DOCSLIB.ORG

ANNUAL REPORT 1993-94 MHRD(PART-2) D-8146.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ANNUAL REPORT 1993-94 MHRD(PART-2) D-8146.Pdf r ^ c f N N r cillqch KMIC ANNUAL REPORT 1993-94 NIEPA DC fsPTFT W TI%H fa e h W TisTFPT HTOT? ( i s m - 2 ) DEPARTMENT OF CULTURE MINISTRY OF HUMAN RESOURCE DEVELOPMENT GOVERNMENT OF INDIA (PART-2) , i . ci fitiuc-- - •; 1 Adini»i$crai .on. Su Amobmdc M «£. , NO . ... ..... ** tO»>f '• . 3.,r.A~3.±- v s t m 1. 'sn rim 1 2. 1993— 94 3 3. # 1 3^ 11 4. 15 5. HJTt?M4f 23 6. 3TU ^nfi!-|fcl3)R ^ u ttt 33 7. 3lftl<rl<si 3lk JHtrlol 37 8. _ ' 4 5 9. <J€W>l?ra 49 10. 37cf,T<fiT?n <($*1 H l^ faaicTC 59 11. ’M4«J>fc13R1 sfa 5T3R 71 12. ftTCTFffrT, 3^k *Ft%3RT 79 13. W S 81 14. ®(fc oWffraT 83 15. 3T<ttf£fa 85 16. 87 17. 89 18. 91 4Rf^lg —1 ttftf?T5— 11 fcJ|-c(lRd *T^t % fcrllj, fcMl^ ^ |o |^ I p w 1 pCTIeRT qnw m m ^ w m r i985 3 fftsfr, w fapsm, ^ 3 ? f, ^ <t*it ditf % if *im w m % fa m $ fem if m tif % 3 *1$ *fh 1993-94 % ^ % & r % i*t 3 ^ r 3^ w m ^ ^TRt to n w f a # 3 i^iTrR % ^Rf f^r*Trnf % gtsrt e w ^^f3jk^r^R*rPTf^ ferr w f:- *CTTH ftWT f^TFT iPf-Il iT ^ I ftWFT ^TFT-III ^2fT '^Pfew (Wf f^P T *fT*T-JV irfsdl (T«n *lcT f^ n ? f^PT Unfit fa*ii*i 1.2 ^ 1993-94 ^ 'WflW* *lrMI 16 RtoHk, 1993 ^ *ft if ^ 3FRFSH! #<NH ^5T ftw frrarc ^ ^3wr=ft t o t «ft i % 4 $- m&fat, w$m, # r . fa * *m . sugftftw i, qrygftftm ifo 1 & if Bwr ^ 3^ $ zstim **im \ p t t 3^ ^ ^ ? r % 70 SlUifed $ I 15. tff #r ^(tN f wrf^ u $ #m>, %rfTO wr mwfm m , w$?t tt? m t ig t o 3rrcrrereftH ftfa ata % acrar^f ^ q tfererc q rifrn if **m %m 1.3 # fm if id * % fati forft *gs* if am i ssrtSf 1*m w fam if w r ata ft# ^ f $ w f t t ^T3^t 3^k %1^ t j ^ f ^ r *j} fc?n i* 3romf ^ r t *«ft ^ ftwr ^ ^ ^fe?r «w44Ha % if t o w fam% wriwtii if ajk $ m w&, ^ N r^ t ftm ^ ^ P m if awwwwMf ^ ftro ^ itife a ^ w # r^ i r H q m ^ al? ^Nf if w t^rasm ^ p sr ^ ?i? q f¥ m f? w if^ urafrom ^fr % tt^t alk *ng*tfW ^TitRf if w $i m f?iw % ^ a # $r?t ^ adk fwn % ^rn t a R ^TORf % 3PW if rfl^ ^ 3 ^ ^ «ft *!$ 11 1.4 1?w? 1986 sffc ^ n , 1992 if * m z if ^ o ir a k mfati % ximRf ^ Tjcq^n # ^ ^ I TI^T fwn? ^ if **n? WbFl ^RT ^ afitfe ^ W«IT frw r 2i*flf ^ ^ ^ 14 m ^ ^ to ^f xrgte f?rw ^srt % 3 f # w i w fim if M % t^r ?