Iasbaba 60 Day Plan 2020 –History Week 7 and 8
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I D F Kaikrafts
+91-8048372333 I D F Kaikrafts https://www.indiamart.com/idf-kaikrafts/ Kai Krafts, a project of the Bangalore based NGO, Initiatives for Development Foundation (idf) supports artisans and crafts pertaining to North Karnataka. Through concentrated marketing efforts, Kai Krafts strives to revive North Karnataka crafts ... About Us Kai Krafts, a project of the Bangalore based NGO, Initiatives for Development Foundation (idf) supports artisans and crafts pertaining to North Karnataka. Through concentrated marketing efforts, Kai Krafts strives to revive North Karnataka crafts and to improve the earning potential of the skilled artisans versed in these crafts. Our name stems from the Kannada word for “hand” or “kai” and reflects our mission to promote handmade products from North Karnataka. As a project of the NGO, idf, we work closely with the artisans to fuse traditional crafts with products geared towards a contemporary market. Initially, our project was supported by Give2Asia. This fund was released by Give2Asia through the Deshpande Foundation, who monitored the programme throughout the funded period of April, 2010 to March 31, 2011. IDF Federation was the implementing agent and has been supervising the entire project to date. At Kai Krafts, we endeavor to provide customers with unique, handmade and ethical products. By linking artisan clusters with markets, Kai Krafts both ensures that the artisans are paid fair wages for their hard work and that these crafts endure. Kai Krafts is currently marketing the products of artisans skilled in the highly technical and difficult embroidery form of Kasuti. Kasuti is comprised of the Kannada words “Kai” meaning hand and “Suti” meaning cotton thread thus translating to “handwork of cotton thread.”.. -
Khabbar Vol. XXXIX No. 3 (July, August, September
Khabbar North American Konkani Newsletter Volume XXXIX No. 3 July, August, September - 2016 From: The Honorary Editor, "Khabbar" P. O. Box 222 Lake Jackson, TX77566 - 0222 XXXIX-3 ADDRESS SERVICE REQUESTED FIRST CLASS TO: Khabbar XXXIX No. 3 Page: 1 Khabbar Follies In this section, Khabbar looks into the Konkani community and anything and everything that is Konkani from a Konkani point of view. The names will never be published but geographic location will be identified in general terms. There is no doubt in my mind that Khabbar is a part & parcel of life of Konkanis in North America. In fact, Khabbar has developed a special relation with most of the Konkani families and here are some examples of those close encounters of a different kind….…… The Konkani Sammelan 2016 in Atlanta was a fabulous event. everybody’s relief, at the end of the sammelan, there was a Kudos to the Team KAOG who did an outstanding job for a surplus! successful sammelan. But, the financial situation was bleak! Before the sammelan started, there was a forecast of heavy Thanks to everyone who came to the rescue to make KS-2016 deficit!! For various reasons, the anticipated fund raising did a complete success. not materialize. Team NAKA and Team KAOG did an extreme fund raising and the Konkani community at large Editor’s Reply: opened their heart and the wallet. All said and done, to Now, that is what I say is the Konkani spirit. ***** SUBSCRIPTION FORM: Dear Konkani family, It is time to renew your subscription for 2016.The numbers on the mailing label clearly indicate the year/s the dues for Khabbar has been received since 2014. -
State Wise Registration of GI
