DOCSLIB.ORG

Rita Dixit Indian Miniatures Gods and Gardens: Divinity, Magic and Faith

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Rita Dixit Indian Miniatures Gods and Gardens: Divinity, Magic and Faith CONTACT FURTHER INFORMATION Rita Dixit Business Address Phone +44 (0)771 325 4677 By appointment only – Noting Hill, Email: [email protected] London W2. Gods And Gardens: Acknowledgement Divinit, Magic And Faith Dear Enthusiast, For my fiends I present my frst catalogue around the theme For those present and those in spirit of Gods and Gardens. I exhibit virtually artworks on three themes; the cosmic The hymns of the Vedas evoke an ever-present landscape of the Gods (India’s great legends), theme – religious awe of nature, scenery, tees the sacred spaces of forests and groves and and water: gardens in poety and design. In doing so, I hope to convey to you the wonderful breadth May Peace radiate in the whole sky in of stles and periods that is the The vast ethereal space, Indian miniature. May peace reign all over this earth, in water, In all herbs and the forests, A sentiment so eloquently expressed by the May peace fow over the whole universe, artist and collector Alice Bonner. “The most May peace be in the Supreme Being, perfectly formed Indian miniature contains the May peace exist in all creation, and peace quintessence of an entire world in an area no bigger alone, than the human hand. And if not an entire world, May peace fow into us. then at least a certain aspect of its mysterious, Aum- peace, peace, peace! hidden meaning….It is an inexhaustible fount of revelations, which gradually unfold fom the thoughts captured in the image. This is what makes Yajur Veda Samhita (36:17) the miniature so valuable, more valuable than the outstanding technique, the colours and the gold with which it is executed”. Diaries 1956. (Dialogues on Alice Bonner, International Symposium, Museum Rietberg, Zurich, 2018). Rita Dixit Hindusim and Nature – Nanditha Krishan Indian Miniatures Penguin, Random House, India 2017 London, October 2020 2 3 Landscape Of The Gods Email: r. [email protected] Churning Of The Ocean: A Spiritual Quest Demons, Mandara Mountain is used as the ultimate gif of self-realisation (the Amrit). Airavata’s tunk is shown wrapped around 1 churn and Snake Vasuki is used as the rope. the Kalpavriksha tee, a refection of their Gouache with gold on paper When the Amrit appears the Gods and Demons In this painting, the sofness of the palete, (a association with Indra. For Indra, goes on Size: 24cm x 18cm (image); go on to fght over its possession. Afer, many legacy of the Guler stle) gives it an ethereal, to plant the tee in the heavenly garden of 30cm x 23cm (folio) adventures, it is fnally consumed by the dream-like qualit, very apt for the celestial Paradise. In the scriptures, it is described as Gods. This is a well-known story of a mythical seting. The Gods are painted with a serene having gold roots, coral leaves and gemstone Kangra, India landscape that existed before creation, potent delicacy with an energy emanating fom the buds. Its earthly counterpart is likely to be the circa 1850 imagery that endures in art. grey swirls of the ocean as it foths. Vishnu Indian Coral Tree Erythrina variegate. is shown resplendent in his lotus seat upon This exquisitely detailed painting captures Allegorically, the episode refers to the Hindu Mount Mandara, and in his incarnate forms as For examples of Kangra paintings on the same the moment when the Ocean of Milk fnally view of an individual’s own spiritual journey. Krishna and the turtle Kurma. In a comic and subject circa 1810, see Dr. Linda Leach, Mughal yields the Amrit, (nectar of immortalit) and The “churning” through devotion, meditation jarring contast, the tiring demons, holding the and Other Indian paintings fom the Chester its other wondrous teasures. In this 1000-year and yoga are used to gain contol of one’s heads of the snake, are depicted as supplicants, Beat Library. Scorpian Cavendish. 1995. old epic tug-of-war between the Gods and the thoughts and senses in order to atain the palms outstetched towards Vishnu. The wonderful teasures that emerge fom the ocean’s depths foat as if in motion, across the top of the painting: (1) Chandra, the moon (adorning Shiva’s forehead), (2) Uchhaishravas, the celestial horse, (3) Khamadhenu, the cow of plent, (4) Kaustubha, the divine jewel, (5) Panchajanya, Vishnu’s conch, (6) various jewelled vessels and a celestial nymph, (7) Airavata the white elephant – Indra’s mount. (8) the Goddess Varuni, (9) Kalpavriksha, the wish-fulflling tee, (10). Dhanvantari, the heavenly physician. Here shown unconventionally carrying the Amrit, the supreme teasure in his bare hands. A reference back to the idea perhaps, that