%&%$ ^ ^ ^sn # t i fefr % 3^3^ % 33m ^ ^ t—4 if ^ ^F , ^M ffd TO ! I % 3?RR>5WR ^ 4 ^ r if WW-WW 1R WT^f ( ^gpj^f 3?k 3#mPFa^ ^ ^ ftWST ^ ^ ^ tot 3^k ^ ^ 3^ ^r4 ^ aft* w fw 3rR5Rti 3RRI, flWEFf ^<i*lt *flH<«Sf cWT 3ff5R| y%<fl ^ <W^I W f^<=!l f*fT?l|! %S?T ^T4sFX?f 3FI fef«hfi?<1 «R^T! 1.5 f^R ^c=r f^resfr % fiiM tf>d w % waro if (%^m %w M ) m a k t o % # d H v $ q f^FTO nffit Mif m acjfs# ^ to % fN, ? 15 w r fi. 1994 $ w$ JF^i wi m w*! ^ *M m ^ ***fcrc ftp n i i$ m 1 f ^ r % PNff % f?ftT VRTitR 3?k 3JfJ#|<ti rf«rr f^f^TT ^ IfgR % #!^ ff^ R . TF»^ W«f>!<1' alk % # ^ ^TT^R ^5f a k w^ f a z 3?k WffefT ^an| f^ti1 TR i p m I m *m im 1993-94 1 W^Jff 1.6 fawn ^ 1986 if , 1992 <T*i 3TERTC t o W X t , M ^3 *3 TOR 11 ^ (I) W f r Tg> 3^ 5k WSRfll % 3>iqfcw % 3fP& %5RJ <$ if w? % FTR iR f^ *R «1R (II) IJ^T aff=ror^ f r o ^ ^ % fei* fiiH te *)f?iyft<rrdi *r w s t i alk (ill) % tfw us, ^n«q ^g*»ra, ^ a r w <!*!? % n n M TTffa ^ % *T*i % WWI 3^ %-3fcMlR<*> fowl ^Pfewt ^f^T f I SIRjwW f??$TT % «4ga*teM 0| % J t 84? %5R! if 3?tRf£ "n4t 3pf4 itf?RIT ^ t : — — m w«#7m % rtwr? $ arr^Fn % anro ^ %m f a snfo* for«m % % fe? fc ra r ~ w w m *?%t %3Ri3^f ^ w ^ m i — ^ f if # < « % fW W*T if ^*IR c=# % feir 3T^R m 3QW ^FfRT 1 ^ 3 fl4 p R ! £ ^ 9 f<T«H ^'MlPidl flTO ^ t4 t iR fc ««P R % ^T?W «w44)f?[ ■gtnt i 1.7 ^T? «TH 31 T tm *FT ?mt: UTO:, *£cT-#3?T 3fa4f ^ ^ ^T ^ ^ *ff4*jfc ^ ^ *H<! TOT, ^ if -3R *r^, ?l f ^ ^ f^ 3iKm f^R ^nri ^ t , %*<R 3 W O T ?WT +lfef(M 3CTOlf^t, ^ T O - T O * t o % ^ % ^Mieinn if T $ m _____ f 4i-^____ 't r~~ * _ _ _ _ _ _ ^ .................. cfl^ HSNm^ ^ A TTTSrTT 3{Rf T^RF rT«7l rF9FFFqi ^|<rl<*?<TT I 1.8 ^ f R t w m ^ ^ *Mfw> <wi ^?th % -& m w . ^ ^rtaw«i % w k hri Ii spt # ir?, f3R*w ftw ^sfpn ^r!', #o^ofc ^3^ 0x10^ 0^0 % v i ?fttnf^vilw lef fe^T w n 3^ ^ I^RTf 5UP ^ % bqidffffa* cf^ T^3 ^^ 3^ ^ if ^ f *ff m f r m iN M ^ ^? *i<rf<pw 3f^r - $ m $ fen i ^k-sfNgrf^ ^ to P m * & , ^ il 4e b ^ l °Rt tfrfn d ftrj rr«?T f ^ f tSfTTJTTT, rTTf^B ^ c T ^ ?