STATE WISE REGISTRATION DETAILS OF G.I APPLICATIONS th 15 September, 2003 – Till Date Goods S. Application Geographical Indications (As per Sec 2 (f) of State No No. GI Act 1999 ) FROM APRIL 2004 – MARCH 2005 1 1 & 2 Darjeeling Tea (word & logo) Agricultural West Bengal 2 3 Aranmula Kannadi Handicraft Kerala 3 4 Pochampalli Ikat Handicraft Andhra Pradesh FROM APRIL 2005 – MARCH 2006 4 5 Salem Fabric Handicraft Tamil Nadu 5 7 Chanderi Fabric Handicraft Madhya Pradesh 6 8 Solapur Chaddar Handicraft Maharashtra 7 9 Solapur Terry Towel Handicraft Maharashtra 8 10 Kotpad Handloom fabric Handicraft Odisha 9 11 Mysore Silk Handicraft Karnataka 10 12 Kota Doria Handicraft Rajasthan 11 13 & 18 Mysore Agarbathi Manufactured Karnataka 12 15 Kancheepuram Silk Handicraft Tamil Nadu 13 16 Bhavani Jamakkalam Handicraft Tamil Nadu Himachal 14 19 Kullu Shawl Handicraft Pradesh 15 20 Bidriware Handicraft Karnataka 16 21 Madurai Sungudi Handicraft Tamil Nadu 17 22 Orissa Ikat Handicraft Odisha 18 23 Channapatna Toys & Dolls Handicraft Karnataka 19 24 Mysore Rosewood Inlay Handicraft Karnataka Himachal 20 25 Kangra Tea Agricultural Pradesh 21 26 Coimbatore Wet Grinder Manufactured Tamil Nadu 22 28 Srikalahasthi Kalamkari Handicraft Andhra Pradesh 23 29 Mysore Sandalwood Oil Manufactured Karnataka 24 30 Mysore Sandal soap Manufactured Karnataka 25 31 Kasuti Embroidery Handicraft Karnataka 26 32 Mysore Traditional Paintings Handicraft Karnataka 27 33 Coorg Orange Agricultural Karnataka 1 FROM APRIL 2006 – MARCH 2007 28 34 Mysore Betel leaf Agricultural Karnataka -
79-20 Rorient 73 Z. 1-20.Indd
ROCZNIK ORIENTALISTYCZNY, T. LXXIII, Z. 1, 2020, (s. 119–153) DOI 10.24425/ro.2020.134049 RAJESH KUMAR SINGH (Ajanta Caves Research Programme, Dharohar, SML, Udaipur, India) ORCID: 0000-0003-4309-4943 The Earliest Two and a Half Shrine-antechambers of India Abstract The shrine antechamber is a standard component of the Indian temple architecture. It was originated in the Buddhist context, and the context was the rock-cut architecture of the Deccan and central India. The first antechamber was attempted in circa 125 CE in the Nasik Cave 17. It was patronised by Indrāgnidatta, a yavana, who possibly hailed from Bactria. The second antechamber was created in Bāgh Cave 2 in ca. late 466 CE. The patron remains unknown. The third antechamber was initiated in Ajanta Cave 16 within a few months. It was patronised by Varāhadeva, the Prime Minister of Vākāṭaka Mahārāj Hari Ṣeṇa. When the third antechamber was only half excavated, the plan was cancelled by the patron himself due to a sudden threat posed by the Alchon Hūṇs led by Mahā-Ṣāhi Khingila. The Nasik antechamber was inspired from Bactria, the Bāgh antechamber was inspired from the parrallels in the Greater Gandhāra region, whereas the Ajanta Cave 16 antechamber was inspired from Bāgh Cave 2. Keywords: Buddhist rock-cut architecture, Nasik caves, Bagh caves, Ajanta caves, shrine antechamber, central pillar, Gandhara, Alchon Hun Khingila, Vakataka Introduction This article shows how the earliest two and a half shrine-antechambers of India were developed. The shrine antechamber, as we know, is an integral part of the Indian temple architecture. -
Major Points About Kerala - Know Your States in PDF for SSC, Bank Exams
Major Points about Kerala - Know Your States in PDF for SSC, Bank Exams If you look at the question papers of exams like SSC CHSL, SSC CGL, SSC MTS, IBPS PO, IBPS Clerk, IBPS SO, IPPB Sc. I, LIC AAO, etc. you will find a lot of questions related to India and its states. Questions based on various states of India form a large part of the General Awareness section of many government and bank exams. In fact, if you are thinking of appearing for state govt. exams, it becomes all the more important for you to know your state. Our latest GK Notes series – ‘Know your States’, will help you learn major facts, global importance, and culture of every state. This particular article will help you learn everything about Kerala in one glance. Read the complete article to find out the history, economy, geographical significance, flora & fauna, important sites, tourist attractions, etc. about Kerala. You can also download this article as PDF to keep it handy. 1 | P a g e Kerala is the state in India with the 2nd highest number of literates as well the sex ratio in the state is like an example for the whole country to follow. People of Kerala are very helpful in nature. Kerala is situated within the beauty of nature. From its beaches to coconut trees, its food to its backwaters, you will find a lot in Kerala. You can read the table below to know in detail about the state of Kerala. Important Points about Kerala in PDF Kerala Capital Thiruvananthapuram Formed in 1 November 1956 Districts 14 Language Malayalam Known as/for -Nickname: Spice Garden of India God’s own Country, Land of Backwaters. -
