Study on West Bengal Handloom Industry Satya Narayan Bag
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Numbers in Bengali Language
NUMBERS IN BENGALI LANGUAGE A dissertation submitted to Assam University, Silchar in partial fulfilment of the requirement for the degree of Masters of Arts in Department of Linguistics. Roll - 011818 No - 2083100012 Registration No 03-120032252 DEPARTMENT OF LINGUISTICS SCHOOL OF LANGUAGE ASSAM UNIVERSITY SILCHAR 788011, INDIA YEAR OF SUBMISSION : 2020 CONTENTS Title Page no. Certificate 1 Declaration by the candidate 2 Acknowledgement 3 Chapter 1: INTRODUCTION 1.1.0 A rapid sketch on Assam 4 1.2.0 Etymology of “Assam” 4 Geographical Location 4-5 State symbols 5 Bengali language and scripts 5-6 Religion 6-9 Culture 9 Festival 9 Food havits 10 Dresses and Ornaments 10-12 Music and Instruments 12-14 Chapter 2: REVIEW OF LITERATURE 15-16 Chapter 3: OBJECTIVES AND METHODOLOGY Objectives 16 Methodology and Sources of Data 16 Chapter 4: NUMBERS 18-20 Chapter 5: CONCLUSION 21 BIBLIOGRAPHY 22 CERTIFICATE DEPARTMENT OF LINGUISTICS SCHOOL OF LANGUAGES ASSAM UNIVERSITY SILCHAR DATE: 15-05-2020 Certified that the dissertation/project entitled “Numbers in Bengali Language” submitted by Roll - 011818 No - 2083100012 Registration No 03-120032252 of 2018-2019 for Master degree in Linguistics in Assam University, Silchar. It is further certified that the candidate has complied with all the formalities as per the requirements of Assam University . I recommend that the dissertation may be placed before examiners for consideration of award of the degree of this university. 5.10.2020 (Asst. Professor Paramita Purkait) Name & Signature of the Supervisor Department of Linguistics Assam University, Silchar 1 DECLARATION I hereby Roll - 011818 No - 2083100012 Registration No – 03-120032252 hereby declare that the subject matter of the dissertation entitled ‘Numbers in Bengali language’ is the record of the work done by me. -
11. Contemporary Traditions a Chronicle of Exhibition Practice of the Jamdani by Abeer Gupta.Pdf
Projects / Processes Volume I Series Editor: Senjuti Mukherjee Constructing Traditions: The Jamdani within Exhibition Practice of Handicrafts Abeer Gupta Installation view of “Weftscapes: Jamdani Across New Horizons” at Serendipity Arts Festival 2019. Photograph by Philippe Calia and Sunil Thakkar. Weftscapes Jamdani Across New Horizons Curated by Pramod Kumar KG Venue Adil Shah Palace Installation view of “Weftscapes: Jamdani Across New Horizons” at Serendipity Arts Festival 2019. Photograph by Philippe Calia and Sunil Thakkar. PROJECTS / PROCESSES Curatorial Note Curatorial By Pramod Kumar KG Curatorial Assistant Ankita Chugh Artists Bappaditya Biswas, Rumi Biswas Exhibition Design Vertex Inc. Weftscapes examines a fresh approach to the creation and making of jamdani fabrics, both in its weaving, choice of raw materials, colour, patterns, designs and the end product – a finished garment. Multiple intertwined yet disparate stories coming together in this contemporary initiative. The versatility of the jamdani weaving technique involves the use of a supplementary weft technique. The idea here is to explore the various possibilities of introducing different yarns, materials, and constructions into the weave. The ingenuity of Indian handlooms and the dexterity of its weavers allows for a unique experiment where diverse materials and objects are strung and woven in by hand through the fabric. Bengal’s history is strewn with references to the Indigo trade and its impact on her people. An important aspect of jamdani was the use of the colour indigo which also lent its name to several lengths of fabric with the iconic Nilambari sari becoming popular across the subcontinent. This project has exclusively used the Indigo palette with its non-traditional yarns being dyed in organic Indigo vats; 10 Constructing Traditions namely in a banana vat, dates vat, and the henna vat. -
Use Style: Paper Title