*? ^ 3 ? f ^ ^ SffaoR c ^ n # ^ i?t I 1.9 ? v & sra ^ ^ ^ 3ntf«^ f^ n % ^ ^4^tT4^ i k ^ r ^ r «w 5?tto ^ fN N i f i t? t t i 3 n « to ; f^T^T rr«n % fsrras! ^ t e r » t 4 ^ M m 1 ^ M 1 1 w fa w . H m n % y4^n*m % rr^T ^ 3nx?f ^ ^ ^ ?p37m % ^4 1993-94 ^ f^ r m«if*w f a w ^ to w faraif tai 4^rt ^ ^f4 ^ toi s rtfm t i w * i4 * m % f w + i4 * m % 31^ w f & m m w I a^ W Fit a^R i adk w <afrfH«w3^ ^ t f^ r^ fi m Mm ^ ^ N Tfi f 3k 3^ ft%tjOfa 5m if % ^ ^ 5WW|fel WSW? ^ ^ 3^83T «w4sf^ TT^tq, ^ f 3 ^ TORfa ^ql 5FT I a^k ^ ^ +i4#a¥ f^flm ^1 ^ t, 3 ^r ^ 4>?4jtrd^m § ^ r 3^ 3% w<zm vm m 1 ^ ^r4gm ^ 3^t % 19 f ^ r ifw^#^fen3R^ti 3ro4f 4tiRf % ^kn ^*r ^ m 110 M f ^ p? 9h4$ff ^ % i™ ^ wr^n i 1.10 ^ ^fwr 3W w & m > s r f f ^ f * \W <i ?i«n % ^sfron % 3**^r ^ 1^ ^ w r 3^ 5 5 fw 4 5f%CfR % ^ i f 3WT 11 ^TWcT? 3 ? f w ? % ^ 7 ^ ^ f 3 ^ 3 ^ 4 ^ ^ VIlP-fcH! v m 11 3lPTOf ^T % 3& 3tT^ TT^qf if ffte d t ^Iff Wgdf^'d if f^R^T lFm?§m W f ^ I 1.11 if f^T^T ^ ^ ^ir IN?t ^ to ^ feii, 30 f m m , 1993 ^4 fM«r iitw fR farfa 3|4 % ^TI ^F5R %?J? cT«n *RT t^fM % ^ffci ^gi 3^fefcT W#? #Sf^ to if Ii % j t i m 4t?f ^ ^ ^ %g tp % fetr ^ w?m 3^ ^ i f T I^ T ^ = n w ^ 1 5 .7 .9 3 3 ^ 3Rg<f ^ I 1.12 w i TR 4 TO tnfe?R ^WI3Rf % To if 73^f 3 ^ 74^f afrqff t * WnhSRf % 3!5?Rni i( ^ f w i % ftTW % fg^frT W ^ 37FW ^ % qm ^ % fell Hl4<?ff ^V>(sJ!U. ^ % fell 7!^ ^?cT 11 ^ $ m I % to ^ fyra^i if ^rnpf^ w4tn i t#iip? m w , f^»? T ^ r it ir t w % ^ ^rrf 5 rt fTt^n if ^ nfiidr ?Rff 3k fw ^ffe if ^ r # n i J f l 1993-94 2 w f f o f a w i 1.13 7 fc ft f?T*n if f^T^TT ^1 TioR t I (^77) W(\ ^ % W ^77 i f l K l t e f^T^TT % oijw«|4l+<'J| =ft ^ 3 R I f w 7 7 ^ 37<?777f i i fstfasrai ?1Ft % 3 ^ 7 i t g w ft, 1988 if T|f *ft <*(Rt>'ia ^ 7 ^ tf^TTR ■^cii-l MfsMi if Wt 773i, <5)Jfitri 'JH^lRti J7FI 3<k 'jf^ *7®I ^irf^t cfil fap^J HT 77% 37fr fsRT ftrHl favfq fel 378J3T 3^t?*T 3> 3 ^ fTtSff ^17) -MsH ‘Rfrm 3t7?W <*><Wi in 77% I ?7£ 37TW ■Jlldl ^ fe 1995 % 37<t cW f?TSrn 4lfd 3>t 10 yfnsdd f^3> 3>I cTSfl 'STFrT ^vRl 77*t3 ^PTT I ^77% 3 # f e fVr^n % gifea stftw % ^ if sqcrarc kif sraf «tr %r ^ ^tr % fan; sfstt ix cr«n x ^ % feti1993-94 it fast 7<T7 <77 tjdr sqrarafe371717 ^f^sn i v ^ m %jrtgf %jrt % sttr 1000 ^ c l) %t 3TrPtcT <nA 3>I HWiq f I 1.14 T^f%^X3^f %t f w it 3IT!!#?aFcn ^T 7?T t 3 ^ TTljfa ftl^ f if ^ Sfit RfFcTTStt *Kt f?T8rn 37fa 5H+.
