glimpses into the aesthetic preferences, horticultural practices, and social values of bygone eras. These gardens often reflect the fusion of different cultural influences, acting as a visual tapestry of human creativity and ingenuity. To highlight the significance of historic gardens with regard to cultural diversity, this study examines the historical, cultural, botanical and architectural aspect of five famous royal gardens of Punjab that were originally created as private retreats of the Monarchs but now have been transformed into public spaces. Drawing upon archival research, scholarly literature, and site visits, the study delves into the architecture, symbolism, and historical context of each garden, revealing their unique cultural expressions. The argument put forth in the paper is that historic gardens are not just physical spaces but cultural artifacts that serve as a testament to the rich cultural diversity of the region, exposing visitors to a plethora of different artistic and cultural influences. This research highlights that historic gardens significantly contribute to cultural diversity and further facilitate cultural exchange and cultural education. The study further emphasizes the importance of valuing, preserving and valorizing historic gardens, not only for their continued relevance but for fostering cultural sustainability and enriching our collective heritage.
ShodhKosh: Journal of Visual and Performing Arts, 2020
English: The covid-19 epidemic has shaken the entire world today. In this difficult period, the p... more English: The covid-19 epidemic has shaken the entire world today. In this difficult period, the person is frightened about the future, worried and stressed. The writings written in newspapers, the moving news on the book, and the wisdom of knowledge have further enhanced his problem. This untouchable, unwanted calamity has imprisoned the person imprisoned in their homes away from social activities so much that even a very healthy person is under stress. The fear of something happening every moment dominates him so much that he suffers from a variety of mental illnesses that have had an adverse effect on his physical health as well. In such times, there are arts which provide peace to man.
ShodhKosh: Journal of Visual and Performing Arts, 2020
Much has already been written about Covid-19, but now we should get used to living with it becaus... more Much has already been written about Covid-19, but now we should get used to living with it because Corona is not going to leave our lives so easily. We should now practice living with it. As soon as the lockdown ends, we have to defend ourselves and our family and at the same time run our business smoothly. Now we should learn how to keep our family away from the corona, and stay unconnected, follow social distance, etc. Now this is our life for some time to come. We have to make ourselves so strong that the corona cannot spoil us. Over time, we will get used to living with it. An artist must also change his mind and accept the coming change.
ShodhKosh: Journal of Visual and Performing Arts, 2020
English: Man's innate expression towards art is manifested by rock paintings. For early humans th... more English: Man's innate expression towards art is manifested by rock paintings. For early humans there were rock shelters. On prehistoric shelter sites, humans marked paintings as their natural expression. Paintings made in rock were called rock paintings. Known prehistoric paintings were discovered by Mercilona di Setuala in a cave called Altamira,
ShodhKosh: Journal of Visual and Performing Arts, 2020
Indian art is a vivid presentation of various forms of nature. In many ancient cultures trees are... more Indian art is a vivid presentation of various forms of nature. In many ancient cultures trees are treated with acclaim and affection but in India treated with reverence and love. The concept of tree, as a symbol of life, of eternity and resumption is as old as humankind. The environmentalists evaluate their importance for the world's ecosystem as they are used in numerous ways in everyday life but their aspect is that they are the symbol of divinity of nature with beauty and cultural values. Nature with its qualities helps the creatures in their survival. The beauty of nature can be perceived in its utility and man can pay his attributes with the awareness towards the protection of nature.
ShodhKosh: Journal of Visual and Performing Arts, 2020
English: When the confidences of any ambivalent artist in the society are disintegrated, then the... more English: When the confidences of any ambivalent artist in the society are disintegrated, then there are many imagery in its end and when the artist is overconfident, then he feels the feeling of compassion in every aspect of the society. Sorrow and anguish was the destiny of Vango in the face of emotions. That is why they continued to collect compassion from the world and spread it through illustration, with an intensely cacophonous, cumbersome depressed heart, they sought out the story of nature and life for its expression. The art journey from Borinas to Australia was an exploration of this truth. Wherever he experienced this truth, he expressed it as beautiful and Shiva. The nature of his entire painting rests on religious and spiritual consciousness. That is why whatever he created on the extremely humanistic plane; it was the height of his aesthetic sense. The sentiment of Vango was vast in comparison with the nature of the world, and for its expression he also had an intact storehouse of poet sensation. The paintings were found to be perfect for the expression of deep feelings.
