GI Journal No. 75 1 November 26, 2015
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Geographical Indication Tag
www.gradeup.co Geographical Indication Tag What is Geographical Indication Tag? A geographical indication (GI) is a sign used on products having a particular geographical origin and having qualities or a reputation due to that origin. You might have heard about copyright, patent, trademark, etc. which are rights of intellectual property. Geographical Indication Tag provides holders with similar rights and protection. Darjeeling tea was the first product to be given a GI tag in India. The Geographical Indications of Goods Act was enacted by India in 1999. Why GI tag? India enacted the Geographical Indications of Goods (Registration & Protection) Act 1999 as a member of the World Trade Organization (WTO), that entered into force with effect from 15 September 2003. It supports local production and helps in mainstreaming and upliftment of the rural and the tribal communities. These GI tags must not be confused with IPR. GI is a collective right, unlike IPRs which grants protection to individual interest. India has registered 236 GI products so far and more than 270 more have applied for the label GI recently got a logo and a tagline given by the Commerce and Industry Minister to increase the awareness about the IPRs in the country. LOGO 1 www.gradeup.co Here we give you an infographic of the most recent addition in the GI list over the past couple of years (2017-2019 Feb) Recently Awarded GI Tag Commodity/handicraft/food Name Place item Konkan (Western Indian states of Maharashtra, Alphonso Food Goa, and the South Indian state of Karnataka) -
India: Birds & Culture on the Maharajas' Express
INDIA: BIRDS & CULTURE ON THE MAHARAJAS’ EXPRESS FEBRUARY 2-18, 2022 KANHA NATIONAL PARK PRE-TRIP JANUARY 28 – FEBRUARY 3, 2022 KAZIRANGA NATIONAL PARK EXTENSION FEBRUARY 18-23, 2022 ©2021 Taj Mahal © Shutterstock Birds & Culture on the Maharajas’ Express, Page 2 There is something indefinable about India which makes westerners who have been there yearn to return. Perhaps it is the vastness of the country and its timeless quality. Perhaps it is the strange mixture of a multiplicity of peoples and cultures which strikes a hidden chord in us, for whom this land seems so alien and yet so fascinating. Or perhaps it is the way that humans and nature are so closely linked, co-existing in a way that seems highly improbable. There are some places in a lifetime that simply must be visited, and India is one of them. Through the years we have developed an expertise on India train journeys. It all started in 2001 when VENT inaugurated its fabulous Palace on Wheels tour. Subsequent train trips in different parts of the country were equally successful. In 2019, VENT debuted a fabulous new India train tour aboard the beautiful Maharajas’ Express. Based on the great success of this trip we will operate this special departure again in 2022! Across a broad swath of west-central India, we will travel in comfort while visiting the great princely cities of Rajasthan state: Udaipur, Jodhpur, and Jaipur; a host of wonderful national parks and preserves; and cultural wonders. Traveling in such style, in a way rarely experienced by modern-day travelers, will take us back in time and into the heart of Rajput country. -
1 FADE in EXT. CITY DAY the City of Erinol, Capital of the Kingdom Marinia. Everything Is Prosperous and Peaceful. Outside
1 FADE IN EXT. CITY DAY The city of Erinol, capital of the kingdom Marinia. Everything is prosperous and peaceful. Outside a large, cathedral-like building a banner is hung reading "DungeonCon - All Weekend" on the front. TITLE SEQUENCE INT. CONVENTION HALL DAY Inside the convention hall it's packed with adventurers. THEODORA the duelist buys a chainmail bikini from one of the vendors selling more of the same. She's wearing leather pants, bucket boots and a white poet shirt with a black vest with gold embroidery. A bandana holds her long, curly red hair back. CIARAN the bard walks up. He's wearing a blue shirt and black trousers and boots, his shirt partially unlaced. A lute is slung over his back. He has long, messy dark hair and a short-trimmed beard. CIARAN