Splendours of Odishan Paintings.Pmd
1 Splendours of Odishan Painting 2 3 Splendours of Odishan Painting Dr. Dinanath Pathy ILA PANDA Centre for Arts Bhubaneswar 4 1st ILA PANDA Memorial Lecture delivered by Dr. Dinanath Pathy on 12th March 2016 at Bhubaneswar. Published by ILA PANDA Centre for Arts Designed at and Produced by Third Eye Communications N4, 252, IRC Village, Nayapalli, Bhubaneswar, Odisha, India 5 ILA PANDA was educated in visual art at Shantiniketan under the tutelage of Acharya Nandalal Bose and at The Royal College of Art, London. She was married to Dr. Bansidhar Panda and was the partner in the formation of the IMFA Group of Companies in Odisha. She was a member of Indian Parliament. IPCA has been instituted in Bhubaneswar to perpetuate her memory and ideals. IPCA aims at promoting Odia art and artists in the country and on the international level. IPCA’s activities are supported by UMSL Limited, Bhubaneswar. 6 Dr. Dinanath Pathy (1942) has a Government Diploma in Fine Art and Crafts from Khallikote School of Art. He has been awarded two Ph.Ds., including one from Visva Bharati and a D. Litt. honoris causa from Berhampur University. He is the recipient of Jawaharlal Nehru Fellowship, International Rietberg Award and President of India Silver Plaque for Painting. Dr. Pathy is a practicing artist, art historian and writer. He has designed and curated a number of national and international exhibitions including the Festival of India in Sweden and USSR as well as the International Kalinga-Bali Jatra. He has been collaborating with Swiss Scholar Dr. Eberhard Fischer on a number of research projects on Odishan Art since 1978. -
Journal 33.Pdf
1 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO. 33 APRIL 30, 2010 / VAISAKHA 2, SAKA 1932 2 INDEX Page S.No. Particulars No. 1. Official Notices 4 2. G.I Application Details 5 3. Public Notice 11 4. Sandur Lambani Embroidery 12 5. Hand Made Carpet of Bhadohi 31 6. Paithani Saree & Fabrics 43 7. Mahabaleshwar Strawberry 65 8. Hyderabad Haleem 71 9. General Information 77 10. Registration Process 81 3 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 33 of the Geographical Indications Journal dated 30th April 2010 / Vaisakha 2, Saka 1932 has been made available to the public from 30th April 2010. 4 G.I. Geographical Indication Class Goods App.No. 1 Darjeeling Tea (word) 30 Agricultural 2 Darjeeling Tea (Logo) 30 Agricultural 3 Aranmula Kannadi 20 Handicraft 24, 25 & 4 Pochampalli Ikat Textile 27 5 Salem Fabric 24 Textile 6 Payyannur Pavithra Ring 14 Handicraft 7 Chanderi Fabric 24 Textile 8 Solapur Chaddar 24 Textile 9 Solapur Terry Towel 24 Textile 10 Kotpad Handloom fabric 24 Textile 24, 25 & 11 Mysore Silk Textile 26 12 Kota Doria 24 & 25 Textile 13 Mysore Agarbathi 3 Manufactured 14 Basmati Rice 30 Agricultural 15 Kancheepuram Silk 24 & 25 Textile 16 Bhavani Jamakkalam 24 Textile 17 Navara - The grain of Kerala 30 Agricultural 18 Mysore Agarbathi "Logo" 3 Manufactured 19 Kullu Shawl 24 Textile 20 Bidriware 6, 21 & 34 Handicraft 21 Madurai Sungudi Saree 24 & 25 -
Re-Contextualization and Representation of Folk Art in Advertising
Re-contextualization and Representation of Folk Art in Advertising Dr. Manash Pratim Goswami Associate Professor, Dept. of Media and Communication, Central University of Tamil Nadu ([email protected]) Dr. Soubhagya Ranjan Padhi Professor, Dept. of Sociology & Social Anthropology, Indira Gandhi National Tribal University ([email protected]) Abstract: Although art and advertising are ideologically distant apart, yet they share a close and entwined relationship. Art imitates life and advertising imitates art to persuade. Advertising connects diverse and disconnected pieces of art to create semantic meaning in a