Understanding the Dynamics of Small Scale Industry: a Case Study of Indian Context
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IBTEX No. 48 of 2016 March 04, 2016
IBTEX No. 48 of 2016 March 04, 2016 USD 67.29 | EUR 73.63 | GBP 95.26| JPY 0.59 Spot Prices of Overseas Ring Spun Yarn in Indicative Prices of Cotton Grey Fabrics in China Chinese Market Date: 3 Mar-2016 FOB Price Date:3 2-Mar-2016 Price (Post-Tax) (Pre-Tax) Description Prices Prices (USD/Kg.) (Domestic Production) (Yuan/Meter) Country C32Sx32S 130x70 63” 2/1 fine 20S 30S 7.20 Carded Carded twill India 2.10 2.30 C40Sx40S 133X72 63” 1/1 poplin 6.40 Indonesia 2.81 3.26 C40Sx40S 128X68 67” 2/1 twill 6.00-6.20 Pakistan 2.22 2.60 24Sx24S 72x60 54” 1/1 batik Turkey 2.60 2.80 4.60 Source CCF Group dyeing 20Sx20S 60x60 63” 1/1 plain cloth 6.20 Exhibit your company at www.texprocil.org at INR 990 per annum Please click here to register your Company’s name DISCLAIMER: The information in this message July be privileged. If you have received it by mistake please notify "the sender" by return e-mail and delete the message from "your system". Any unauthorized use or dissemination of this message in whole or in part is strictly prohibited. Any "information" in this message that does not relate to "official business" shall be understood to be neither given nor endorsed by TEXPROCIL - The Cotton Textiles Export Promotion Council. Page 1 News Clippings NEWS CLIPPINGS INTERNATIONAL NEWS No Topics 1 Call to adopt BT cotton production 2 Pakistan: Govt importing 50 lac cotton bales to meet local demands 3 Hopes raised Turkey can save Nigeria textile industry 4 Cambodia Mulls Joining TPP to Boost Trade 5 Time to put the TPP out of its Misery? 6 Pakistan textile -
The Crafts Council of India “
THE CRAFTS COUNCIL OF INDIA “...ng tnty rss n tr cr...” February 2018 An Exhibition in Calcutta 1922: Moorings of Indian Craft and Design Ahk Ch j The Crafts Councils and their colleagues have had such a tumultuous year of assault on artisans: first the impact of demonetization at a season that should provide peak earnings through craft sales, and then less than a year later with the organized chaos of GST, again at a time that has devastated artisans’ earnings. CCI has been in the forefront of working with partners and with authorities to find more humane and practical ways to ‘mainstream’ Indian craft, and to create a realization at the highest levels of policy-making that it is not artisans who need mainstreaming. Artisans in their millions, along with others still delegated to the humiliating category of ‘informal, unorganized sectors’, are the mainstream. These citizens constitute by far the bulk of India’s economic activity. It is the so-called formal sectors and decision-makers that are in dire need of being mainstreamed into an Indian reality. In the midst of our efforts at lifting the quality of sector data and advocating a GST interim period of review and capacity- building, some of us have also been trying to put together the proceedings of the 2016 CCI seminar on the craft legacy of Rabindranath Tagore. A century ago his efforts at Santiniketan encountered huge challenges of ignorance and disrespect for artisans and their heritage, at a time when enlightened souls in the West were attempting to humanize the industrial revolution through a revival of craft cultures. -
Baluchari Silk Saree Back Ground
Baluchari Silk Saree Back ground This fabric is named after the village ‘Baluchar’ located on the bank river of Bhagirathi in Murshidabad district, West Bengal and presently known as Jiaganj. Baluchari weaving was flourished during the period of Musid Quli Khan, the Diwan of Bengal, an erstwhile Hindu Bramin who embraced Islam and these textiles are famous for their elaborate ‘anchal’ (palloo). It has been eulogized as the “loveliest and most charming of all silks of India”. It is a highly decorative silk fabric having extra weft on ‘palloo’, border and body. The motifs are mainly derived from then social / religious customs, animals, life styles of people etc. For example man smoking hukkah, lady with flower, man riding horse, chariot, marriage, mosque, temple, vignettes from Ramayana etc. are some of the motifs generally used and organize in narrative style in palloo portion. And the important feature of the technique is the white outlining of the motifs. Also paisley motifs are arranged centrally in the palloo portion and all over ‘butties’ are in the body portion. Materials used Murshidabad variety of less twisted mulberry silk yarn was originally used in Baluchari sarees. Coarser silk varieties like matka silk was also used some time back. Later, it has been replaced by 18/20 D (2ply) organzine silk yarn for warp and single yarn of malda variety mulberry silk in 3 ply is used for weft. 96s to 100s steel reed is normally used for Baluchari saree weaving and the extra warp designs are woven with Jacquards replacing’ Jala’ technique of olden days. -