Load more

Recommended publications
  • How Modern India Reinvented Classical Dance
    ESSAY espite considerable material progress, they have had to dispense with many aspects of the the world still views India as an glorious tradition that had been built up over several ancient land steeped in spirituality, centuries. The arrival of the Western proscenium stage with a culture that stretches back to in India and the setting up of modern auditoria altered a hoary, unfathomable past. Indians, the landscape of the performing arts so radically that too, subscribe to this glorification of all forms had to revamp their presentation protocols to its timelessness and have been encouraged, especially survive. The stone or tiled floor of temples and palaces Din the last few years, to take an obsessive pride in this was, for instance, replaced by the wooden floor of tryst with eternity. Thus, we can hardly be faulted in the proscenium stage, and those that had an element subscribing to very marketable propositions, like the of cushioning gave an ‘extra bounce’, which dancers one that claims our classical dance forms represent learnt to utilise. Dancers also had to reorient their steps an unbroken tradition for several millennia and all of and postures as their audience was no more seated all them go back to the venerable sage, Bharata Muni, who around them, as in temples or palaces of the past, but in composed Natyashastra. No one, however, is sure when front, in much larger numbers than ever before. Similarly, he lived or wrote this treatise on dance and theatre. while microphones and better acoustics management, Estimates range from 500 BC to 500 AD, which is a coupled with new lighting technologies, did help rather long stretch of time, though pragmatists often classical music and dance a lot, they also demanded re- settle for a shorter time band, 200 BC to 200 AD.
    [Show full text]
  • The Ancient Monuments and Archaeological Sites and Remains Rules, 1959
    THE GAZETTE OF INDIA EXTRAORDINARY PART II-SECTION 3 – SUB-SECTION (ii) PUBLISHED BY AUTHORITY ******** NEW DELHI, THURSDAY, OCTOBER 15, 1959/ASVINA 23, 1881 ******** MINISTRY OF SCIENTIFIC RESEARCH AND CULTURAL AFFAIRS NOTIFICATIONS NEW DELHI, THE 15TH OCTOBER, 1959 S.O. 2306.- In exercise of the powers conferred by section 38 of the Ancient Monuments and Archaeological Sires and Remains Act, 1958 (24 of 1958), the Central Government hereby makes the following rules, the same having been previously published in the Gazette of India, Part II-Section 3-Sub-Section (ii), dated the 8th August, 1959, as required by sub-section (1) of the said section. ANCIENT MONUMENTS AND ARCHAEOLOGICAL SITES AND REMAINS RULES 1959 CHAPTER I PRELIMINARY 1. Short title, date and commencement: (1) These rules may be called the Ancient Monuments and Archaeological Sites and Remains Rules, 1959. (2) They extend to the whole of India, but rules 24, 25, 27, 28, 29 and 30 shall not apply to the State of Jammu and Kashmir. (3) They shall come into force on the 15th day of October, 1959.1 1. Definitions.—In these rules, unless the context otherwise requires.— (a) “construction” means the construction of any structure and includes additions to or alterations of an existing building; (b) “copying”, together with its grammatical variations and cognate expressions, means the preparation of copies by drawing or by photography or by mould or by squeezing and includes the preparation of a cinematographic film 2[and video film] with the aid of a hand-camera which is capable of taking films of not more than eight millimeters and which does not require the use of a stand or involve any special previous arrangement; 1 Vide S.O.