ShodhKosh: Journal of Visual and Performing Arts, 2020
English:Before studying Indian culture it is very important to understand what culture is. Lookin... more English:Before studying Indian culture it is very important to understand what culture is. Looking at the various narratives received for learning about culture, we find that the word culture itself encompasses many dimensions of human life. Culture has always been an important contributor to human development. Different parts of culture are directly and indirectly connected to various needs, desires and activities of human beings.
ShodhKosh: Journal of Visual and Performing Arts, 2020
English: The Tomarvanshi tradition of promoting music, literature and art emerged as an influenti... more English: The Tomarvanshi tradition of promoting music, literature and art emerged as an influential center of Gwalior art, creating a style that was different from the Gujarati tradition but influenced by both Rajput and Akbarian Mughal art. It was natural that Gwalior had become a stronghold of artists at that time. [1].
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volume 1 issue 1 by Shodh Kosh
many academic fields within humanities and social sciences. The studies on
performance, thus, could provide opportunities for exploring different aspects of
human behaviours and their creative reflections on the matters that are intrinsic to the
concept of performance. In pursuit of performance studies, one could come across
various knots that connect performance with every aspect of the socio-cultural life of
people by redefining the stereotypical notions of “stage”, “actors” and “audience.”
Further, the studies on performance could not be placed on a single trajectory as
several approaches, perspectives and orientations that have emerged ever since the
delimitation of performance happened by opening up its boundary for interdisciplinary
studies lead by the undefined ‘performance studies’ of Richard Schechner. However, by
dealing with the performance as a live presentation in all perceived forms of “stages”,
a significant question has been asked in this paper as a token of beginning on the
“problematic” presence of audience as outsiders (non-native and non-belonging) who,
by their nature of reception and response, are understood as those who have no
concern either for the performance or for the performers. While each form, in the
folkloristic sense, is comprising of its natural context along with a dedicated or defined
audience, it seems to be a surprising phenomenon as it developed over a period of time
as a result ofthe prodigious and irresistible globalization process. Thus, the unintended
and unsolicited transformation, as an impact of globalization, in the traditional and
modern performances has shaped the nature and role of ‘audience’, making it an
insignificant and irrelevant entity for the consumption with aesthetic appreciation and
conviction on the values demonstrated. So this article problematizes the nature of
audience in the decontextualized performance context by drawing insights from
performance studies, semiotics, and other cognate disciplines. Based on the insights
drawn from the fieldwork on Sarhul festival held in Ranchi district a few years ago, this
paper argues that the role of audience cannot be understood unless there is a clear
perspective on the nature of performance and performance tradition as defined by the
community
ओड़िशा में श्रीकृष्ण के स्वरुप श्रीजगन्नाथ की ही पूजा की जाती है। पुरी में जगन्नाथजी के स्वरुप की स्थापना अनन्तवर्मन के समय में होने वाले कारणों (मुस्लिम आक्रान्ताओं द्वारा भारतीय संस्कृति को नष्ट करना) व जगन्नाथ मन्दिर का प्रचार-प्रसार से ही इस प्रसिद्ध शैली का उदय हुआ। भक्ति, कला और संस्कृति का जो यहां संगम हुआ है उससे नवीन कला शैली का जन्म हुआ जो पट्टचित्र शैली के नाम से प्रसिद्ध है। यह एक अनूठी लालित्यपूर्ण और असाधारण कला है जिसने अपनी पारम्परिकता को बनायें रखने के साथ स्वंय को आधुनिकता का जामा भी पहनाया है। इसका सम्पूर्ण स्वरुप एक विशिष्ट धार्मिक एवं अनुष्ठानिक रहा है। पट्टचित्र आज जिस स्वरुप में हैं उनका निर्माण व विकास कई युगों की देन है।
