Ø Ø ROCK ART – PAINTINGS TO MODERN ART – SCULPTURE 2.

ROCK ART – PAINTINGS TO

MODERN ART – SCULPTURE 2
UNIT

Hero Stone to modern sculpture – Bronze I con – Tribes and their handicrafts –
Art of temple car making – Massive Terracotta Sculptures, village deities,
Thiruvalluvar Statue at Kanyakumari – Making of Making of musical. intruments –
Mrichangam, Parai, veenai, Yazh and Nadhaswaram – Role of Temples in social
and Economical life of Tamils.

2.1. HERO STONE TO MODERN SCULPTURES

2.1.1. Herd Stones
Hero Stones are memorials commemorating
the honourable death of a hero in the batte.
They were erected between the second half
of the first millennium BCE and the 18th
century CE. Hero stones are found all over
India. Usually they are in the form of a stone
monument and may have an inscription at
the bottom with a narrative of the battle.
The custom of erecting memorial stones
dated back to the Iron age (400 BCE) though
a majority were erected between the 4th
century BCE to 13th century CE.

Hero Stones were not always made in honouring a person, but a

hero who died in the battle after showing his bravery According to
Sangam literature these hero Stones were worshiped by the people.

2.1
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2.1.2. Hero Stones in India

Hero stones are found in the North from Himalayas to kerala in the
South.In north here stones are found in Hunachal Pradesh, Gujarat
and in Maharashtra. In South they are found in Andhra, Karnataka,
Tamil Nadu and in Kerala. In South India, largest concentration
of Such memorial Stones are found in Karnataka -392, in Tamil
Nadu-202, in Andhra 126, in Kerala 1..

2.1.3. Hero Stones in Tamilnadu

In Tamil Nadu, Department of Archeology found
202 hero stones that had been erected in memory
of warriors who sacrificed their lives defending
their community or religion. creating hero stones
had been prevalent since the Sangam period dating
back to 2600 years, and continued in Nayaks
and Post Nayaks period to about 19th century. In
Tamil Nadu most of the hero stones our found the
region of Sengam, Dharumapuri, Thenkanikottai.
Many Stones belonged to chera, Chola and Pandya
periods.

It is very interesting to note that a herd stone found for a Rooster,

which died in the ‘Cock fight'. The Atakur (Athakur) inscription is
dated to 939 CE and includes classical Kannada poetic inscriptions
commemorating the doath of a hound, which died fighting a wild boar.

2.1.4. Rock Paintings

In the Prehistoric period people lived in caves. A high proportion
of surviving historic and prehistoric rock arts are found in caves,
this type also Called cave art. It is mostly on rock walls, but may
be on ceiling and floors. A wide variety of techniques had been used
in its creations.
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These arts are created by scratching,

engraving or carving techniques. Those
rock arts can be found across a wide
geographical and temporal spread of
cultures perhaps to mark territory, to
record historical events or stories or to
help enact nituals. Each motif and design
had a deep significance that is not always
understandable to modern scholars.

Rock art was produced inside the

Caves by the hunter-gatherer people, who
inhabited that region. In most of their paintings, they had drain
the figures animals he hunted.

Such art works have typically been with mineral earths and other
natural compounds found in that region. They predominantly used
colours are Red, black and white.

One common form of pictograph found in many is the hand print.

There are three forms, the first involves covering the hand in wet
paint and then applying it to the rock, the second involves design
being painted into the hand, which is then added to the surface.
The third involves the hand first being placed against the panel,
with dry paint, then being blown on to it through a tube.

The design of rock paintings can be Classified by the way they

are painted

(1) side pose - Side portion of a human body or an animal figure,

this type is used before historic and Pre-historic period.
(2) Direct View - the body and face will be facing us directly
(3) Turning - the body will be inside pose but- the face will be
facing directly towards us
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Many such images are records of hunts that Served not only to
inventory the amount of animals future reference for animals killed
as well as a migrating pattern.

2.1.5. Calculating the Age

The paints used in these rock arts are sent for chemical process
to calculate the age. Also the style, the history of that region,
Archaeological evidences are taken into account for calculating the
age.

The Rock paintings found in Tamilnadu were calculated that

they belonged to the last phase of Stone Age or the beginning of
historical period or pre-historical period.