At Season Cover Page 2019
Treasures of India Dear Associate, Greetings from A. T. Seasons & Vacations Travel Pvt. Ltd.! We are New Delhi, India based Govt. of India, Ministry of Tourism recognized Destination Management Company and are committed to offer you a wide range of services at the best prices, starting from arrival to your safe departure from India! We are also well equipped to facilitate you with the Meet & AMARESH TIWARI Assistance services at Airport, Airport transfers, Accommoda- Managing Director tions, Transportations, Multi-language guides, Interpreter, sightseeing options, Exciting Tours of most exotic and sought after destinations, Foreign Exchange Facilities, etc. We well understand that customers look up to us to obtain the best value for their money spent – to be available if any problem arises, to ensure quality accommodations and transportations for best comfort and conveniences. And, we deliver what we promise with no compromise to our commitments made! Our philosophy is to make journey of our travelers a memorable one for lifetime, keeping in mind there purpose of travel. On behalf of my team, I assure you of the highest services standards in serving all the segments of the travelers. Thank you. Amaresh Tiwari Managing Director Colourful Rajasthan Rajasthan is a colorful mixture of forts, palaces, diverse cultures, delicious cuisines and warm people, set amidst a rugged yet inviting landscape. It is a land that has inspires countless visitors. In Rajasthan you will ind every hue in Nature's colour - the red sands, the blue of royalty, the pink cities or the amber sunsets. Sight and sounds that are far removed from any city. -
Animal and Bird Motifs of Murshidabad's Baluchari Silk of India
Global Journal of Arts Education Volume 07, Issue 1, (2017) 07-11 www.gjae.eu Animal and bird motifs of Murshidabad’s Baluchari silk of India Jyoti Bhasin Chaudhry*, Department of Home Science, Banasthali Vidyapith, P.O. Banasthali Vidyapith, 304022, Rajasthan, India. Suggested Citation: Chaudhry, J. B. (2017). Animal and bird motifs of Murshidabad’s Baluchari silk of India. Global Journal of Arts Education. 7(1), 07-11 Received September 24, 2016; revised December 19,2016; accepted February 13, 2016. Selection and peer review under responsibility of Prof. Dr. Ayse Cakir Ilhan, Ankara University, Turkey. ©2017 SciencePark Research, Organization & Counseling. All rights reserved. Abstract The present study was conducted to document the animals and birds motifs as design enrichment on Murshidabad’s Baluchari silk of India. The study emphasized that varied animals and bird motifs were used in Murshidabad’s Baluchari silk in order to beautify the fabric from past till present day. The foremost objective of the study was to study the representation of the animals and bird motifs and to comprehend the applications of these motifs in Baluchari saris of India. The data were collected through individual observation of specimens in various museums, emporiums, handloom fairs. The research methodology was qualitative and to derive information various motifs were gathered from books, articles, magazines, and online articles on Baluchari saris of India. The documentation of motifs is very vital and it will assist as a guide to the craftsmen, as they represent the mastermind of unique talent effortlessly synthesized from time to time to new cultural influences. Through documentation, this collective variety of animal and bird motifs used on Baluchari textiles will be accessible to designers, artisans, academician and students. -
July 2015–December 2015
ACUITAS-The Journal of Management ACUITAS The Journal of Management Research Volume VI Issue-II July 2015–December 2015 Vol VI, Issue-II, (July-December, 2015) Page 1 ACUITAS-The Journal of Management ACUITAS - The Journal of Management Research Volume VI Issue-I January 2015–June 2015 Patron: Bhadant Arya Nagarjuna Shurei Sasai Chairman, P.P. Dr. Babasaheb Ambedkar Smarak Samiti, Deeksha Bhoomi, Nagpur Shri. S.J. Fulzele Secretary, P.P. Dr. Babasaheb Ambedkar Smarak Samiti, Deeksha Bhoomi, Nagpur Advisory Board: Dr. Vilas Chopde, Vice-Principal, Dr. Ambedkar College, Nagpur Capt. C.M. Chitale, Dean, Faculty of management, Savitribai Phule Pune University Dr. Babanrao Taywade, Dean, Faculty of Commerce, RTM Nagpur, University, Nagpur Editorial Board: Dr. Sudhir Fulzele, Director, Dr. Babasaheb Ambedkar Institute of Management Studies and Research, Nagpur Dr. S.G. Metre, Professor, Dr. BabasahebAmbedkar Institute of Management Studies and Research, Nagpur Dr. Charles Vincent, Professor, Centrum Catolica, Pontificia Universidad Catalica de Peru, South Africa Dr. S.S. Kaptan, Head of the Department and Research Centre, Savitribai Phule Pune University Dr. V.S. Deshpande, Professor, Department of Business Management, RTM Nagpur University, Dr. D.Y. Chacharkar, Reader, SGB Amravati University Dr. S.B. Sadar, Head of the Department, Department of Business Management, SGB Amravati University Dr. J.K. Nandi, Associate Dean, IBS, Nagpur Dr. Anil Pathak, Assistant Professor, MDI, Gurgaon Mr. Sangeet Gupta, Managing Director, Synapse World Wide, Canberra, Australia Ms. Sanchita Kumar, GM-HRD, Diffusion Engineering Ltd. Vol VI, Issue-II, (July-December, 2015) Page 2 ACUITAS-The Journal of Management Editorial Committee: Dr. Nirzar Kulkarni Executive Editor Dr. -