ओड़िशा मुख्यरुप से पट्टचित्रों व मन्दिरों के लिये विश्वभर में प्रसिद्ध है। जगन्नाथ मन्दिर के प्रचार-प्रसार के लिये जो चित्र बनाते हैं जिसे चित्रकार बहुत सुन्दर व अंलकृत रुप में चित्रित करते हैं जिन्हें पट्टचित्र कहा जाता है और पट्टचित्र के विषय भगवान जगन्नाथ अर्थात कृष्ण की कथाओं पर आधारित होते हैं। पट्टचित्र कला एक अधिक विस्तृत और सजावटी कला रही है। पारम्परिक तौर पर पट्टचित्र में गाढे और चटक रंगों का प्रयोग आज भी होता है। यह लघुचित्र शैली से प्रभावित हैं। पट्टचित्र में सुन्दर ढंग से रंगीनवस्त्र, अंलकरण आमतौर पर उसकी खूवसूरती को बढा देते हैं। इन पट्टचित्रों में सौन्दर्यपूर्णता है साथ ही विभिन्न रंग व विषयों का पता चलता है। पट्टचित्र में भगवान जगन्नाथ को विशेषरुप से चित्रित किया जाता है। इन चित्रों की संरचनाओं के निर्माण आमतौर पर लम्बे और बड़े तैयार किये जाते हैं। इन पट्टचित्रों के विषय उत्सवों के अनकूल होेने के कारण इनमें खुशी व उत्साह दृष्टिगोचर होता है। वर्षपर्यन्त जितने भी उत्सव, रथयात्रा, बोइताबंदना व कृष्णलीलाओं आदि को विशेष रुप से चित्रित किया जाता है। पट्टचित्र में बने आम, कदम, कनेर, नारियल आदि वृक्षों केे साथ नीलगगन में झिलमिलाते तारागण, पूर्णिमा का चमकता चाँद, तालाब में तैरते कमलपुष्प, गाय, हिरन, मयूर और यमुना का अंकन बहुत सौन्दर्यपूर्ण लगते हैं।
बौद्ध युग की कला एवं संस्कृति तथा कलाकृतियों में आर्य तथा द्रविड़ जातियों से ग्रहण की गई आध्यात्मिक परम्पराओं तथा इष्ट देवों की पूजा-विधियों के ही पुनर्दर्शन होते हैं। इस संदर्भ में डाॅ. स्वरूप कुमार स्वामी का यह कथन दृष्टव्य है।
Today's building envelopes are made of tactile boundaries and visually perceptible borders that are an abstraction of the human body. This relies on vision, smell, and touch. For example, improving one's sense of smell may improve the perception of the surroundings. This is particularly intriguing because it emphasizes the significance of this sense and serves as a reminder of the possibility of sensory-sensitive information that is responsive and environment-adaptive.
Individuals have different sensory perceptions of odours, just as different people have different needs for ambient and appropriate temperatures in a location. Although each person subjectively interprets these and responds differently, an individual instantaneously receives this information of change in the environment when any of the three aspects of scent, namely flow, intensity, or duration, are disturbed or augmented.
Based on the methods used to acquire smell, data can be divided into four basic categories: observational, experimental, simulational, and generated. The intensity of a smell also fluctuates according to how far it is from its source, which will gradually wither away as time and distance pass. The study would help establish a parallel between smell and colour preferences. Researching if people’s preferences for colour and smell can be classified based on fixed parameters. McLean et al. (2018), pp 9-19
Humans, however, can identify millions of distinct odours just by using their nose's smell receptors. So, it's an intriguing idea to incorporate smells into the process of designing a space. Although fragrances themselves cannot be represented visually and their ability to transport us to a different place and time cannot be demonstrated, they are nonetheless essential components of a setting that makes us feel at ease and at home.
has replaced the stereotypical western comic book superheroes by narrating and
celebrating native heroes fetched from Indian history, mythology, legends and folk
culture satisfying the needs of comic-book adventurism as well as an education achieved
through entertainment. The Amar Chitra Katha ‘heroic’ graphic historical biographies
were not merely intended to be a source of historical knowledge about India but also an
inspiration to emulate the ideals of such heroes of native history. The present paper is a
study of graphic visualizations of certain episodes related to tiger-hunting in select
historical titles of Amar Chitra Katha. The paper attempts to critically examine the politics
of visual aesthetics and graphic narration of historical facts related to the tiger- hunting
available in such graphic historical biographies and thereby tries to diagnose whether
such historical representations need to be analyzed with regard to the methodologies of
representation involving postcolonial nationalist writing back or communal stereotyping
and rewritten according to the pressing needs of the contemporary world concerning
erosion of wildlife and anthropogenic natural disorder.
Their folk art is filled with emotions of welfare, faith and trust. These folk arts are not the art of any one individual, but the collective art expression of common people. The colours used by cave people during pre-historic times were black, white, red and ochre. Colours were used in limited quantities
which is seen in district caves of kumaun such as falsima, petshaal, lakhudiyar,, lwethap, fadaknoli.