The world research say that these rock arts are 20 lakh years old
to 400 BCE. Though the pre-historic period had a long history, the
uses of their communication in the form of rock art are found less.

2.2. BRONZE ICONS

Bronze is made of using copper, Znic, and lead In Tamil it is
called ‘Vengalam’, Idols or sculptures or statues are made in this
metal, especially the bells. The method of making this metal and
the idols are explanied in the good old books like 'Silpa sasthram',
'Mangs ara', Abila Siddartha
chinthamani."

2.2.1. Method of Making

Idols/Icons
For making a bronze icon,
at first a dye this is a special
kind of wax in the wax is made
which is collected out of a tree
with that Same percent of resin
or rosin (Kungilium) is added.
After perpreparing wax dye it
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is Covered with the red clay for casting, with a hole at the bottom
of it and leave it to dry.

Then it is kept in a kiln, the was in it will be fused. Then the

mixure of bronze, which is in the form of hot liquid is poured
through. The hole, After a day, the clay around the idol is removed.

Now the idol will be in the raw condition, then the artisans using
the tools like file and Chisels give a beautiful finishing, at the end
eyes are opened. Idols or Icons making art, a particular family clan
are doing it heriditorily.

2.2.2. Metal Sculptures

Metal Sculptures became popular in India during the Post Gupta
period. This art achieved its zenith in the chola period. The cholas were
Saivaites and hence they mostly cost idols of Shiva and other Gods
such as Muruga, Sakthi, Ganesha. The utsava murthies (procession
deities) were made of bronze and Panchaloga. The artisans who were
involved in this art are called Sthapathis.

These metal sculptures are made of the following metals - (1)

Aluminium (2) Brass (3) Bronze (4) copper (5) Iron (6) Gold (7) Lead
(8) platinum and (9) Silver.

In the later period the metal scultures of the individuals, political

leaders are made and exhibited in the prominent places.

There is another kind of metal used for making idols is called

'Aymbon’ or ‘Panchalogam’ it is the mixture of live chief metals like
add, silver, Copper, zmic and lead.

2.3. TRIBES AND THEIR HANDICRAFTS

The handicrafts made by the trikes are really beautiful, they have
their own. stye and they are made using the materials available
around them as raw material.
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1. Basketry
Basketry i. e, making baskets is an art which is followed by the
tribes since ancient times. They mirented making baskets, for using
them to carry or collect the food items. It is made using grass, palm
leaves and Coconut leaves. Later, they made small to big baskets
and marketed them for others to use. Nowadays decorative objects
like. window Screens, wall decoration accessaries. are made in
various beautiful designs.

2. Ivory Art Work

Ivory art works are very famous, and liked by all, using ivory,
beautiful tiny decorative arnamentals like tiny palanquin, tiny temple
cars with Artistic works are made Combs, writing peus, cover of
handy mirror, tiny animals and birds are made on ivory and displayed
in the shops for sale.

3. Shell Art Works

This kind of handicrafts are mostly available in the beaches.
The fisherwomen collect different types of Shells from the seashore
and the artisans make. different ornaments like necklace, festoons,
dolls are also made using there shells.

4. Horn Art Works

using cow horn and antler or stag horn lot of beautiful are works
are made. Many people fix these horns on the Walls (which is now
prohibited by the Forest department)

5. Mat Making
Reed mats are handmade mats of plaited reed or other plant
materials. It is a kind of knitting work undertaken heriditorily from
ancient period. using palm leaves, coconut leaves, wires, Grass are
made, bags and wall decorative things are also made using them.
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6. Beads
Flowering and making Garlands using colourful beads are made
every- where, they look beautiful and colourful and liked by all,
wear in their necks, wrists etc.

7. Bamboo Art
Bamboos are Split or peeled and processed to make handicrafts.
This is also a traditional art work which is carried even today.

8. Palm Leaf Art

In south of Tamilnadu in places like Ramnad and Thirunelveli,
lot of Palm groves are available, hence the people living around,
using the leaves of palm trees make handicrafts like fans, baskets,
dolls and decorative arnaments, paint them with designs to make
them more attractive.

9. Coconut Shell Art

After cleaning and processing, the coconut shell becomes a
valuable one, Many decorative warks and icons are made out of it.

10. Paper Pulp Art

Paper is chocked and ground, with that pulp many Kinds of dolls,
animals and baskets are made. These baskets are wait less, hence
we can witness, in the villages, women carry them for purchasing
vegetables etc. Nowadays there handicrafts are, painted with colours
to make them attractive.