    [Show full text]
  • Odissi Dance
    ORISSA REFERENCE ANNUAL - 2005 ODISSI DANCE Photo Courtesy : Introduction : KNM Foundation, BBSR Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The temple like Konark have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas. The Gotipua system of dance was performed by young boys dressed as girls. During the period of Ray Ramananda, the Governor of Raj Mahendri the Gotipua style was kept alive and attained popularity. The different items of the Odissi dance style are Mangalacharan, Batu Nrutya or Sthayi Nrutya, Pallavi, Abhinaya & Mokhya. Starting from Mangalacharan, it ends in Mokhya. The songs are based upon the writings of poets who adored Lordess Radha and Krishna, as their ISTHADEVA & DEVIS, above all KRUSHNA LILA or ŎRASALILAŏ are Banamali, Upendra Bhanja, Kabi Surya Baladev Rath, Gopal Krishna, Jayadev & Vidagdha Kavi Abhimanyu Samant Singhar. ODISSI DANCE RECOGNISED AS ONE OF THE CLASSICAL DANCE FORM Press Comments :±08-04-58 STATESMAN őIt was fit occasion for Mrs. Indrani Rehman to dance on the very day on which the Sangeet Natak Akademy officially recognised Orissi dancing
    [Show full text]
  • Colours, Flavours & Forts with Chris and Carolyn Caldicott 18Th February
    Gwalior Fort © Chris Caldicott Central India: Colours, Flavours & Forts With Chris and Carolyn Caldicott 18th February – 6th March 2017 The Ultimate Travel Company Escorted Tours © Chris Caldicott Contact Sophie Lonsdale Direct Line 020 7386 4679 Telephone 020 7386 4620 Fax 020 7386 8652 Email [email protected] Chris Caldicott Since travelling to some of the most remote parts of the world as Photographer-in-Residence to the Royal Geographical Society, Chris Caldicott has continued his globetrotting lifestyle as a freelance photographer, writer and lecturer specialising in food and travel. He has had several books published about food, travel and the spice trade and visited 108 countries in search of the perfect meal, finding most of the top contenders on his many trips to Asia. As a journalist he is a regular contributor to publications such as Vanity Fair, Conde Nast Traveller, The Sunday Times, Harpers Bazaar, Tatler, House and Garden and the Telegraph. Chris will offer an initial workshop at the beginning of the trip on how to take better travel photographs and get the best out of your camera covering exposure, focus and composition illustrated with examples of his own work. He will also be offering one to one tutorials during the journey. Carolyn Caldicott Carolyn owed and ran the World Food Cafe in London’s Covent Garden for 20 years. She now works as an author and food writer and together with husband Chris has written several World Food Cafe recipe books about global cuisine. Her recent books including Vintage Tea Party, re-creating the nostalgic world of traditional English teatime treats; Rosehips On a Kitchen Table, a manual for foragers, farmers market shoppers and allotment gardeners; Comfort, recipes to warm the heart and feed the soul; Bombay Lunch Box, about Anglo-Indian Tiffin with a contemporary twist; and Great British Cooking, covering everything from roast beef to making marmalade.
    [Show full text]
  • Download Gwalior Fort
    Gwalior Fort Gwalior Fort, Gwalior Gwalior Fort was built in 8th century and it consists of many palaces, temples, and other structures. The fort was built on a steep sandstone. Many rulers of different periods captured the fort and has seen many battles including the battles related to independence from the British. This tutorial will let you know about the history of the fort along with the structures present inside. You will also get the information about the best time to visit it along with how to reach the fort. Audience This tutorial is designed for the people who would like to know about the history of Gwalior Fort along with the interiors and design of the fort. This fort is visited by many people from India and abroad. Prerequisites This is a brief tutorial designed only for informational purpose. There are no prerequisites as such. All that you should have is a keen interest to explore new places and experience their charm. Copyright & Disclaimer Copyright 2017 by Tutorials Point (I) Pvt. Ltd. All the content and graphics published in this e-book are the property of Tutorials Point (I) Pvt. Ltd. The user of this e-book is prohibited to reuse, retain, copy, distribute, or republish any contents or a part of contents of this e-book in any manner without written consent of the publisher. We strive to update the contents of our website and tutorials as timely and as precisely as possible, however, the contents may contain inaccuracies or errors. Tutorials Point (I) Pvt. Ltd. provides no guarantee regarding the accuracy, timeliness, or completeness of our website or its contents including this tutorial.