Colours such as red, ochre, white etc can be seen in these murals. In reference to use of colours in prehistoric times, Dr Premshankar Devidi has quoted: “limited colours were used in the pre-historic times such as gerua, white, khadia, hironji and coal powder. These colours were prepared by grinding using stones. The surface used by these primitive artists were mainly walls and ceilings which were not bounded to a limited dimension.”
कुमाऊँ मध्य हिमालय में स्थित पूर्वी उत्तराखण्ड है। उत्तराखण्ड राज्य का यह पूर्वी भाग कुमाऊँ मंडल के नाम से जाना जाता है। कुमाऊँ क्षेत्र भी अनेकों लोककला प्रान्तों की तरह प्रसिद्ध है। इस क्षेत्र की लोक अंकन शैली को ऐपण नाम से जाना जाता है। यह लोक अंकन शैली बंगाल की ‘अल्पना‘, राजस्थान की ‘मांडना‘ से अधिकांशतः मेल खाती है। प्रमुख रंगत सफेद है जो कि चावलों को पत्थर में पीसकर विस्वार के रूप में तैयार की जाती है, फिर अंगुलियों के पोरों से अंकन किया जाता है। लोकजीवन का प्रकृति के साथ निर्भरता और उपयोगिता का सन्तुलित अनूकूलन है। वर्तमान समय में गाँव भी वैश्विकरण एवं बाजारवाद से गहराई से प्रभावित है। आज के समय मंे एक्रेलिक रंग, सेन्थेटिक रंग, प्रिंट, टाइल्स, सेरेमिक के दौर में, आवश्यक है कि अपने अनुभव, अध्ययन और निरीक्षण को लिपिबद्ध किया जाये।
कुमाऊँ मंडल में प्रत्येक त्यौहार मांगलिक कार्यो, पूजा अर्चना प्रत्येेक माह की संक्रांत को लोक अंकन का प्रयोग आंशिक या अधिकतम रूप में ग्रामीण घर-आँगन में किया जाता है। यह परंपरा प्राचीनकाल से ही विद्यमान है “भारतीय लोक जीवन में प्राचीन काल से ही धरती के प्रति अथाह पूजा भाव रहा है। पर्व, त्यौहार तथा विवाह-शादी के समय मंगल चिन्हों को दीवार तथा आँगन पर अंकित करने का पुराना रिवाज है।”1 “लोक कला किसी भी राष्ट्र की सांस्कृतिक मर्यादा है। इस मर्यादा में अनुश्युत भिन्न-भिन्न संस्कृतियाॅ अनपे मूल रूप में एक ही दृष्टिगत होती हैं। लोक कला का रायट्रीय महत्व है। हमारी सांस्कृतिक भाव भ्ूामि को अभिसंचित करके लोक कला की धारा समान गति से निरंतर आगे बडती रहती है। इसमें उत्ताल तरंगे नहीं, गर्जन-तर्जन नहीं है, वह तो सागर के समान गंभीर और अन्नत है।“2 । लोक अंकन प्राकृतिक एवं सुलभ संसाधनों से किया जाता है। प्राकृतिक रंग शुद्ध व पवित्र माने जाते है। उनके लोक चित्रण में लोक कल्याण की भावना सदैव विद्यमान रहती थी जो आस्था, विश्वास और आध्यात्म से ओत-प्रोत रहती है। यह लोक कलाऐं किसी एक व्यक्ति की कला नहीं है बल्कि लोकजन सामान्य की सामूहिक कला अभिव्यक्ति है।
प्रागैतिहासिक काल में मानव गुफाओं में जिन रंगों प्रयोग करते थे, वे रंग काले, सफेद, लाला, गेरूआ थे। रंगो का प्रयोग सीमित रूप में किया जाता था जिनके प्रमाण यहाँ जनपद में प्राप्त गुफाओं फलसीमा, पेटशाल, लखुउड्यार, ल्वेथाप, फडकनौली आदि की भित्ति पर बने अंकन में देखा जा सकता है। इन भित्ति चित्रों में भी लाल, गेरूआ, सफेद आदि रंगो का प्रयोग किया गया है। प्रागैतिहासिक मानव द्वारा प्रयोग किये जाने वाले रंगो के सन्दर्भ में डाॅ. प्रेमशंकर द्विवेदी ने लिखा है - “प्रागैतिहासिक चित्रों में सीमित रंगों का प्रयोग किया गया है जिसमें गेरू, सफेद, मिट्टी (खडिया), हिरौजी, कोयले की कालिख प्रमुख रंग थे। इन रंगों को पास की शिलाओं पर ही पीसकर तैयार किया जाता है। आदिम कलाकार का चित्रतल समस्त दीवार या छत होती थी। चित्रतल का कोई निश्चित सीमांकन नही होता था।
A new kind of cinema suddenly emerges from a government initiative in the form of 'The Film Finance Corporation. The plan did not have the attractiveness of substantial financial support for film production and therefore did not have much appeal to established directors, actors, and technicians of mainstream cinema. But this new platform attracted experimental trends and budding filmmakers and technicians from film institutes as it did not have the burden of making money from films.