Amrit is not just for the Gods. 4 5 Landscape Of The Gods Email: r. [email protected] Lord Rama Victorious Meanwhile, the rejoicing monkeys run riot 2 using tees and boulders to force the demon army to reteat. In touching detail, the painter Opaque pigments with gold on paper leads our eye to the uppermost lef corner of Size: 36.5cm x 28cm (image); the painting where Sita the abducted queen, 37.5cm x 29cm (folio) forlorn and dishevelled has yet to be given the news of her husband’s victory. Kangra or Guler, India circa 1800 The origin of this painting is inconclusive. Stlistically, it draws references fom the well- The Ramayana—“Rama’s journey”—is one of documented 2nd Guler Ramayana series circa India’s oldest stories, about the exile and return 1790, the later books having distinct blue and of Rama, prince of Ayodhya. Valmiki’s epic gold borders. The rendition of detail, however, Sanskrit poem dates to around 400 AD, but the would indicate a later Kangra Series (not the stories are much older. 1780 Kangra series). For example, the Death of Surasa the sea serpent and the giant fsh who Verse 34: “Rama, the delight of Dasaratha who had Bali in the Toledo Museum of Art. Though the The enduring message of the Ramayana is help create the land bridge to the Island of just killed his enemy and thus who was steadfast in colours in this series are far livelier and less the interconnectedness of living things, man, Lanka. his vows, ….tood surrounded on the batle-feld by subtle than in this painting. (See The Classical nature and divinit. The poem is a botanists his own people and the army shone like Indra the Tradition in Rajput Painting fom the Paul F. delight, rich with beautiful descriptions of This dynamic painting takes its inspiration lord of celestials”. Walter Collection, New York, 1978, no.78). forests, medicinal plants and herbs, rivers, fom the Book VI – the Yudda Kanda (Book mountains and animal characters. (see of War). The closing verses (chapter 108) of Verse 22: Having lost his life, that king of demons The size of the painting may suggest it is a Nanditha Krishnan, Hinduism and Nature, this epic work are captured by the artist with for his part, who was endowed with terrible single works executed with exquisite atention 2017. Penguin Books). thrilling efect. swifness and invested with great splendour, fell to detail and knowledge of Valmiki’s verses. down fom the chariot to the ground. Interestingly, an example of a Ramayana In this painting, Lord Rama’s victory is Rama stands tiumphant in Indra’s celestial painting with similar dimensions portaying honoured by all of creation – the earth and chariot, the charioteer Matali portayed in There is joyous fanfare in the heavens above Gods and celestials in celebration at Rama and the heavens. The painting visually expresses full armour. Rama is holding the “mystic the batlefeld. The ketle drum is played in the Sita’s return though without the facial detailing this with commanding and entertaining detail. missile”, gifed by the God Brahma, and used sky and the Gods (led by Indra on his elephant of this painting, was atibuted to Mandi. (see Rama’s mission to rescue his queen, Sita could to kill King Ravana, his demon foe. The two mount), the celestial bards (charanas) and A Painting fom the Ramayana, Mandi, circa only be secured with the help of the natural kings: one the victor, the other vanquished, spirits (gandharvas) rejoice. The Gods shower 1820, Christie's New York, lot 357, March 2017). world: medicinal plants to stem the losses on given equal yet contasting prominence in the Lord Rama with fowers in celebration. the batlefeld, the monkeys led by Hanuman foreground of the scene. htp://www.valmikiramayan. net and Sugreeva, the bears led by Jambhavan, 6 7 Landscape Of The Gods Email: r. [email protected] Son’s Of The Forest: Lord 3 Rama And Prince Lakshmana cosmic order. Lakshmana stands shoulder to In Batle With Ravana shoulder with his half-brother Lord Rama. He is the embodiment of flial loyalt and shares many adventures with the royal couple in their Gouache and gold on paper exile. Size: 23.3cm x 16.6cm Guler, India Nature symbols are used repeatedly to circa 1840 symbolise the stuggle between Rama and Ravana as the tiumph of good over evil. The Ramayana story embodies the Hindu idea Afer 14 years of exile in the forest, the Royal of dharma – dut, behaving correctly according brothers afnit with the natural world is to one’s position and role in societ. Thus Rama depicted by their dress, their heads adorned is portayed as the ideal son and ruler, Sita as with crowns made of leaves. By contast, with the devoted wife, Lakshmana as the dutiful Ravana animal imagery is used to convey brother.
Recommended publications
  • 11 Indian Painting