message. The magic of an image with dots and lines can create powerful impact in an advertising message with a potential to influence people. The idea of appropriation of art or elements of art have been in practice for a long time. Advertising campaigns often re-contextualise popular imageries to influence people. The re- contextualization and representation of art, culture, motifs, patterns and designs of painting often help communicating advertising message effectively and lucidly. The current study focuses on investigating the appropriation of cultural characteristics and elements of folk-art and paintings to re-contextualise the creative expression of artists to communicate advertising messages. The study makes a qualitative analysis of ‘GE Works’- the advertising campaign of General Electric (GE) launched a decade ago, which recontextualised and represented four distinct and colourful Indian folk-art forms. Keywords: Appropriation, Recontextualization, Representation, Folk-art and Painting, Advertising. Introduction Art and advertising, although separated by ideological notions, share a close and intertwined relationship. Art is a commentary presented to be appreciated for its beauty or emotional power (Oxford University Press, n.d.) and advertising persuades, influences and convinces the individual for something. -
Revival of Kasuti Embroidery Motifs in Knitted Kurties Through Computer
DOI: 10.5958/2349-4433.2015.00042.2 Revival of Kasuti Embroidery Motifs in Knitted Kurties Through Computer Aided Designs K Kaur* and D Kaur ** Department of Apparel and Textile Science, College of Home Science Punjab Agricultural University, Ludhiana-141 004 (Punjab) ABSTRACT The investigation entitled Knitwear product development using kasuti embroidery motifs was carried out in Ludhiana city. For the selection of motifs and colour combinations panel of judges comprising faculty of College of Home Science, PAU, Ludhiana was selected. Three colleges in the city namely Guru Nanak Girls College, Model Town; Khalsa College for Women, Ghumar Mandi and College of Home Science, PAU were selected for studying the preferences for the preparation of kurti. Traditional motifs of kasuti embroidery were selected, plates were developed through Corel Draw 13 and shown to 10 panel of judges. After the selection of motifs, three colour combinations of each motif were developed and again shown to 20 judges to finalize the 10 colour combinations of the 10 selected motifs for the development of design. After that two different design placements were prepared of the 10 most preferred motifs and their colour combinations. An interview schedule was prepared for the purpose of collecting data from 80 female respondents between the age group of 20 to 30 years selected randomly from three colleges of Ludhiana city. The results of the study revealed that majority of the respondents were graduates, belonging to nuclear families. Seventy per cent of the respondents were aware of knitwear designs and 51.3 per cent aware of kasuti embroidery and 70 per cent respondents preferred to buy knitwear kurtis. -
Saura Painting - Raghurajpur, Orissa Mural Painting Art by Prof
D’source 1 Digital Learning Environment for Design - www.dsource.in Design Resource Saura Painting - Raghurajpur, Orissa Mural Painting Art by Prof. Bibhudutta Baral, Divyadarshan C. S. and Aakash Sharma NID Campus, Bengaluru Source: http://www.dsource.in/resource/saura-painting-ra- ghurajpur-orissa 1. Introduction 2. Tools and Raw Materials 3. Making Process 4. Products 5. Video 6. Contact Details D’source 2 Digital Learning Environment for Design - www.dsource.in Design Resource Introduction Saura Painting - Raghurajpur, Orissa is an enhanced cultural city and is rich in the tribal culture. Off which saura is one of the most popular Orissa tribes in the country with some attractive murals and paintings, this art is prominent on the walls of this tribal Mural Painting Art group. This form of art is frequently found in Raghurajpur Rayagada, Gajapati and Koraput districts of Orissa. A by