Volume 6, Issue 7, July – 2021 International Journal of Innovative Science and Research Technology ISSN No:-2456-2165 Impact of Traditional Textile on the Gross Domestic Product- GDP of Bangladesh 1*Engr. Md. Eanamul Haque Nizam, 1Sheikh Mohammad Rahat, 1*Assistant Professor. Department of Textile Engineering, 1Albert Loraence Sarker, Bangladesh University of Business and Technology 2Abhijit Kumar Asem, [BUBT], Rupnagar, Mirpur-2, Dhaka-1216, Bangladesh 2Rezwan Hossain, 3Rayek Ahmed, 3Mashrur Wasity 1,2,3Textile Graduate, Department of Textile Engineering, Bangladesh University of Business and Technology [BUBT], Rupnagar, Mirpur-2, Dhaka-1216, Bangladesh Abstract:- Bangladesh is a country loaded with share of GDP. Consultancy firm McKinsey and Company has craftsmanship, culture, and legacy. For the most part, the said Bangladesh could double its garments exports in the next specialty of attire or material is the most seasoned legacy 10 years. In Asia, Bangladesh is the one of the biggest largest that introduced the land to the external world since such exporter of textile products providing employment to a great countless years prior. Customary material is perhaps the share percent of the work force in the country [1]. Currently, main piece of its material area. Customary legacy is the textile industry accounts for 45% of all industrial covered up in each edge of Bangladesh where Jamdani, employment in the country and contributes 5% of the total Muslin, Tangail, Banarasi, Lungi, and so forth assume an national income. However, although the industry is one of the indispensable part. It is assessed that there are 64,100 largest in Bangladesh and is still expanding, it faces massive handlooms in the region. -
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. -
Jas Textile, Hooghly
We are counted as one of the most reliable manufacturer, exporter and supplier of premium quality designer sarees. These have massive demand in the market due to their optimal quality and attractive designs. - Profile - Incorporated in the year 2011, at Hooghly (West Bengal, India), we, Jas Textile are involved in manufacturing, exporting and supplying the finest quality range of Designer Sarees. The offered range comprises Classical Embroidery Sarees, Dhakai Jamdani Sarees, Cotton Tangail Sarees, Block with Kantha Stitch Dress Material, Block with Reverse Kantha Stitch, Tant Fabric Sarees, Tant Banarasi Sarees, etc. These are designed with high precision in order to meet the set global standards. Furthermore, the fabric we use in the fabrication purpose is procured from only certified and reliable vendors of the market. The offered range is available in variegated colors, styles and patterns. To meet the diverse requirements of customers, we offer our exclusive range of sarees in numerous customized options. We are offering these products to our esteemed clients at the most competitive prices. To fabricate the finest quality range of products, our organization has established a well-organized state-of-the-art infrastructure facility. This is equipped with all the most recent and essential technology to match the global quality parameters. In addition to this, we have segregated our infrastructure into various departments such as manufacturing, quality testing, warehousing and packaging. Handloom Sarees: The exclusive range of Handloom Sarees offered by us is widely appreciated across the globe due to its designer pallu and border. Our teams of creative designers beautifully design these sarees and suits using zari or kasavu (gold thread work). -
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. -
Haute Designers, Master Weavers
TREND WATCH LFW Summer Resort ‘16 HAUTE DESIGNERS, MASTER WEAVERS Lakme Fashion Week has set a benchmark for Indian designers. MEHER CASTELINO reports on the highlights. ASIF SHAIKH GAURANG MAKU INDIGENE BANERJEE PAROMITA FIBRE2FASHION he fabulous Walking Hand in Hand – The Craft + Design + TSociety show was one of the highlights of the first day at Lakmé Fashion Week Summer/Resort 2016. The innovative presentation featured India’s five top designers who teamed up with the best craftspersons and expert weavers. They displayed creations that combined designer and craft skills. Day Two was devoted to Sustainable and Indian Textiles. Designers presented interesting collections, showcasing textiles and crafts and also upcycling and recycling fabrics. The message was clear: fashion can be sustainable. Chikankari came Giving kinkhab The glory of the alive on the ramp under his amazing touches, leheriya was brought the creative guidance Rajesh Pratap Singh centre stage by of Aneeth Arora. worked with master Anupama Bose’s skills Master craftsman weaver Haseem and Islammuddin Jakir Hussain Mondol Muhammad for a Neelgar’s expertise. worked his magic on striking collection of The gorgeous leheriya the pretty summer formal westernwear. designs in rainbow dresses, cool blouses, Using rich, golden hues were turned into layered minis, softly brocade with floral stunning ensembles. embroidered long- weaves, Singh A ravishing red kaftan, sleeved covers, presented culottes with a feminine green/ delicately embellished cropped tops, bias cut blue gown, an electric midis, skirts and gowns jackets, dhoti pants, anarkali, a variety of in shades of white and capris, coat dresses, sarees in leheriya and pale blue/grey. -