    11 Indian Painting

    MODULE - V Indian Painting Painting, Performing Arts and Architecture Notes 11 INDIAN PAINTING hen you go to the market or to a museum you will find many paintings, wall hangings or work done on terracotta. Do you know that these paintings have Wtheir origin in ouir ancient past. They depict the life and customs followed by the people of those times. They also show how the kings and queens dressed or how the courtiers sat in the royal assembly. Literacy records which had a direct bearing on the art of painting show that from very early times painting both secular and religious were considered an important form of artistic expression and was practised. This need for expression is a very basic requirement for human survival and it has taken various forms since prehistoric times. Painting is one such form with which you may have been acquainted in some way or the other. Indian painting is the result of the synthesis of various traditions and its development is an ongoing process. However while adapting to new styles, Indian painting has maintained its distinct character. “Modern Indian painting in thus a reflection of the intermingling of a rich traditional inheritance with modern trends and ideas”. OBJECTIVES After reading this lesson you will be able to: trace the origin of painting from the prehistoric times; describe the development of painting during the medieval period; recognise the contribution of Mughal rulers to painting in India; trace the rise of distinct schools of painting like the Rajasthani and the Pahari schools; assess
  • Download Book

    Download Book

    The Indian Institute of Culture Basavangudi, Bangalore Transaction No/io YANTRAS OR MECHANICAL B CONTRIVANCES IN ANCIENT INDIA? otoio By V. RAGHAVAN, M.A.,PH.D. =3 (EJggj £53 !2S2» February 1952 Prjce: Re. 1/8 )<93 /dZ^J TJ/ THE INDIAN INSTITUTE OF CULTURE TRANSACTIONS YANTRAS OR MECHANICAL ' Many valuable lectures are given, papers read and discussed, and oral CONTRIVANCES IN ANCIENT INDIA-'.. reviews of outstanding books presented, at the Indian Institute of Culture. Its day is still one of small beginnings, but wider dissemination of at least a few of " To deny to Babylon, to Egypt and to India, their part in the development these addresses and papers is obviously in the interest of the better intercultural of science and scientific thinking is to defy the testimony of the ancients, supported understanding so important for world peace. Some of these are published in the by the discovery of the modem authorities." L. C. KARPINSKI. * Institute's monthly organ, The Aryan Path; then we have two series of occa­ " Thus we see that India's marvels were not always false." LYNN sional papers—Reprints from that journal, and Transactions. The Institute is not responsible fox* views expressed and does not necessarily concur in them. TlIORNDIKE. 2 , Transaction No. 10 : It is indeed in the realms of literature and art, religion and philosophy Dr. V. Raghavan heads the Department of Sanskrit in the University of that ancient India made its outstanding contributions. While the achievements Madras. He came to Bangalore to deliver two lectures, on June 18th and 19th, in the former have gained world-wide appreciation, those in the latter constitute 1951, under the auspices of the Indian Institute of Culture.
  • Not Eligible) - General