study of their arts and painting traditions reveals the rich ancient tribal art idiom, which is still in vogue with Prof. Bibhudutta Baral, Divyadarshan C. S. and popular appeal. The Sauras are particularly famous for rich variety of their paintings based on spiritual and Aakash Sharma ceremonial themes. Their deity instructions great religious dedication from the tribal people. Sauras establish a NID Campus, Bengaluru very significant and ancient tribe of our country. Each Ideal contains various symbols and signs to convey spe- cial meaning for which it is meant. The pictograms are categorized into different sections as per their meaning and purpose. These paintings convey great aesthetic sense even the painting activities are getting commercial- ized now a days. -
Living Traditions Tribal and Folk Paintings of India
Figure 1.1 Madhubani painting, Bihar Source: CCRT Archives, New Delhi LIVING TRADITIONS Tribal and Folk Paintings of India RESO RAL UR U CE LT S U A C N D R O T R F A E I N R T I N N G E C lk aL—f z rd lzksr ,oa izf’k{k.k dsUn Centre for Cultural Resources and Training Ministry of Culture, Government of India New Delhi AL RESOUR UR CE LT S U A C N D R O T R F A E I N R T I N N G E C lk aL—f z rd lzksr ,oa izf’k{k.k dsUn Centre for Cultural Resources and Training Ministry of Culture, Government of India New Delhi Published 2017 by Director Centre for Cultural Resources and Training 15A, Sector 7, Dwarka, New Delhi 110075 INDIA Phone : +91 11 25309300 Fax : +91 11 25088637 Website : http://www.ccrtindia.gov.in Email : [email protected] © 2017 CENTRE FOR CULTURAL RESOURCES AND TRAINING Front Cover: Pithora Painting (detail) by Rathwas of Gujarat Artist unknown Design, processed and printed at Archana Advertising Pvt. Ltd. www.archanapress.com All Rights Reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the Director, CCRT. Photo Credits Most of the photographs used in this publication are from CCRT Archives. We also thank National Museum, New Delhi; National Handicrafts & Handlooms Museum (Crafts Museum), New Delhi; North Zone Cultural Centre (NZCC), Patiala; South Central Zone Cultural Centre (SCZCC), Nagpur; Craft Revival Trust, New Delhi and Sanskriti Museum, New Delhi for lending valuable resources. -
Department of Sanskrit
DEPARTMENT OF SANSKRIT Dr. K. I. Treesa Asst. Professor In Sanskrit PERFORMING ARTS • KOODIYATTAM • CHAKYAR KOOTHU • NANGIAR KOOTHU • KRISHNANATTAM KOODIYATTAM Koodiyattam, also transliterated as Kutiyattam, is a traditional performing artform in the state of Kerala, India. It is a combination of ancient Sanskrit theatre with elements of Koothu, a Malayalam performing art which is as old as Sangam era. It is officially recognised by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. Koodiyattam (Kutiyattam), meaning "combined acting" in Malayalam, combines Sanskrit theatre performance with elements of traditional Koothu. It is traditionally performed in temple theatres known as Koothambalams. It is the only surviving art form that uses drama from ancient Sanskrit theatre. It has a documented history of a thousand years in Kerala, but its origins are unknown. Koodiyattam and Chakyar Koothu were among the dramatized dance worship services in the temples of ancient India, particularly Kerala. Both Koodiyattam and Chakyar Koothu originated from ancient south Indian artform Koothu which is mentioned several times in ancient Sangam literature, and the epigraphs of the subsequent Pallava, Pandiyan, Chera, and Chola periods. Inscriptions related to Koothu can be seen in temples at Tanjore, Tiruvidaimaruthur, Vedaranyam, Tiruvarur, and Omampuliyur. They were treated as an integral part of worship services, alongside the singing of Tevaram and Prabandam hymns. MIZHAVU Traditionally, the main musical instru ments used in Koodi yattam are mizhavu, kuzhitalam, edakka, k urumkuzhal, and sankhu. Mizhavu, the most prominent of these is a percussion instrument that is played by a person of the Ambalavas Nambiar caste, accom panied by Nangyaramma playing the kuzhithalam (a type of cymbal).