Vidya Sastry
ThE Crafts COuncil Of India “...ensuring sustainability of artisans and their craft...” AUGUST 2011 VARANASI – A TAPESTRY IN BROCADE Kasturi Gupta Menon Kashi, Benaras, Varanasi _ “older than history, older than tradition, older even than legend, and looks twice as old as all of them put together”. This, according to the Eicher Guide is how Mark Twain described this holiest of cities. My own exposure to Varanasi had been limited only to the films of Satyajit Ray, to “Aparajito” and its magnificent black and white images of the ghats, to the boy Apu aimlessly wandering around the old haveli where his widowed mother worked, to “Joy Baba Felunath” _ which captured the atmosphere of its winding “gullies”, and of course the river Ganga, whose meandering presence permeated virtually every frame. “I’d like to visit Varanasi”, I had casually mentioned to Purnima towards the beginning of May, “to check out if a new range of cotton and silk saris can be sourced for “Kamala” Kolkata’s Puja exhibition. I’ll ask Gulshan to give me some names of master weavers and craftsmen.” “If you are travelling alone I can accompany you if you like”, Purnima had responded and that is how the two of us set out on our Varanasi pilgrimage in the last week of May, oblivious of how scorching the summer heat could be. Gulshan had armed us with a list containing the names of several master weavers whom we should contact. We had called most of them before we had set out, and so were able to meet each of them over the following three days. -
(Microbes, Fungi, Algae and Archegoniates) (LSCC2) Core Course - (CC) Credit:6
LOCF - Page: 1 of 71 (CBCS) B.SC. LIFE SCIENCE Biodiversity (Microbes, Fungi, Algae and Archegoniates) (LSCC2) Core Course - (CC) Credit:6 Course Objective(2-3) This course aims at making a familiarity with special groups of Bacteria, Viruses, Fungi , algae and plants reproduction . Creating an understanding by observation and table study of representative members of phylogenetically important groups should be able to make students learn the process of evolution in a broad sense. Study of morphology, anatomy, reproduction and developmental changes thereinthrough typological study should create a knowledge base in understanding plant diversity, economic values, taxonomy of lower group of plants. To acquaint the students with external and internal basic structure and cellular composition of the Bacteria, Viruses, Fungi, Bryophytes and Pteridophytes and Gymnosperms .To gain knowledge of diversity, life forms, life cycles, morphology and importance of microoganisms ( Bacteria and algae.)To introduce students with various fungal groups and lichens, their ecology, classification, characteristics, reproduction and economic Importance 2. To introduce students with the phytopathology, its concepts and principles 3. To acquaint with various plant diseases, causal organisms and their control To correlate structure with important functions of different organs of the organisms . Study of various tissue systems and their development and functions in plants Course Learning Outcomes the students will be made aware of the various groups of organisms , Bacteria, viruses, algae bryophytes, pteridophytes and gymnosperms that have given rise to land habit .. Through field study they will be able to see these plants grow in nature and become familiar with the biodiversity. to my knowledge students should create their small digital reports where they can capture the zoomed in and zoomed out pictures as well as LOCF - Page: 2 of 71 videos in case they are able to find some rare structure or phenomenon related to these plants. -
Geo-Economic Analysis of Resource Development in Hooghly District, West Bengal, India