Never thought I'd see you with one of those things, Theo. THEODORA Come again? CIARAN I know duelists like to travel light, but that thing wouldn't stop a mouse with a toothpick. THEODORA (smirking) What makes you think I'll be wearing it into combat? CIARAN (beat) Oh. Kinky. At a different booth, ELATHIL the elven scout is considering getting a portrait done in front of a fake dragon hoard. His long blond hair is tied in a braided ponytail slung over one shoulder. He wears earth tones with a cloak and black leather vest over his shirt. CELESTE (O.C.) Elathil! He turns to face CELESTE the nature priestess. She's wearing a simple green dress with a long skirt and carrying her staff of polished, 2 gnarled wood. -
Fabric Story: India- Fabrics and Embroideries
Humber Fashion Institute Fabric Story: India- Fabrics and Embroideries FMPC 505 01 Nilofer Timol 10/18/2013 Contents Humber Fashion Institute ....................................................................................................................................................... 0 Fabric Story: India- Fabrics and Embroideries ........................................................................................................................ 0 FMPC 505 01 ........................................................................................................................................................................... 0 Table of Figures ....................................................................................................................................................................... 2 India: Fabrics and Embroideries .............................................................................................................................................. 3 Introduction ........................................................................................................................................................................ 3 The Fabric Story ...................................................................................................................................................................... 6 Fashion Theme ............................................................................................................................................................... -
Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’S Costumes Jeana Jorgensen Butler University, [email protected]
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2006 Whether it’s coins, fringe, or just stuff that’s sparkly': Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’s Costumes Jeana Jorgensen Butler University, [email protected] Follow this and additional works at: http://digitalcommons.butler.edu/facsch_papers Part of the Dance Commons, Feminist, Gender, and Sexuality Studies Commons, Folklore Commons, and the Social and Cultural Anthropology Commons Recommended Citation Jorgensen, Jeana, "Whether it’s coins, fringe, or just stuff that’s sparkly': Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’s Costumes" Midwestern Folklore / (2006): 83-97. Available at http://digitalcommons.butler.edu/facsch_papers/673 This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Midwestern folklore. Terre Haute, Ind. : Dept. of English, Indiana State University, [1987- http://hdl.handle.net/2027/inu.30000125293849 Creative Commons Attribution http://www.hathitrust.org/access_use#cc-by-3.0 This work is protected by copyright law (which includes certain exceptions to the rights of the copyright holder that users may make, such as fair use where applicable under U.S. law) but made available under a Creative Commons Attribution license. You must attribute this work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
Metal Craft Heritage of Cauvery and Riverine Regions