    Not Eligible) - General

    LIST OF STUDENTS UNDER SPECIAL SCHOLARSHIP SCHEME FOR J&K 2013-14 (NOT ELIGIBLE) - GENERAL DATE S.N CA FIRST MIDDLE LAST CATEG COLLEGE FATHER’S OF COURSE NAME REASON O. NID NAME NAME NAME NAME ORY NAME BIRTH ABHILASHI SHAKEEL 13-11- ORIGINAL DOMICILE, INCOME CERTIFICATE 1 SHADAB AHMAD MANHAS SEBC GROUP OF B PHARMA MANHAS 1996 NOT PRODUCED INSTITUTE ABHILASHI GH MOHD. 01/01/19 ORIGINAL INCOME CERTIFICATE NOT 2 ABID HUSSAIN RATHER OPEN GROUP OF B.PHARMA RATHER 95 PRODUCED INSTITUTE ADESH 455 SH. CHUNI 7-FEB- B.SC MRI CT 3 VISHALI . SHARMA OPEN UNIVERSITY,B INCOME CERTIFICATE NOT PRODUCED 58 LAL 1995 TECHNOLOGY ATHINDA MANZOOR ADESH 459 MEHWIS MANZOO 31-MAR- BACHELOR 4 KHAN AHMAD OPEN UNIVERSITY,B INCOME CERTIFICATE NOT PRODUCED 15 H R 1993 PHYSIOTHERAPY(BPT) KHAN ATHINDA ADHUNIK MOHD INSTITUTE OF 385 8-MAR- 5 AZAD ASHRAF KAWA ASHRAF OPEN EDUCATION & BCA DOMICILE CERTIFICATE NOT PRODUCED 41 1994 KAWA RESEARCH, GHAZIABAD SH. ALWAR 405 BURHA IRSHAD 6-AUG- 6 IRSHAD DEV OPEN PHARMACY B.PHARMACY MANAGEMENT QUOTA 82 N AHMAD 1994 COLLEGE DEV ALWAR 405 MUZAMI SH. MOHD 28-SEP- 7 AYOOB AYOOB SEBC PHARMACY B.PHARMACY MANAGEMENT QUOTA 97 L AYOOB 1996 COLLEGE MUNEER AMAR JYOTI 399 MEHREE 1-JUL- BACHLOR IN 8 SYED MUNEER AHMAD OPEN CHARITABLE PROOF OF ADMISSION IS NOT SUBMITTED 84 N 1991 PHYSIOTHERAPY NAQASH TRUST AMITY LAW 474 MOHAN 18-JUL- 9 TARUN MOHAN SHARMA OPEN SCHOOL BA LLB 12TH FROM OUTSIDE J&K 34 LAL 1994 NOIDA AMRITSAR COLLEGE OF AB 427 16-FEB- HOTEL 10 AABID QAYOOM QAYOOM OPEN B.SC INCOME CERTIFICATE NOT PRODUCED 53 1995 MANAGEMENT WANI AND
  • LIST of INDIAN CITIES on RIVERS (India)

    LIST of INDIAN CITIES on RIVERS (India)

    List of important cities on river (India) The following is a list of the cities in India through which major rivers flow. S.No. City River State 1 Gangakhed Godavari Maharashtra 2 Agra Yamuna Uttar Pradesh 3 Ahmedabad Sabarmati Gujarat 4 At the confluence of Ganga, Yamuna and Allahabad Uttar Pradesh Saraswati 5 Ayodhya Sarayu Uttar Pradesh 6 Badrinath Alaknanda Uttarakhand 7 Banki Mahanadi Odisha 8 Cuttack Mahanadi Odisha 9 Baranagar Ganges West Bengal 10 Brahmapur Rushikulya Odisha 11 Chhatrapur Rushikulya Odisha 12 Bhagalpur Ganges Bihar 13 Kolkata Hooghly West Bengal 14 Cuttack Mahanadi Odisha 15 New Delhi Yamuna Delhi 16 Dibrugarh Brahmaputra Assam 17 Deesa Banas Gujarat 18 Ferozpur Sutlej Punjab 19 Guwahati Brahmaputra Assam 20 Haridwar Ganges Uttarakhand 21 Hyderabad Musi Telangana 22 Jabalpur Narmada Madhya Pradesh 23 Kanpur Ganges Uttar Pradesh 24 Kota Chambal Rajasthan 25 Jammu Tawi Jammu & Kashmir 26 Jaunpur Gomti Uttar Pradesh 27 Patna Ganges Bihar 28 Rajahmundry Godavari Andhra Pradesh 29 Srinagar Jhelum Jammu & Kashmir 30 Surat Tapi Gujarat 31 Varanasi Ganges Uttar Pradesh 32 Vijayawada Krishna Andhra Pradesh 33 Vadodara Vishwamitri Gujarat 1 Source – Wikipedia S.No. City River State 34 Mathura Yamuna Uttar Pradesh 35 Modasa Mazum Gujarat 36 Mirzapur Ganga Uttar Pradesh 37 Morbi Machchu Gujarat 38 Auraiya Yamuna Uttar Pradesh 39 Etawah Yamuna Uttar Pradesh 40 Bangalore Vrishabhavathi Karnataka 41 Farrukhabad Ganges Uttar Pradesh 42 Rangpo Teesta Sikkim 43 Rajkot Aji Gujarat 44 Gaya Falgu (Neeranjana) Bihar 45 Fatehgarh Ganges
  • The Gupta Empire: an Indian Golden Age the Gupta Empire, Which Ruled