11. Thanjavur Art Plate

It is very famous and valuable art work which is gifted to the
guests from other countries. It is made exclusively in Thanjavur.
It is a handicraft Consisting of metals such as silver, bronze and
copper embossed with figures of Gods and goddesses.
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2.4. DOLLS
2.4.1. The Thanjavur Dolls
Thanjavur dancing dolls and ‘Thalaiyatti Pommai' are a type of
traditional Indian roly-roly toy made of terracotta or paper pulp.
The centre of the gravity and total weight of the doll is concentrated
at the its bottom most point, generating a dance-like continuous
movement.

2.4.2. Wooden Doll

It is type of wooden doll called ‘Marapachchi’ or ‘Marappavai’
which are made in Red wood. These wooden dolls are gifted to the
female children, they with affection put make up and dress them
with colourful clothes and feel that they are their intimate friends.
These wooden dolls take place in almost all the games they play
indoors.

In India it is a tradition that the girls whose marriages are not

fixed for a long time i. e, unable to find a suitable groom, parents
buy two such dolls, me is male and another is female, and conduct
marriage to these dolls, believing that their daughter's marriage will
be fixed immediately.

2.5. ART OF TEMPLE CAR MAKING

Making wooden temple cars is a treaditional art which carried
for centuries. These wooden Temple cars can be seen in almost
all the big temples in India. They are made with beautiful wooden
sculptures to depict the particular deity, for whom the car is made.
Sangam literatures like Silappathikaram and Manimegalai say that
there were wooden temple cars in the temples.
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2.5.1. Importance of Temple Cars

Most of the big temples have huge wooden cars, they carry the
Gods or icons in a procession during the festivals, during these
processions a huge crowd of lakhs and lakhs of people gather and
Celebrate this, the devotees feel proud to pull the car. using Long
big ropes. Mostly made during the Vijayanagar Naicker's period.
There are 866 such cars in Tamil Nadu, says the Hindu Endowment
Board.

2.5.2. The Structure of Temple Cars

Every temple car has wooden
Sculptures in all the four sides, these
sculptured are made accoring the
history of the daily it carries: These
cars have huge four wheels, they are
made in such a way that it should
bear the weight of the total car.

In the peedam of the car, there

would be sculptures of dancing girl,
musicians, Astathik Palagarkal (me
guards of eight directions), Goddess
Gajalakshmi etc. They would be from
I inches to 2½ feet height. Near the
axis, there would be sculptures of
the Lords Ganapathi, Murugan and
Bhootha as. In the Athittanam there
would be sculptures depicting the religious stories.

Asia's largest and greatest temple car is in Thiruvarur Thiyagaraja

Temple in Tamil Nadu, weighing 300 tons with a height of 90 feet.

In Tamil Nadu such temple cars are made traditionally by the

artisan belong to Thanjavur.
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2.6. MASSIVE TERRACOTTA SCULPTURES

Terracotta is known as baked earth, a term used in some contexts
for earthern ware. I.e. glay based, fired at relatively low temperatures.

In art, pottery, applied art, craft,

Construction and ar chitectur e,
terracotta is a term often used for
red-coloured earthern ware Sculptures
or functional articles such as flower
pots, table ware.

In India, traditional terracotta

Sculptures, mainly religious, continue
to be made. The demand for this
craft is seasonal, mostly when new
pottery and idols are required during
harvest festival. The designs have
become redundant when the same
kind of relief and same techniques
are used for the different subjects.
The Subjects and the uses are suggested by the client. This craft
requires a strong understanding of composition and subject matter as
well as the skill to be able to give each plaque its distinct character
with patience.

The practice of terracotta art, and its production continues even

today in several states in India.

The major centres that continue the practice of this art inclue
west Bengal, Bihar, Jharkhand, Rajasthan, Tamil Nadu The Ayyanar-
cult in Tamil Nadu is associated with life size terracotta statues.
There life sized terracotta horses have been placed at the shrines to
provide trans- portation for Ayyanaar's spirit soldiers, enabling them
to travel through the villages and fields at night to right against
evil. Out side the temple sometimes a row of horses, bulls, Statues
 Ø Ø ROCK ART – PAINTINGS TO MODERN ART – SCULPTURE 2.11

of deities and soldiers as well as domestic animals are kept. They

nivite a response of great reverence for the skill of the potters who
made them.