Sharada Srinivasan METAL CRAFT HERITAGE OF CAUVERY AND RIVERINE REGIONS NATIONAL INSTITUTE OF ADVANCED STUDIES Bengaluru, India Research Report NIAS/HUM/HSS/U/RR/02/2020 Metal Craft Heritage of Cauvery and Riverine Regions Principal Investigator: Prof Sharada Srinivasan Heritage, Science and Society Programme, NIAS Supported by Tata Consultancy Services HERITAGE, SCIENCE AND SOCIETY PROGRAMMES NATIONAL INSTITUTE OF ADVANCED STUDIES Bengaluru, India 2020 © National Institute of Advanced Studies, 2020 Published by National Institute of Advanced Studies Indian Institute of Science Campus Bengaluru - 560 012 Tel: 2218 5000, Fax: 2218 5028 E-mail: [email protected] NIAS Report: NIAS/HUM/HSS/U/RR/02/2020 ISBN: 978-93-83566-37-2 Typeset & Printed by Aditi Enterprises [email protected] Table of Contents 1. Metal Crafts of the Cauvery region and beyond ..............................................1 2. Chola legacy of icon making of Swamimalai ....................................................4 3. Bell and lamp making in Thanjavur district ....................................................16 4. Swami work: The Art of Thanjavur Plate ........................................................25 5. Copper alloy working centres in Karnataka ....................................................33 6. Iron and Steel Traditions of Telangana Kammari ..........................................37 7. Traditional Blacksmithy of Tamil Nadu and Karnataka ...............................46 8. High-tin bronze metal craft from Aranmula, Kerala .....................................59 -
Contemporay Trends in Chikankari
© 2020 IJRAR February 2020, Volume 7, Issue 1 www.ijrar.org (E-ISSN 2348-1269, P- ISSN 2349-5138) CONTEMPORAY TRENDS IN CHIKANKARI 1Reena S. Pandey , 2 Dr. Subhash Pawar 1Research Scholar , 2Adjunct Professor 1Faculty of Art & Design, 1Vishwakarma University , Pune, India Abstract : “Chikankari – Beauty on White “ as its main centre of focus, where its existence over the time is being studied with the different evolution it has shown in its products. Chikankari is a distinctive integral part of Lucknow culture. In India it is believed that Chikan embroidery may have existed from times immemorial. It is said that Noor Jahan brought this craft to India and later it was whole- heartedly adopted by the Nawabs of Lucknow. Thus it became a part of the culture of Lucknow. The embroidery work on clothes was a common feature. In ancient and medieval periods embroidery may have been more popular among the elites but in the present age it is common even among the masses. Because of which nowadays the market is flooded with coarsely executed work and thoughtless design diversifications which has eroded the sensibility of the craft. IndexTerms - Elegant, fine, extravagant, global presence, coarsely designs, elite class. I. INTRODUCTION “Fashion is architecture. It is a matter of proportions”, said Coco Chanel, (Sieve Wright, 2007) Chikankari is a traditional embroidery style from Lucknow, India. It’s an art, which results in the transformation of the plainest cotton and organdie into flowing yards of magic. Chikankari is subtle embroidery, white on white, in which minute and delicate stitches stand out as textural contrasts, shadows and traceries. -
RAPD) Markers Reveal Genetic Diversity in Bael (Aegle Marmelos Correa) Genotypes of Andaman Islands, India 6055 Dipak Nayak, D
African Journal of Biotechnology Volume 12 Number 42, 16 October, 2013 ISSN 1684-5315 ABOUT AJB The African Journal of Biotechnology (AJB) (ISSN 1684-5315) is published weekly (one volume per year) by Academic Journals. African Journal of Biotechnology (AJB), a new broad-based journal, is an open access journal that was founded on two key tenets: To publish the most exciting research in all areas of applied biochemistry, industrial microbiology, molecular biology, genomics and proteomics, food and agricultural technologies, and metabolic engineering. Secondly, to provide the most rapid turn-around time possible for reviewing and publishing, and to disseminate the articles freely for teaching and reference purposes. All articles published in AJB are peer- reviewed. Submission of Manuscript Please read the Instructions for Authors before submitting your manuscript. The manuscript files should be given the last name of the first author Click here to Submit manuscripts online If you have any difficulty using the online submission system, kindly submit via this email [email protected]. With questions or concerns, please contact the Editorial Office at [email protected]. Editor-In-Chief Associate Editors George Nkem Ude, Ph.D Prof. Dr. AE Aboulata Plant Breeder & Molecular Biologist Plant Path. Res. Inst., ARC, POBox 12619, Giza, Egypt Department of Natural Sciences 30 D, El-Karama St., Alf Maskan, P.O. Box 1567, Crawford Building, Rm 003A Ain Shams, Cairo, Bowie State University Egypt 14000 Jericho Park Road Bowie, MD 20715, USA Dr. S.K Das Department of Applied Chemistry and Biotechnology, University of Fukui, Japan Editor Prof. Okoh, A. I. N. -