This new wave that emerged in Indian cinema gave ample opportunities to the educated youth in the filmmaking field. Poona Film Institute's newly passed out cinematographer K.K. Mahajan got ample opportunity to cinematograph most of the film’s representative of the new wave that emerged from this innovation. Inspired by the Italian neorealism and French poetic realism, some of the major films that established their original cinematic identity were ‘Sara Akash’ (1969) with director Basu Chatterjee, ‘Uski Roti’ (1970) with director Mani Kaul, ‘Maya Darpan’ (1972) with Kumar Sahani and in ‘Chorus’ (1974) with director Mrinal Sen, K.K. Mahajan developed a new style of filming by forming creative partnerships with a variety of directors. This research paper attempts to find out the distinctive contribution of KK Mahajan as an "Auteur" in the use and development of cinematic language through textual analysis of the National Award-winning film ‘Sara Akash’ (1969) for Cinematography.
फ़िल्मांकन-शैली की दृष्टि से एक नया सौंदर्यबोध और सिनेमाई भाषा विन्यास को विकसित करने के प्रयासों की दृष्टि से भारत में 1968-1975 के बीच का कालखंड एक विशेष महत्व रखता है। ‘फ़िल्म वित्त निगम’ के रूप में एक सरकारी पहल से एक नए तरह का सिनेमा अचानक उभरने लगता हैं। इस योजना में फ़िल्म निर्माण के लिए भरपूर वित्तीय सहयोग का आकर्षण नहीं था अतः मुख्यधारा के सिनेमा के स्थापित निर्देशकों, अभिनेताओं और तकनीशियनों के लिए कुछ खास नहीं था। किन्तु इस नए मंच ने प्रयोगशील प्रवृत्ति और फिल्म संस्थानों से निकले नवोदित फ़िल्मकारों एवं तकनीशियनों को आकर्षित किया क्योंकि इसमें फिल्मों से पैसे कमा कर देने का बोझ भी नहीं था। भारतीय सिनेमा में उभरी इस नई लहर ने फ़िल्म निर्माण विधा के शिक्षित युवाओं को भरपूर मौके दिए। पूना फ़िल्म संस्थान के नए-नए ही निकले सिनेमेटोग्राफर के.के.महाजन को इसी नवाचार से उभरी नई लहर की प्रतिनिधि अधिकांश फिल्मों की सिनेमेटोग्राफ़ी का भरपूर मौका मिला। इतालवी नव-यथार्थवाद और फ्रेंच काव्यात्मक यथार्थवाद से प्रेरित किन्तु अपनी मौलिक सिनेमाई पहचान स्थापित करने वाली कुछ प्रमुख फिल्मों जैसे निर्देशक बासु चटर्जी के साथ ‘सारा आकाश’ (1969), निर्देशक मणि कौल के साथ ‘उसकी रोटी’ (1970), कुमार साहनी के साथ ‘माया दर्पण’ (1972) और निर्देशक मृणाल सेन के साथ ‘कोरस’ (1974) में, के.के. महाजन ने विविध निर्देशकों के साथ रचनात्मक साझेदारी करते हुए फ़िल्मांकन की नई शैली विकसित की। यह शोधपत्र सिनेमॅटोग्राफी का राष्ट्रीय पुरस्कार प्राप्त फ़िल्म ‘सारा आकाश’ (1969) के पाठ्य विश्लेषण द्वारा सिनेमाई भाषा के उपयोग एवं विकास में के.के.महाजन के एक “ओतर“ के रूप में विशिष्ठ योगदान को जानने का प्रयास करता हैं।
Achouba, Subika Laishaba, Subika Choudit, Subika Cheithil, and Thengrakhel Subika. For
this paper the manuscript “Subika Laishaba'' has been discussed. Illustration of Subika
Laishaba is the manuscript painting among the earliest surviving visual arts forms of
Manipur. Though the advent of Subika Laishaba paintings has lately acquired from
various individual collections, the painting possesses an interesting area of studying its
visual elements and cultural values of Meitei community. The painting of Subika Laisaba
is a composition of cultural motifs made by pre-existing features and other influences
stimulated from their cultural worldviews. Such cultural ethics of scriber makes them to
create a unique style seen as indication of establishing a thought of school in which
cultural and regional features are highlighted. Subika Laishaba manuscripts represent the
direct and authentic continuation of the tradition of Meitei cultural life projected through
visual images. Though there is no particular founder mentioned in the royal
chronicle/history known as Cheitharol Kumbaba, there may be a possibility that the art
form may have existed when the writing tradition was introduced in the state. This paper
is an attempt to study its purposes and visual language portrayed in the Subika Laishaba
manuscripts to understand its school in the realm of visual art. This study of visual
language may be able to work without judgment and self-criticism.