    [Show full text]
  • Expenditure Incurred on Historical Monuments / Sites for Conservation and Preservation During the Last Five Year and Current Ye
    Expenditure incurred on Historical Monuments / Sites for Conservation and Preservation during the last Five year and current year upto September2011 Monument wise under the Jurisdiction of Bhopal Circle, Bhopal in Madhya Pradesh SNo Name of the Monuments Site Location 2006-07 2007-08 2008-09 2009-10 2010-11 2011 -12 upto September Locality District State Plan Non Plan Plan Non Plan Plan Non Plan Plan Non Plan Plan Non Plan Plan Non Plan 1 Karan Temple Amarkantak Anuppur M.P. 3,85,736/- 22,981/- 11,05,211/ 48,341/ 4,85,019 8,11,410/- 5,040/- 2,58,537/- 3,21,231/- 2,93,058/- 39846.00 38948.00 2 Siva Temple Amarkantak Anuppur M.P. 6,03,581/- 3,15,129/- 6,09,534/- 29,381/- 2,79,578/- 3,65,730/- 2,830/- 6,21,514/- 3,900/- 1,35,990/- 439220.00 89997.00 3 Temple of Patalesvara Amarkantak Anuppur M.P. 00.00 6,14,615/- 12,261/- 65,432/- 12,261/- 7,42,249/- 12,23,534/- 5,87,165/- 3,17,994/- 3,57,695/- 73120.00 35461.00 4 Caves bearing inscriptions of Silhara Anuppur M.P. 00.00 10,797/- 00.00 13,300/- 00.00 00.00 00.00 3,500/- 00.00 50,210/- 00.00 7235.00 1st century AD 5 Jain Temples 1 to 5 Budichan-deri Ashok Nagar M.P. 00.00 43,862/- 00.00 1,07,485/- 00.00 00.00 00.00 97,829/- 00.00 2,00,038/- 00.00 98841.00 6 Chanderi Fort Chanderi Ashok Nagar M.P.
    [Show full text]
  • The Course – Curriculum for Master of Performing Arts (Mpa) (Dance & Drama )
    SCHOOL OF PERFORMING ARTS SAMBALPUR UNIVERSITY THE COURSE – CURRICULUM FOR MASTER OF PERFORMING ARTS (MPA) (DANCE & DRAMA ) 2018 – 2020 1 Courses Offered : Master of Performing Arts (Dance & Drama) Aim and Objective : The above courses aim at providing both theoretical and Practical aspects of dance/drama to students and facilitating them to take up career in performing art. Duration : Two years Pattern : Semester-cum-Course Credit System Total Mark : 2000 Credit Hours : 80 CH Seats : 16 + 16 Outline of the Course Curriculum for MPA Special Papers : 1) Dance: (A) ODISSI (B) SAMBALPURI 2) Drama: ACTING 2 THE COURSE CURRICULUM FOR MASTER OF PERFORMING ARTS (DANCE) Outline of Course Curriculum 1ST SEMESTER MPA (DNC) – 4.1.1 : History of Indian Dance & Drama (Ancient and Medieval) (4CH) MPA (DNC) – 4.1.2 : Natyashastra and Other Texts (4 CH) MPA (DNC) – 4.1.3 : Folk Dance and Folk Drama (Major) of Western Odisha (4CH) MPA (DNC) – 4.1.4 : Studio Course (Practical) -Yoga, Music & Theatre Games (4 CH) MPA (DNC) – 4.1.5 : Studio Course (Practical)-Multimedia & Computers (4CH) 2ND SEMESTER MPA (DNC) – 4.2.1 : Indian Dance: Pre and Post-Independence Scenario (4CH) MPA (DNC) – 4.2.2 : Dance Aesthetics (4 CH) MPA (DNC) – 4.2.3 : Popular Dances of the World (4CH) MPA (DNC) – 4.2.4 : Studio Course (Practical) Abhinaya Aspect of Classical (4 CH) MPA (DNC) – 4.2.5 : Studio Course (Practical) Rhythm(4 CH) 3RD SEMESTER (Special Papers) A) ODISSI DANCE MPA (DNC) 5.1.1 : Dance Research (4 CH) MPA (DNC) 5.1.2 : Theory of Odissi Dance (4 CH) MPA (DNC) 5.1.3
    [Show full text]
  • Rajput Temples in Bundelkhand Region Neeta
    P: ISSN NO.: 2321-290X RNI : UPBIL/2013/55327 VOL-IV* ISSUE-IV*December-2016 E: ISSN NO.: 2349-980X Shrinkhla Ek Shodhparak Vaicharik Patrika Rajput Temples in Bundelkhand Region Abstract Hindu temple is a symbol or rather a synthesis of various symbols. It is conceived in terms of the human organism which is the most evolved living form. the names of the various limbs of the human body from the foot to the hair on the crown of the head are applied in the 1 architectural texts to different parts of the temple structure. Through out the greater part of the country, the sanctuary as a whole is known as the vimana, of which the upper pyramidal or tapering portion is called the shikhara, meaning tower or spire. The garbha Graha or womb-house for the reception of the divine symbol was a dark chamber which was entered by a doorway on its inner, and usually eastern side.. In front of the Grabha graham was a pillared hall or mandapa for the assembly of those paying their devotions to the divine symbol. From about the beginning of the 7th century, the sanctum was roofed by a tall, curvilinear spire (Shikhar) which constituted the most striking cognizance of the Northern Temple. The spire was initially of three vertical projections which gradually increased to five and occasionally seven. All these projections are covered with a mesh of Chaitya- dormers and the corner ones display in addition a series of small amalakas at the angles to demarcate the division of the spire into compressed storeys.