    The Gupta Empire: an Indian Golden Age the Gupta Empire, Which Ruled

    The Gupta Empire: An Indian Golden Age The Gupta Empire, which ruled the Indian subcontinent from 320 to 550 AD, ushered in a golden age of Indian civilization. It will forever be remembered as the period during which literature, science, and the arts flourished in India as never before. Beginnings of the Guptas Since the fall of the Mauryan Empire in the second century BC, India had remained divided. For 500 years, India was a patchwork of independent kingdoms. During the late third century, the powerful Gupta family gained control of the local kingship of Magadha (modern-day eastern India and Bengal). The Gupta Empire is generally held to have begun in 320 AD, when Chandragupta I (not to be confused with Chandragupta Maurya, who founded the Mauryan Empire), the third king of the dynasty, ascended the throne. He soon began conquering neighboring regions. His son, Samudragupta (often called Samudragupta the Great) founded a new capital city, Pataliputra, and began a conquest of the entire subcontinent. Samudragupta conquered most of India, though in the more distant regions he reinstalled local kings in exchange for their loyalty. Samudragupta was also a great patron of the arts. He was a poet and a musician, and he brought great writers, philosophers, and artists to his court. Unlike the Mauryan kings after Ashoka, who were Buddhists, Samudragupta was a devoted worshipper of the Hindu gods. Nonetheless, he did not reject Buddhism, but invited Buddhists to be part of his court and allowed the religion to spread in his realm. Chandragupta II and the Flourishing of Culture Samudragupta was briefly succeeded by his eldest son Ramagupta, whose reign was short.
  • The Historical Thar Desert of India

    The Historical Thar Desert of India

    ISSN 2039-2117 (online) Mediterranean Journal of Social Sciences Vol 12 No 4 ISSN 2039-9340 (print) www.richtmann.org July 2021 . Research Article © 2021 Manisha Choudhary. This is an open access article licensed under the Creative Commons Attribution-NonCommercial 4.0 International License (https://creativecommons.org/licenses/by-nc/4.0/) Received: 14 May 2021 / Accepted: 28 June 2021 / Published: 8 July 2021 The Historical Thar Desert of India Manisha Choudhary Assistant Professor, Department of History, University of Delhi, India DOI: https://doi.org/10.36941/mjss-2021-0029 Abstract Desert was a ‘no-go area’ and the interactions with it were only to curb and contain the rebelling forces. This article is an attempt to understand the contours and history of Thar Desert of Rajasthan and to explore the features that have kept the various desert states (Jodhpur, Jaisalmer, Barmer, Bikaner etc.) and their populace sustaining in this region throughout the ages, even when this region had scarce water resources and intense desert with huge and extensive dunes. Through political control the dynasts kept the social organisation intact which ensured regular incomes for their respective dynasties. Through the participation of various social actors this dry and hot desert evolved as a massive trade emporium. The intense trade activities of Thar Desert kept the imperial centres intact in this agriculturally devoid zone. In the harsh environmental conditions, limited means, resources and the objects, the settlers of this desert were able to create a huge economy that sustained effectively. The economy build by them not only allowed the foundation and formation of the states, it also ensured their continuation and expansion over the centuries.
  • His Highness Arvind Singh Mewar Would Be Very Grateful If You

    His Highness Arvind Singh Mewar Would Be Very Grateful If You

    INTRODUCTION Tod evidently knew so much at fi rst hand; he read everything bearing on his subject that he could come across, and he wrote it all down with such honesty of purpose and in so entertaining a style that he produced a classic: and classics are apt to be dangerous things …1 “His Highness Arvind Singh Mewar would be very grateful if you could telephone him as soon as possible …” A messenger from the calling booth near my apartment in Jaipur delivered the fax on a hot aft ernoon in late March. I had met Shri Arvind Singh two weeks earlier at one of his hotels in Bikaner. He had graciously made time for a private meet- ing to discuss my work on James Tod and invited me to lunch with a Brazilian polo player he was recruiting for his team, his English media consultant and his daughter—a daunting crowd, and not the company in which I typically fi nd myself. Because he was the “Mahārānā,”̣ were such titles still possible, I wanted to learn what he knew of Tod. He had a reputation for being well disposed towards scholars, and I harbored the hope that he might have a cache of materials in his possession, or at least family lore that would be of use to me. Th ere was no archive, but he was friendly, inter- ested, and very supportive of my work. I went quickly to return his call and found that he had a task for me. His trust, the Maharana Mewar Charitable Foundation (MMCF) every year gives out a series of awards to individuals who exemplify the ide- als that the foundation was instituted to support.
  • Indian Art History from Colonial Times to the R.N