Achouba, Subika Laishaba, Subika Choudit, Subika Cheithil, and Thengrakhel Subika. For
this paper the manuscript “Subika Laishaba'' has been discussed. Illustration of Subika
Laishaba is the manuscript painting among the earliest surviving visual arts forms of
Manipur. Though the advent of Subika Laishaba paintings has lately acquired from
various individual collections, the painting possesses an interesting area of studying its
visual elements and cultural values of Meitei community. The painting of Subika Laisaba
is a composition of cultural motifs made by pre-existing features and other influences
stimulated from their cultural worldviews. Such cultural ethics of scriber makes them to
create a unique style seen as indication of establishing a thought of school in which
cultural and regional features are highlighted. Subika Laishaba manuscripts represent the
direct and authentic continuation of the tradition of Meitei cultural life projected through
visual images. Though there is no particular founder mentioned in the royal
chronicle/history known as Cheitharol Kumbaba, there may be a possibility that the art
form may have existed when the writing tradition was introduced in the state. This paper
is an attempt to study its purposes and visual language portrayed in the Subika Laishaba
manuscripts to understand its school in the realm of visual art. This study of visual
language may be able to work without judgment and self-criticism.
Harappa Civilization. It is one of the oldest mediums of communication between people,
whether for the barter system or as a medium of expression for the artists. ‘Pot’ in the
Indian language is called a KUMBH/ PATRA and a person who makes it is called
a KUMBHKAR. A different name of potter came to be known as 'Prajapati' (creator of toys)
that came from Brahma who made man of clay, there are many stories behind the origin
of the term ‘potter’. Pottery can be seen in all cultures all over the world and every culture
has a significant style//character in its pottery tradition (Kempler, 2015). In traditional
potter families in India, women were not allowed to work on the wheel, women help in
preparing the clay, making figures (votive figures), and painting and decorating the ready
pots.
In Indian society, patriarchy has been a very prominent feature, for long-time women
were deprived of their basic right to education, right to own property, and freedom of
speech. Many activists and reformers fought a long battle to provide gender equality in
the field of education and all spheres of life in the field of Art/Pottery also it is education
that broke the age-old barriers and notions related to clay and brought self-sufficiency
and self-consciousness for graceful living an honorable status in the society. Development
of Art Colleges and Design Schools in India encouraged many female students to learn
different subjects like pottery, painting, sculpture, etc. All these subjects enhanced the
technical knowledge of the students and paved their way into different art fields. Nirmala
Patwardhan, Jyotsna Bhatt, Era Chaudhary, Shampa Shah, Dipalee Daroz, Manisha
Bhattacharya, Kristine Michael, Madhavi Subramanian are some of the artists who
encouraged the future generation, especially women ceramic artists in India.
In the present study, we will discuss the contribution of women artists in contemporary
Indian ceramics.
Mass media in the form of cinema has always been a crucial site for this discursive struggle for both memory and history. In the present-day visual culture, Television and cinema have emerged as major sources from where we get to know about glorious histories, past struggles, and triumphs. Be it biographical series or movies, fictionalized accounts of war memorialized into blockbuster movies, or state commissioned actualities/documentaries; the cinematic representation caters to collective re-imagination of past events and renders them into sites for shaping collective memory and thus identity.