Apart from these, mud pots, mud lamps, flower pots, musical
instruments, animals, a birds, vinayagar statues are made with
artistic sense of beauty, they are kept in the kiln and baked under
1000°C, then applied with the dye i. e. paint (not chemical paints)
which gives them a good finishing and attraction.

2.7. VILLAGE DEITIES

There is a proverb in Tamil, "Don't ever dwell in a place, where
there is no temple." This proves the devotional instnic and the
adoration towards the God by our ancesters. They revered nature, at
the same time they were afraid of nature, believed, if these natures
are Worshiped, they can be saved natures furies, i. e. the natural
calamities from Thus started the Worshiping of Sprites later they
gave images for those deities.

They expected protection from the evils and from the diseases, so
they created guardian deities, village. deities, family deities. Temples
for the guardian deities are built in the outskirts or in the borders
of that area. Ayyanar is one such guardian deity.

There are Goddesses as the Small deities, which are connected

to the agriculture.

In small rural areas, rural deities are more in number, they

become the part of their lives. These deities are the basic reason
for the improvement of folk arts.

Festivals for these deities are celebrated and the fixed days in
a year. The entire village or rural cities gather together, take part,
involve in all the activities and celebrate in a grand manner without
any discrimination.
 2.12 ØØ TAMILS AND TECHNOLOGY

They submit their plea to these deities their wishes, and vow to
surrender their consecration, which they can offer, if their wishes
are fulfilled.

In good old days, men fibercated their groups into different clans
or tribes. Each and every clan had its own family deity, which is
followed heriditorily.

2.8. THIRUVALLUVAR STATUE AT KANYAKUMARI

The then Tamilnadu government.
planned to erect a statue for
Thiruvalluvar in the sea of
Kanyakumari, where there is a huge
rock few metres away from the sea-
shore. This project was started in the
year 1996 and completed In January
1, 2000.

It was a huge statue with 133 feet

height, because Thirukkural has 133
chapters. It has three parts, one is
Treats of Dharma or Justice, it has
38 chapters, hence, the statues altar
is built with 38 feet, the second part
talks about wealth and the third part
talks about love and its sufferings, these two part altogether has
95 chapters, hence, the Statue of Thiruvalluvar, above alter is built
with 95 feet.

This statue is made with granite, a huge gramite rock weighing

5000 Tons was brought from Ambasamuthiram, another 2000 Ton
rock from solinganallur.
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150 Artisans were employed, they worked for 16 hours a day

and completed it in 4 years. The expenditure for making this huge
statue was 6 crores and 11 lakhs. in the year 1996.

2.8.1. Measurements of the Statue

1. Face…height 10 feet, width 3 feet
2. Tuft of hair - 3 feet.
3. width of shoulders - 30 feet.
4. Hands… 10 feet.
5. Thorax….30 feet
6. From waist to feet.. 45 feet.
7. The length of Thirukkural palm leaf, in the hand…10 feet

2.9. MAKING OF MUSICAL INSTRUMENTS

Music is of two types (1) vocal (2) Through instruments. The vocal
songs become pleasurable to hear when it is played with musical
instruments. In ancient times, there were poetries written to be
sung with musical instruments, the singer who sang such poetries
were called `Paanars'. These musical instruments are of four types.

1. Instruments made of skins

Example - drums, tabors.
2. String instruments
Example yazh, veenai
3. Wind instruments
Example - floots, Nagaswaram
4. Brass instruments
Example - Saalaram, sekandi.
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2.10. MRIDHANGAM
The mridhangam is a
percussion instrument of ancient
origin. It is the primary rhythmic
accompaniment in a carnatic music
ensemble. During percussion
ensemble, the mridangam is often
accompanied by the 'ghatam, the
'Kanjira' and the ‘morsing'.

In ancient mythology, the

mridangam is often depicted as the
instrument of choice for a number
of deities including Ganapathy
and Nandhi Nandhi is said to
have played the mridangam during
Lord Shiva's primordial ‘Thandava’ dance, causing a devine rhythm
to resound (to echo) across the heavens. The mridangam is thus
also known as ‘deva vaadhyam’ or ‘divine instrument'.