    Indian Art History from Colonial Times to the R.N

    The shaping of the disciplinary practice of art Parul Pandya Dhar is Associate Professor in history in the Indian context has been a the Department of History, University of Delhi, fascinating process and brings to the fore a and specializes in the history of ancient and range of viewpoints, issues, debates, and early medieval Indian architecture and methods. Changing perspectives and sculpture. For several years prior to this, she was teaching in the Department of History of approaches in academic writings on the visual Art at the National Museum Institute, New arts of ancient and medieval India form the Delhi. focus of this collection of insightful essays. Contributors A critical introduction to the historiography of Joachim K. Bautze Indian art sets the stage for and contextualizes Seema Bawa the different scholarly contributions on the Parul Pandya Dhar circumstances, individuals, initiatives, and M.K. Dhavalikar methods that have determined the course of Christian Luczanits Indian art history from colonial times to the R.N. Misra present. The spectrum of key art historical Ratan Parimoo concerns addressed in this volume include Himanshu Prabha Ray studies in form, style, textual interpretations, Gautam Sengupta iconography, symbolism, representation, S. Settar connoisseurship, artists, patrons, gendered Mandira Sharma readings, and the inter-relationships of art Upinder Singh history with archaeology, visual archives, and Kapila Vatsyayan history. Ursula Weekes Based on the papers presented at a Seminar, Front Cover: The Ashokan pillar and lion capital “Historiography of Indian Art: Emergent during excavations at Rampurva (Courtesy: Methodological Concerns,” organized by the Archaeological Survey of India). National Museum Institute, New Delhi, this book is enriched by the contributions of some scholars Back Cover: The “stream of paradise” (Nahr-i- who have played a seminal role in establishing Behisht), Fort of Delhi.
  • Forgotten Masters: Indian Painting for the East India Company Guest Curated by William Dalrymple

    Forgotten Masters: Indian Painting for the East India Company Guest Curated by William Dalrymple

    The Wallace Collection - New Exhibition Announcement: Forgotten Masters: Indian Painting for the East India Company Guest Curated by William Dalrymple 4 December 2019 – 19 April 2020 Tickets on sale from 16 September 2019 In partnership with DAG New Delhi-Mumbai-New York In December 2019, the Wallace Collection presents Forgotten Masters: Indian Painting for the East India Company. Curated by renowned writer and historian William Dalrymple, this is the first UK exhibition of works by Indian master painters commissioned by East India Company officials in the late eighteenth and nineteenth centuries. It is an unprecedented opportunity to see these vivid and highly original paintings together for the first time, recognising them as among the greatest masterpieces of Indian painting. Comprising works from a wide variety of Indian traditions, the exhibition moves the emphasis from the Company commissioners onto the brilliance of the Indian creators. It belatedly honours historically overlooked artists including Shaikh Zain ud-Din, Bhawani Das, Shaikh Mohammad Amir of Karriah, Sita Ram and Ghulam Ali Khan and sheds light on a forgotten moment in Anglo-Indian history. Reflecting both the beauty of the natural world and the social reality of the time, these dazzling and often surprising artworks offer a rare glimpse of the cultural fusion between British and Indian artistic styles during this period. The exhibition highlights the conversation between traditional Indian, Islamic and Western schools and features works from Mughal, Marathi, Punjabi, Pahari, Tamil and Telugu artists. They were commissioned by a diverse cross-section of East India Company officials, ranging from botanists and surgeons, through to members of the East India Company civil service, diplomats, governors and judges, and their wives, as well as by more itinerant British artists and intellectuals passing through India for pleasure and instruction.
  • (4Th International Conference on Water Resources and Arid Environme