During WWII, both Hitler and Stalin used films as tools for propaganda as this medium has potential to shape one’s understanding of history. State and non- state actors throughout history have used cinema to establish, reinforce and even mold historical events into hyper-emotionalized audio-visual texts, which over a period naturalizes or blurs the lines between real and represented history.
This paper will focus on how content and transmission of popular memory via cinema in India takes place. The focus will be on how mass media in the shape of cinema reinforce the existing mnemonic hegemony, which in turn shapes collective identities and pasts of the public.
Engaging with political economy the paper will further examine how economic conditions shape popular memory simultaneously leading to erasure of certain histories. The concept is to investigate how social, economic, and political circumstances indirectly encourage and exclude specific narratives in order to sustain dominant power dynamics in collective recollection across different races, classes, and genders through the medium of cinema.
The premise is to not only understand mass media content act as an agency to the production and sustaining of memory but also highlight the various factors behind this materialist approach of memory leading to erasure and disenfranchisement of other histories and memories. This involves interrogating the ownership, production, and consumption of memories propagated through television and cinema in India.
There is a wonderful depiction of Indian animals and birds, geometrical shapes, design of bellflowers, columbines and religious symbols on these illustrated wooden covers of manuscripts. In addition to decorations, these panels also depict various contemporary events and cultural themes. Due to the uniqueness of designs and the amazing depiction of these wooden book covers it can be inferred that the painters who created them must have been highly skilled. These wonderful examples of paintings from Jain school of paintings have special importance in art history and Jain culture. The objective of the research is to do artistic analysis of these wooden manuscripts covers. Although analyzing all the collected data from the museums and manuscript centers was a challenging task for the researcher but eventually efforts were made to publicize the facts in detail.
The article presents an intermedia project based on distributed authorship, resulting from the collaboration of a music choreographer, a visual artist and a music theorist. Each of these people brings a different perspective and creation to the project, which integrates the guiding idea of "hearing and seeing" music, and even experiencing it multisensorially.
Syncretic activities on the borderline of composition, improvisation and interpretation of music and its choreography, as well as the conscious use of audiovisual objects, expand the fields of artistic activity to reach the audience through multiple channels of sensory perception. The spectator does not perceive isolated fields, because the sensory world is a synthesis of different fields of perception. The same object that we see, we can touch, can be a source of sound and smell. In this constellation, the intermedia narration of the work is not only an experiment that influences the attractiveness of the musical choreography presented, but also an object of research into a new language, the use of which expands the concept of thinking about the form of the composition presented. The amplified dimensions of the work's reception make it an attractive form of expression, which at the same time becomes an artistic-cognitive hybrid.
The heart of this research lies in its empirical study, where findings from a survey administered to 100 participants aged 18 to 65 are presented. This survey evaluates participants' emotional responses and behavioral patterns under different lighting conditions, including bright white light, warm white light, cool white light, and colored lighting. Rigorous statistical analysis techniques, including ANOVA and regression analysis, will be employed to analyze the collected data. The study's results will illuminate the substantial impact of mood lighting on human emotions and behavior, providing valuable insights for professionals like designers, architects, and engineers to effectively utilize mood lighting in crafting desired atmospheres within interior spaces.
Objectives of the Research Study
To investigate the reoccurring topic of hybrid creatures in Victorian photocollages and contemporary Indian art.
Examining the symbolism and significance of hybrid beings, with a focus on identity, metamorphosis, and human-nature interaction.
Examining how hybridization is used by both art genres to portray complicated notions about identity, social institutions, and cultural interchange.
Examining how artists use historical inspiration to produce unique works and engage in cross-cultural discussion.
Using commonalities in various art forms to demonstrate the universal nature of artistic expression, transcending time, location, and culture.
Significance of the Research Study
This study has significance because it investigates the representation of hybrid beings in Victorian-era photocollages and modern Indian artwork, providing insights into the symbolism and meanings associated with hybrid creatures, specifically in the context of identity, transformation, and the human-nature relationship. This study highlights the continuing capacity of art to transcend chronological and geographical barriers by examining how both Victorian photocollages and contemporary Indian art use hybridity to express complicated notions about identity, social institutions, and cultural exchange. It also highlights the artists' ability to draw inspiration from the past, resulting in innovative works that engage in cross-cultural dialogue, ultimately demonstrating the universal nature of artistic expression and its profound impact on understanding the complexities of human existence across diverse cultural and historical contexts.