www.ijird.com June, 2016 Vol 5 Issue 7 ISSN 2278 – 0211 (Online) Geo-Economic Analysis of Resource Development in Hooghly District, West Bengal, India Pulak Ghosh Guest Lecturer, Department of Geography Mahitosh Nandy Mahavidyalaya, Jangipara, Hooghly, West Bengal, India Abstract: “Resource are the bases of both security and opulence; they are the foundations of power and wealth. They affect man’s destiny in war and peace alike” (Zimmermann, 1951). Resource development all over the world has, unfortunately, been far away from optimum. Fast expanding human population and the ever-growing demand for food, clothing and shelter have brought about great stress on resources which are mostly finite. The study of resources, their exploitation, utilization and development process is an important aspect for the development of any region. The paper attempts to discuss in this context to get the ideas before undertaking the present study. Keywords: Resource, Opulence, optimum, exploitation 1. Introduction The study of resource development helps to understand the relationship between man and his activities. ̎ The word resource does not refer to a thing or substance but to a function which a thing or substance may perform or to an operation in which it may take part namely the function or operation of attaining a given end such as satisfying a want .̎ (Zimmerman, 1933) People have been manipulating the physical environment to satisfy their needs, this process is called resource development. Typically, resources cannot be consumed in their original form, but rather through resource development they must be processed into more usable commodities. In the words of Mitchell ̎ resource development represents the actual exploitation or use of a resource during the transformation of neutral staff into a commodity or service to serve human needs and aspirations ̎. -
A Case Study of Brocade Weaving Community in Varanasi
Chitrolekha International Magazine on Art and Design (ISSN 2231-4822), Vol. 6, No. 2, 2016 DOI: http://dx.doi.org/10.21659/chitro.v6n2.07 www.chitrolekha.com © AesthetixMS The Decline of Varanasi Silk Handloom Cottage Industry: A Case Study of Brocade Weaving Community in Varanasi Sana Faisal1 Abstract The brocade of Varanasi is the distinct workmanship of the weavers where gold and silver thread is practised on fine silk. Kinkhabs, one of the finest known Varanasi brocades, have more Zari visible than silk. The brocades fabrics are woven in workshops identified as Karkhanas. The weavers are known as Karigars that means craftsmen. In earlier days only silver and golden wire were used, but now it is replaced with duplicate. Bold and complicated floral and foliage patterns are also made with the use of Kalga, Bel, Butis, designs. Banarsi sarees are world famous for this reproduction, Banarsi Zari work comes mainly in pure silk (Katan), organza (Kora), georgette and Shattir. Various types of silk, and other materials are used in contemporary times. This paper tried to explored the main problems of the craftsmen and throw light on an individual capacity and learnt about weaving process of brocade produced by artisans with the help of hand, tools, and machines. The chief features of artefacts are utilitarian, aesthetic, creative, cultural, decorative, functional, traditional, religious and socially symbolic and significant. Keywords: Varanasi Silk, Brocade, Saree, Craft, Varanasi, Zari. Brocade Weaving The city of Varanasi which has historically been called as Banaras is a world famous centre of brocade and Zari works. Varanasi is an international leading silk sari producing centre of India. -
Neon Pink Statement Earrings
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Ancient Indian Texts of Knowledge and Wisdom
Newsletter Archives www.dollsofindia.com The Saree - The Very Essence of Indian Womanhood Copyright © 2013, DollsofIndia A saree or sari is a long strip of unstitched cloth, which is draped by Indian women – it practically typifies Indian women and showcases the vast diversity of Indian culture as a whole. The word "Sari" is derived from the Sanskrit and the Prakrit (pre-Sanskrit language) root, "Sati", which means, "strip of fabric". Interestingly, the Buddhist Jain works, the Jatakas, describe women’s apparel, called the "Sattika", which could well have been similar to the present-day saree. Another fact is that the end of the saree that hangs downward from the shoulder is called the Pallav. Experts believe that the name came to be during the reign of the Pallavas, the ruling dynasty of ancient Tamilnadu. A saree typically ranges from six to nine yards in length and can be worn in several ways, depending upon the native of the wearer and her outlook on current fashion. Usually, a saree is tucked in at the waist and is then wrapped around the body with pleats in the center, the other end draped loosely over the left shoulder, showing the midriff. This apparel is also popular in Pakistan, Bangladesh, Nepal, Bhutan, Myanmar, Sri Lanka, Singapore and Malaysia. This very feminine garment is worn over a petticoat, also referred to as a lehenga in the North, a paavaadai in the South, a parkar or ghaghra in the West and a shaya in the East. It is worn along with a bodice or blouse, called the choli (in North India) or ravikkai (in South India).