2.10.1. The Structure of Mridangam

Over the years, the mridangam was made from different kinds of
wood for increasing durarability, and today, it's body is constructed
from the wood of the jack fruit tree.

The mridangam is a double-sided drum whose body is usually

made using a hollowed piece of jack fruit wood about an inch thick.
The two months or apertures of the drum are covered with goatskin
and laced to each other with leather straps along the length of the
drum. These straps are put into a state of high tension to stretch
out the circular membrances on either side of the hull, allowing
them to resonate when struck These two membranes are dissimilar
in diameter to allow for the production of both bass and treble,
sounds from the same drum.
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The goal skin covering the small aperture is anointed in the

centre with black disk made of rice flour, ferric Oxide powder and
starch. which gives the mridangam its district metallic timbre.

2.11. PARAI
The parai is a traditional
musical which is an example
for skin instrument which
is an example for skin
instrument. In Tamil the
wor d ‘Parai' means ` to
speak' or ‘to tell’. The Parai
is used for multiple purposes
including signaling people
to gather, alerting them of
upcoming war, requesting
civilians to leave the battle field, announcing victory or defeat,
gathering farmers for farming activities, warning wild animals presence,
during festivals, wedding and other de Celebrations and as part of
worship of Nature.

The parai was played in the royal courts of sangam, Chola and
Pandya rulers. It is one of the earliest percussion instruments and
is mentioned in ‘Tholkaapiam' as a standard musical instrument.

The parai aattam dance have become. Symbols of Tamie culture.

Later it was Called ‘thappu'.

2.11.1. Technique of Playing

The parai is slung by a strap over one shoulder and is held
vertically by pushing it towards the performer's body. This harness
allows the player to play while standing, walking or dancing. It is
played with two sticks, a long, then flat bamboo stick and a short,
thick stick that may be of any wood.
 2.16 ØØ TAMILS AND TECHNOLOGY

The short stick is loosley held. between the thumb and three
other fingers, index, middle and rung, The other hand which holds
the long stick, rests on the upper part of the frame. This stick is
positioned at a downward pointing angle. this stick is moved back
and forth using the ring finger and thumb respectively.

Just before the commencement of every performance, the players

will heat the parai; holding it close to a small bonfire, so that the
heat absorbs the moisture in the dream and kighters it considerably,

2.12. VEENA
2.12.1. History
Veena is called Veenai in Tamil, it is a traditional string music
instrument used in Tamil nadu, but since Ancient times, but it has
its latest shape during the period of Thanjavur king Ragu natha
Naicker in 17th century CE.

In the ancient texts such as Rig vedha and Atharvana vedha

(pre 1000 BCE) as well as the Upanishads (800-300 BCE) it was
mentioned, a string instrument is called `vana' a term that evolved
to become veena.
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2.12.2. Parts and Structure of Veena

The construction is personalized to the musician's body proportions
so that She can hold and play it comfortably. It ranges from about
3.5 or 4 feet. The body is made of special wood and is hollow,
which has four melody strings, three drone strings and twenty four
frets. The instrument's end is generally tastefully shaped such as a
swan or yazhi and the external surfaces colourfully decorated with
traditional Indian designs.

2.12.3. Method of Playing

The instrument is played with three fingers of the right hand,
struck inwards or outwards with a bent-wire plectrum. The index
and second fingers strike inwards on the melody string alternating
between notes and the little finger strikes outward on the sympathetic
strings. The player who is playing this instrument sits on the ground
and keep the instrument on her lap and the right thush.

2.13. YAZH
The yazh is a harp used in
ancient- Tamil music. This was
the first strung. instrument used
by the Tamil people.

2-13.1. History of Yazh

The arched harp was used in
India Suice 2nd century B.C.E.

The Tamil poet Thiruvalluvar

mentions yazh in his Thirukkural.
Many major T amil classical
literaries written during sangam period have mentioned yazh.
 2.18 ØØ TAMILS AND TECHNOLOGY

Silappathikaram written by I lango Adigal mentions four kinds of

yazhs. They are

1. Peri yazh …21-29 strings

2. Makara yazh. …19 strings
3. Sakada yazh …....14 Strings.
4. Senkoltu yazer ….7 strings.

The Tamil literature ‘Perumpaanatrupadi’ Says the strings of a

yazh should not have any twists in them. Other Tamil literature
are which have mentioned on yaza are ‘Seevaga sindhamani’ and
‘Periya Puranam’.

yazh are found in the sculptures in the Darasuram and Thirumayam

temples in Tamilnadu.

yazh was played in Madurai Meenakshi Amman Temple in early

centuries. It was mentioned in 'Saiva Thirumurai 11th Pathigam.