Review of Literature
To begin, researchers like Linda Nochlin and Griselda Pollock have investigated the topic of hybridity in art, emphasising its importance in subverting conventional concepts of representation. In her important essay "The Imaginary Orient," Nochlin discusses how Victorian-era art frequently included hybrid characters to address concerns of cultural identity and colonialism. This point of view lays a solid foundation for understanding the circumstances in which Victorian-era photocollages evolved as a medium for creative expression.
Scholars like Geeta Kapur and Partha Mitter have explored the evolution of Indian art in the post-colonial era, highlighting the use of hybridity as a tool for artists to negotiate cultural identity. Homi Bhabha's "The Location of Culture" provides a theoretical framework for understanding hybridity in Victorian-era and contemporary Indian art. James Elkins' "Is Art History Global?" and "Globalizing Art History" provide a contemporary lens for understanding cross-cultural dialogues in art.
Today's building envelopes are made of tactile boundaries and visually perceptible borders that are an abstraction of the human body. This relies on vision, smell, and touch. For example, improving one's sense of smell may improve the perception of the surroundings. This is particularly intriguing because it emphasizes the significance of this sense and serves as a reminder of the possibility of sensory-sensitive information that is responsive and environment-adaptive.
Individuals have different sensory perceptions of odours, just as different people have different needs for ambient and appropriate temperatures in a location. Although each person subjectively interprets these and responds differently, an individual instantaneously receives this information of change in the environment when any of the three aspects of scent, namely flow, intensity, or duration, are disturbed or augmented.
Based on the methods used to acquire smell, data can be divided into four basic categories: observational, experimental, simulational, and generated. The intensity of a smell also fluctuates according to how far it is from its source, which will gradually wither away as time and distance pass. The study would help establish a parallel between smell and colour preferences. Researching if people’s preferences for colour and smell can be classified based on fixed parameters. McLean et al. (2018), pp 9-19
Humans, however, can identify millions of distinct odours just by using their nose's smell receptors. So, it's an intriguing idea to incorporate smells into the process of designing a space. Although fragrances themselves cannot be represented visually and their ability to transport us to a different place and time cannot be demonstrated, they are nonetheless essential components of a setting that makes us feel at ease and at home.
भारतीय संस्कृति के प्राचीन मनोरंजक स्वरूपों पर प्रासंगिक प्रकाश डाला है। जो भारतीय सांस्कृतिक रूपों पर आधारित लोक कलाएँ पीढ़ियों से चली आ रही हैं। इन पारंपरिक कला रूपों में संगीत, नृत्य, कठपुतली, कहानी सुनाना संगीत, नृत्य, और बहुत कुछ शामिल हैं। यह भारतीय कला और संस्कृति की एक बहुत ही अनूठी विशेषता है। इसके उद्देश्य में लोककला को भारतीय संस्कृति की बहुलता का प्रतीक माना गया है। भारत में प्रचलित गीत, संगीत, नृत्य, रंगमंच, लोक परंपराओं, प्रदर्शन कलाओं, संस्कारों और अनुष्ठानों का संग्रह दुनिया का सबसे बड़ा है। भारतीय लोक कलाएं विविधता और समृद्धि की प्रतीक है, जो देश के विभिन्न क्षेत्रों में विकसित बिहार की मधुबनी, महाराष्ट्र की वर्ली, मध्यप्रदेश की गोंदना, भील व गोंड़, उड़ीसा के पटचित्र, कालीघाट के पटचित्र, आन्ध्रप्रदेश की कलमकारी, तंजौर कला, बुन्देलखण्ड की महबुलिया, फड़चित्र आदि है। भारतीय संस्कृति के सामाजिक विकास में लोक कलाओं की समरसताएं अद्वितीय पहलुओं को प्रकट करती है, लोक चित्रकला और सांस्कृतिक सद्भाव में स्थानीय जीवन और परम्पराओं को दर्शाती है। शिक्षा के क्षेत्र में लोक कलाएं किस प्रकार लाभप्रद होगी? इसके साथ ही निष्कर्ष में लोक कलाओं के संरक्षण व समृद्धि की उपयोगिता बखुबी प्रदर्शित किया गया है। भारतीय संस्कृति के संवर्धन व समृद्धि में लोक कला का अद्वितीय योगदान माना गया हैं।