    (4Th International Conference on Water Resources and Arid Environme

    4th International Conference on Water Resources and Arid Environments (ICWRAE 4): 429-438 5-8 December 2010, Riyadh, Saudi Arabia A Historical Perspective of the Development of Rain Water Harvesting Techniques in the Mewar Region, Udaipur, Rajasthan, India Narpat Singh Rathore Department of Geography, University College of Social Sciences and Humanities M.L. Sukhadia University, Udaipur, Rajasthan, India Abstract: Water is an essential resource for our existence. However its availability is not only limited but also very unevenly distributed world over. The largest brunt of its scarcity is experienced in the semi arid and arid regions of the world. Consequently the people of these regions have, from times immemorial, been practicing techniques of rain water conservation and management. Rajasthan is the largest state of India area wise however it has only one percent of the total water resources of the country. Rain water conservation and management techniques have been in practice in the different parts of the state from time immemorial. The present study is concentrated on the water conservation and water management practices developed during the reigns of the various Rawals, Ranas and Maharanas of the Mewar State, Rajasthan. The study area includes Banswara, Bhilwara, Chittorgarh, Dungarpur, Rajsamand, Pratapgarh and Udaipur Districts. The present research paper is an attempt to study and highlight the various scientific techniques and methods adopted for the conservation and management of rain water. Key words: Ahar • Bhela • Genda • Hameda • Roof water harvesting • River diversion • River Linkage INTRODUCTION Region of South Rajasthan. Mewar Region is a prominent area located to the south of the Great Indian Desert of The availability of water is not only limited but Rajasthan, India.
  • A Sub Range of the Hindu Kush Himalayan Range. Ladakh Range Is a Mountain Range in Central Ladakh

    A Sub Range of the Hindu Kush Himalayan Range. Ladakh Range Is a Mountain Range in Central Ladakh

    A sub range of the Hindu Kush Himalayan range. Ladakh Range is a mountain range in central Ladakh. Karakoram range span its border between Pakistan, India & china. It lies between the Indus and Shyok river valleys, stretching to 230 miles. Karakoram serve as a watershed for the basin of the Indus and Yarkand river. Ladakh range is regarded as southern extension of the Karakoram range. K2, the second highest peak in the world is located here. Extension of the Ladakh range into china is known as Kailash range. Glacier like Siachen, and Biafo are found in this range. Ladakh Range Karakoram Range Mountain Ranges in India Pir panjal Range Zaskar Range Group of mountains in the Himalayas. Group of mountains in the Lesser Himalayan region, near They extended southeastward for some 400 mile from Karcha river the bank of Sutlej river. to the upper Karnali river. Separates Jammu hills to the south from the vale of Kashimr Lies here coldest place in India, Dras. (the gateway to Ladakh) beyond which lie the Great Himalayas. Kamet Peak is the highest point. Highest points Indrasan. Famous passes- Shipki, Lipu Lekh and Mana pass. Famous passes- Pir Panjal, Banihal pass, Rohtang pass. Part of lesser Himalayan chain of Mountains. Mountain range of the outer Himalayas that stretches from the Indus river about It rise from the Indian plains to the north of Kangra and Mandi. 2400 km eastwards close to the Brahmaputra river. The highest peak in this range is the Hanuman Tibba or 'White Mountain' A gap of about 90 km between the Teesta and Raidak river in Assam known approaches from Beas kund.
  • Indian Folk Paintings

    Indian Folk Paintings

    Exhibition: September 28, 2014 –January 11, 2015 East-West Center Gallery, Honolulu, Hawai‘i The East-West Center Arts Program presents INDIAN FOLK COLORFUL STORIES PAINTINGS Curator: Michael Schuster | Installation: Lynne Najita | Artist-in-Residence and Consultant: Gita Kar SUSHAMA CHITRAKAR NARRATES SCROLL | W. BENGAL, 2013 | PHOTO: GAYLE GOODMAN. Narrative paintings tell stories, either great epics, local regional heroes, telling painting to be exhibited include as one episode or single moment in and contemporary issues important the scrolls of the Patua from West a tale, or as a sequence of events to villagers such as HIV prevention. Bengal and the Bhopa of Rajasthan, unfolding through time. The retelling Traditionally, scroll painters and the small portable wooden of stories through narrative painting and narrative bards wandered from temples of the Khavdia Bhat, also can be seen throughout India in village to village singing their own from Rajasthan. In addition, the various forms. This exhibition focuses compositions while unwinding their exhibition will highlight narrative folk on several unique folk art forms that scroll paintings or opening their story paintings from the states of Odisha, tell the stories of deities from the boxes. Examples of this type of story - Bihar and Andhra Pradesh. Kavad Bhopa and Phad The kavad is a small mobile wooden Phad , or par , a 400-year old picture temple, made in several sizes with story-telling tradition from the desert several doors. It is constructed and state of Rajasthan, illustrates a panoply painted in the village Basi, known for of characters and scenes from medieval its wood craftsmen (called Kheradi).