2.13.2. Characteristics
These instruments were built between 1 and 3 feet tall. Strings made
of goat intestine were stretched and shaped to different thicknesses
for different notes Bodies were carved from local woods, including
red wood or Jackfruit tree, to do sound boards were made of goat-
Skin, glued to the body with a paste made of tamarind Seeds. The
sound bar beneath the sound board, which the strings anchor to,
was glued to the instruments body with a lacquer called Arakku.

Harps are turned to musical scales, with each string being tuned
to one note in the scale. According to the literature, Tamil land was
divided into four regions, each having its own scale and variant of
the instrument and the groups were play this were called paanars.
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2.14. NADHASWARAM
The Nadhaswaram is a double reed wind instrument from South
India. It is used as a traditional classical instrument in Tamil Nadu,
Andhra Pradesh, Telangana, Karla Karnataka and Kerala

In South Indian culture, the

Nadhas waram is considered
to be very auspicious, and it
is a key musical instrument
played in almost all Hindu
weddings and temples of the
South Indian tradition. It is also
called ‘Mangala vadhyam’. This
instrument is usually played
in pairs and accompanied by a
pair of Thavils (Skin instrument
like mridhangam).

2.14.1. History
The Nadhaswaram is referred to in many ancient Tamil texts.
The SilappathiKaram refers to an instrument called the ‘Vangiyam’,
the structure of this instrument matches that of a nadhaswaram
There are seven holes played with seven furgers.

2.14.2. Construction
The nadhaswaram contains three parts namely Kulal, thimiru
and anasu. It is a double reed instrument with a conical bore which
gradually enlarges towards the lower end The top portion has a
metal staple into which is inserted a small metallic cylinder which
carries the mouth pièce made of reed. Besides spark reeds, a small
ivory or horn needle is attached to the instrument, and used to
clear. the reed of saliva and allows free passage of air
 2.20 ØØ TAMILS AND TECHNOLOGY

Traditionally the body of the Nadhaswaram is made out of a

tree called aacha. This has seven finger -holes and five additional
holes drilled at the bottom can be stopped with wax to modify the
tone. The instrument has a range of two and a half feet. Due to its
intense Volume and strength, it is an outdoor instrument and much
more suited for Open spaces than for indoor concerts.

2.15. 
ROLE OF TEMPLES IN SOCIAL AND
ECONOMICAL LIFE OF TAMILS
Our ancient people, afraid of Nature, afraid of its fury and the
natural calamities, started to worship the nature, believing that the
nature would not do any harm if worshiped. It is said that they
worshiped the fire in the very beginning.

Then they lived a life of nomads, then as cattle herders or

shepherds, then started to cultivate the land and concentrated in
Agriculture. Their life as nomad ended and stayed, in one place and
the place where he stayed became village, then villages nito rural
cities and so on. They started to build temples of deity of his tribe
or family tribe. The style and the way of worshiping has changed
in due course.

Worshiping God has two aspects, one is worshiping him with love
and with empty main of course without spending any money. The
second one is worshiping by conducting festivals and ceremonies
Clamorously, which needs economy i.e. money.

In good old days kings granted lands to the temple, the income
from those lands are spent for oils to light up lamps, for the purchase
of flowers to adore the idols, and the itineries for the regular poojas
etc. If there was balance amount after Spending for retuals, that
money is spent for Charity purposes. Many temples ran schools,
Choultries, where food and shelter were Siven free of cost for the
travellers and pilgrims, encouraged arts and folklores, conducted
Spiritual discources. The temple management without any prejudice,
without selfishness. manged the temple economy.
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Nowadays a number of festivals are celebrated in the temples,

which needs. a lot of money, these expenses are met with the money
donated by the public. and people donate gold and silver, thus
making. the temples rich.

Now the people can't go to the temples empty handed, most of the
temples demand entrance fees. These rich temples never bothered
about common man, of these accumulated wealth is spent in a
proper way i.es eradicating unemployment, eradicating illiteracy, it
would improve the total economy of our country.