Purba Bardhaman District Have Been Covered
1 Sl. No. Name of Deptt. Page Sl. No. Name of Deptt. Page 1 Agriculture 3-9 33 Urban Dev. & Municipal Affairs 186-189- 2 Agriculture Marketing 10-19 34 NRLM/Anandadhara 190-202 3 Agri-Irrigation 20 35 Panchayat & Rural Dev. Matters 203 4 Animal Resources Development (ARD) 21-22 36 Paschimanchal Unnayan Affairs Deptt. (PUAD) 204-206 5 Backward Class Welfare (BCW) 23-42 37 Pension (All) 207-210 6 Baitarini 43 C 38 PHE Dte. 211-213 7 Banglar Awas Yojona (BAY) 44 39 Planning & Programme Implementation. 214-218 8 Bardhaman Dev. Authority (BDA ) 45-48 40 Police 219-227 9 Banglar Gram Sarak Yojana (BGSY) 49-51 41 Power Department SNES Deptt. 228-233 10 Direct Purchase of Land by ZP 52-58 O 42 PWD (Roads) North Highway Div. 234-237 11 Disaster Management 59-64 43 PWD (Roads) NH Div.-2B 238 12 Fishery 65-67 44 PWD (Roads) NH Div.-III 239 13 Food & Supply 68-71 N 45 PWD (Roads) Burdwan South Div. 240-241 14 Health & Family Welfare & BMCH 72-93 46 PWD (Social Sector) 242-254 15 Horticulture & Food Processing 94-95 47 Refuge Relief & Rehabilitation 255 16 Housing Deptt. 96-98 48 Revenue Mobilization (All) 256 17 Irrigation & Waterways Dte. 99-101 T 49 Rupashree Prokalp 257 18 Irrigation (Lower Damoodar Irrigation) 102 50 Sabooj Sathi Prokalp 258 19 Mayurakshi Canal Division 103 51 Sabujshree Prokalp 259 20 Kanyashree Prokalp 104-106 E 52 Safe Drive Save Life & Gatidhara 260-261 21 Karmatirtha (All) 107 53 Samabyathi 262 22 Labour Deptt 108 54 School Education 263-265 23 Land Accqusition (L & LR Deptt.) 109-117 Self Help Group & Self Employment (SHG & 55 266-270 24 Land & Land Reform (L & LR Deptt.) 118-124 N SE) 25 Library Service 125-127 56 Social Welfare (Women & Child Development) 271-274 26 Lokoprasar Prakalpa (LPP) 128 57 Swasthya Sathi 275 27 Mass Education 129-131 T 58 Tourism 276-279 28 MGNREGS 132-164 59 Utkarsha Bangla & Deptt. -
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VISION Government Polytechnic, Aurangabad will be world class technical institute pursuing for excellence, catering to the needs of global community, striving for its harmonious development by inculcating lifelong learning skills to serve for the socio economic development having concerned for ecology and social harmony MISSION To create multi disciplinary best citizens to suit local, state, National and International needs having scientific temperament , moral ethics , values and multi facetted proactive personality by providing excellent education system ii Date CERTIFICATE This is to certify that the Curriculum of Diploma in Dress Designing and Garment Manufacturing Programme has been implemented with effect from 2011-2012. This Curriculum Document contains pages from to and from to Head of In Charge Principal Dress Designing and Curriculum Development Cell Government Polytechnic Garment Manufacturing Government Polytechnic Aurangabad Aurangabad Aurangabad iii Date CERTIFICATE This is to certify that the Curriculum of Diploma in Dress Designing and Garment Manufacturing Programme of Govt. Polytechnic Aurangabad (An Autonomous Institute of Govt. of Maharashtra), which has been implemented with effect from 2011-12 academic year, is equivalent to Diploma in Dress Designing and Garment Manufacturing Programme Implemented by Maharashtra State Board of Technical Education, therefore Equivalence is hereby granted. Member Member Member ( ) ( ) ( ) Member Member Member ( ) ( ) ( ) Member Member Member ( ) ( ) ( ) Member Secretary Chairman ( ) ( ) iv Index SR. CONTENTS COURSE PAGE CODE NO. NO. 1. Scope of Diploma In Dress Designing & Garment Mfg. ------ 8-12 2. Strategy adopted for Curriculum Development ------------- 13-16 3. Sample Path -10th Pass -------------- 17 4. Level Wise Course Structure --------------- 18-24 5. Semester Wise Course Structure -------------- 25-30 6. Basic Drawing-I [BDR-I ] 5D101 31-32 7. -
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.