    [Show full text]
  • The Role of Five Elements of Nature in Temple Architecture Ar
    International Journal of Scientific & Engineering Research Volume 8, Issue 7, July-2017 1149 ISSN 2229-5518 The Role of Five Elements of Nature In Temple Architecture Ar. Snigdha Chaudhary Abstract— Examine the extensive influence of the selected theories of nature in Architecture namely element of nature effects the role of five ele- ments in Temple Architecture. “Theory of five elements of nature in context to the Temple Architectural Design ‘To make student understand the basic principles of five elements of nature so that it forms the basics for study of temple design through these topics.One should have a reasonable under- standing of its operational and economic implications, and lastly “To Evaluate the understanding of the relationship between space and design through five elements of nature’’ with the help of Hindu Temple Architecture. Index Terms— Temple architecture, five elements of nature, human perception of architectural expression, and temple concept through cosmology and philosophy —————————— —————————— 1 INTRODUCTION NDIA is well known for its rich heritage and variety of India, however while the basic elements of the temple are the I culture. Temples have always played an important role in same, the form and scale varied. For example as in the case of India's history and culture. There are more than 6 lakh the architectural elements like Sikhara (pyramidical roofs) and temples in India and about 1,80,000 temples in South India. Gopurams (the gateways). India is not only famous for various states but also for the cultures and such historic background that the past still has 2 ELEMENTS OF HINDU TEMPLE so much power on the present world.
    [Show full text]
  • Government of India Ministry of Culture Lok Sabha Unstarred Question No
    1 GOVERNMENT OF INDIA MINISTRY OF CULTURE LOK SABHA UNSTARRED QUESTION NO. 97 TO BE ANSWERED ON 25.4.2016 VAISAKHA 5, 1938 (SAKA) NATIONAL HERITAGE STATUS 97. SHRI B.V.NAIK; SHRI ARJUN LAL MEENA; SHRI P. KUMAR: Will the Minister of CULTURE be pleased to state: (a) whether the Government has finalized its proposal for sending its entry for world heritage status long with the criteria to select entry for world heritage site status; (b) if so, the details thereof along with the names of temples, churches, mosques and monuments 2Iected and declared as national heritage in various States of the country, State-wise; (c) whether the Government has ignored Delhi as its official entry to UNESCO and if so, the details thereof and the reasons therefor; (d) whether, some sites selected for UNESCO entry are under repair and renovation; (e) if so, the details thereof and the funds sanctioned by the Government in this regard so far, ate-wise; and (f) the action plan of the Government to attract more tourists to these sites. ANSWER MINISTER OF STATE, CULTURE AND TOURISM (INDEPENDENT CHARGE) AND MINISTER OF STATE, CIVIL AVIATION (DR. MAHESH SHARMA) (a) Yes madam. Government has finalized and submitted the proposal for “Historic City of Ahmedabad” as the entry in the cultural category of the World Heritage List for calendar year 2016-17. The proposal was submitted under cultural category under criteria II, V and VI (list of criteria in Annexure I) (b) For the proposal submitted related to Historic City of Ahmedabad submitted this year, list of nationally important monuments and those listed by Ahmedabad Municipal Corporation are given in Annexure II.
    [Show full text]
  • Bharatanatyam
    P 2 | OCTOBER 2017 Contents Volume 2, Issue 4 | October 2017 Editorial Team 04 Beacons of Light 24 Anupama: Editor’s Note 05 The Unparalleled Cultural Bulletin 06 Dance in India 10 Reviews 35 Sai Nrityotsav @ 100 A Magical Evening with Palpable Excitement A Confluence of Impressive Nritta - Tribute to Legendary Guru Narmada Rays of Hope 28 10th Anniversary Rita Andrade: Vysakhi Nrithyotsav 2017: Torch Bearers 14 Passion A Decade of Classical Personified Dance Cover Story 18 Reliability Reports 46 Then and Now Scholarly Corner 60 Augmenting Brain with Indian Music Kindled Spirits 62 Frozen in Time 63 Arangetram 64 Celebrations 31 Tributes 65 Reformer of In Sight 66 Kuchipudi Natyam Classifieds 67 P 3 | OCTOBER 2017 Editorial ‘The Dance India’- a monthly cultural magazine in English is our humble "If the art is poor, attempt to capture the spirit and culture of art in all its diversity. the nation is sick." Articles may be submitted for possible Editor-in-Chief publication in the magazine in the following BR Vikram Kumar manner. Executive Editor • Send in your articles to [email protected] Paul Spurgeon Nicodemus Please include your full name, contact Associate Editor information (address and telephone number) and a short bio data. RMK Sharma • Articles are published in the magazine only Assistant Editor on the condition that the author agrees to UNS Vijayshri the terms of the Copyright Statement and Policy Sub Editor D Praveena Regd. Office: Trivikram Publications, Feature Writer D.No. 50-01-50/1, ASR Nagar, Seethammadhara, Visakhapatnam - 530 013, A.P. Ch Nikhitha Coordinators (News, Advertisements & Tel: 0891-2525656 Editorial Advisor Subscriptions) The opinions, beliefs and viewpoints expressed by the various writers in the articles and B Ratan Raju Sai Venkatesh Karnataka reviews do not necessarily reflect the opinions, beliefs and viewpoints of the editorial team or Contributions by Kashmira Trivedi Maharashtra official policies of The Dance India.
    [Show full text]
  • The Heart of Central India Tour
    The Heart of Central India Tour [rev_slider heart-of-india] OUR PROGRAM FIRST DAY - BHOPAL - KHAJURAHO (380 Kms / 06 hrs) Arrive at Bhopal Airport/ Railway station and proceed towards Khajuraho. On arrival, Check in your hotel. Day free for leisure. Overnight at hotel in Khajuraho. SECOND DAY - KHAJURAHO After breakfast excursion to city tour. The world famous Khajuraho temples were built by the Chandela kings between 950 AD and 1050 AD. The most important are the Chaunset Yogini Temple dedicated to Goddess Kali, The Mahadev Temple, Chitragupta or S Bharatji Temple with a lovely image of 11 headed Vishnu, Vishvanath and Nandi Temples, Lakshmana Temple, Visha Temple of Shiva, which is the largest & most typical of temples. Visit the Eastern group of temples that consist of the Parasvanath Temple - the only Jain Temple surviving at Khajuraho having excellent sculptures on the outer walls of the Sanctum, the Javeri Temple dedicated to Vishnu. The other temples in this group are those dedicated to Brahma, Yamuna and Adinath. Overnight at hotel in Khajuraho. THIRD DAY - KHAJURAHO – CHITRAKOOT (150 Kms / 03 hrs) After breakfast drive to Chitrakoot via excursion to Kalinjar Fort. Chitrakoot is the best centre of meditation and peace. Also, you can visit the temples of Hanuman Dhara, Kamadgiri, and Anusuya. View shrines around Janaki Kund. Overnight in hotel FOURTH DAY - CHITRAKOOT – GAWLIOR (389 Kms / 06 hrs) Morning drive to Gwalior. Afternoon visit the Man Mandir, Gujari Mahal (today an archaeological museum), The Fort, Temples of Sas-Bahu, Teli Ka Mandir, Jai Vilas Palace, Tomb of Gaus Mohammad & the Mausoleum of Tansen.
    [Show full text]