Khadi Institution Profile Khadi and Village Industries
KHADI AND VILLAGE INDUSTRIES COMISSION KHADI INSTITUTION PROFILE Office Name : SO CHENNAI TAMIL NADU Institution Code : 4529 Institution Name : THANJAVUR WEST SARVODAYA SANGH Address: : 28-GIRI ROAD, SRINIVASAPURAM Post : SRINIVASAPURAM City/Village : THANJAVUR Pincode : 613009 State : TAMIL NADU District : THANJAVUR Aided by : KVIC District : B Contact Person Name Email ID Mobile No. Chairman : R GANESAN 9443722414 Secretary : RS SIVAKUMAR 9865561337 Nodal Officer : Registration Detail Registration Date Registration No. Registration Type 01-01-1111 15/1974 SOC Khadi Certificate No. TND/3063 Date : 31-MAR_2021 Khadi Mark No. KVIC/CKMC/TN029 Khadi Mark Dt. 01-Oct-2019 Sales Outlet Details Type Name Address City Pincode Sales Outlet KHADI GRAMODYOG 87/88 GANDHI MANNARGUDI 614001 BHAVAN ROAD, MANNARGUDI Sales Outlet KHADI VASTRALAYA PAZHAMANNERI, TIRUKKATTUPPALL 613104 I Sales Outlet KHADI GRAMODYOG 41,BIG STREET PATTUKKOTTAI 614701 BHAVAN Sales Outlet GRAMODYOG SALES DEPOT 41 NATESAN ST, MANNARGUDI 614001 SAKTHI COMPELXS Sales Outlet KHADI GRAMODYOG VALLAM IROAD, R S THANJAVUR 613005 BHAVAN G COLLAGE Sales Outlet KHADI GRAMODYOG SOUTH RAMPART THANJAVUR 613001 BHAVAN,SILK PALACE VANIGAMAIYAM Sales Outlet KHADI GRAMODYOG 1306 SOUTH MAIN THANJAVUR 613009 BHAVAN STREET, Sales Outlet GRAMODOYA SALES DEPO, K.G.COMPELX. VEDARANYAM 615703 NORTH STREET Sales Outlet KHADI VASTRALAYA SETHU RASTHA VEDARANYAM 613009 Sales Outlet KHADI VASTRALAYA MMA COMPELX, ARANTHANGI 614616 THALUKKA OFFICE ROAD Sales Outlet KHADI VASTRALAYA K.V. COMPLEX ORATHANADU 614625 BUSTANT OPP. , ORATHANADU 26 September 2021 Page 1 of 3 Sales Outlet KHADI GRAMODYOG 106 SOUTH STREET THANJAVUR 613204 BHAVAN Sales Outlet BRASS LAMP SHOW ROOM RSG COLLOGE PO THANJAVUR 613005 Infrastructure Details Infrastructure Type Description in No. -
Chikan – a Way of Life by Ruth Chakravarty
N° de projet :ALA/95/23 - 2003/77077 Chikan – A Way of Life By Ruth Chakravarty Chikankari is an ancient form of white floral embroidery, intricately worked with needle and raw thread. Its delicacy is mesmeric. For centuries, this fine white tracery on transparent white fabric has delighted the heart of king and commoner alike. It is centered mainly in the northern heartland of India, namely Lucknow, the capital of a large state, called Uttar Pradesh. It is a complex and elegant craft that has come down to us, evolving, over the years into an aesthetic form of great beauty. That it has survived the loss of royal patronage, suffered deeply at the hands of commercialization, lost its way sometimes in mediocrity and yet stayed alive, is a tribute to the skill and will of the craftspersons who have handed down this technique from one generation to another. There exist several kinds of white embroidery in Europe and across the world, each unique and distinct. Students of this craft like to believe that all forms of embroidery, in some way influence, imitate or complement each other. That may be true to some extent, but right at the onset, let me say that Chikankari is a genre quite unique from other embroideries. Chikankari is at once, simple and elegant, subtle and ornate. This heavy embroidery intricately worked on fine white muslin created a magical effect uniquely its own. The light embroidered fabric was most appropriate for the heat and dust of the North Indian summers. From the time of its inception, Chikan garments spelt class and craft. -
Textile Designs - 1
Textile Designs - 1 1. Crewel Work, Kashmir Textile Designs - 1 2. Embroidered Dorukha Shawl, Kashmir Textile Designs - 1 3. Kinnaur Shawl, Himachal Pradesh Textile Designs - 1 4. Embroidered Chamba Rumal, Himachal Pradesh Textile Designs - 1 5. Bagh Phulkari, Punjab Textile Designs - 1 6. Banarasi Zari Saree, Uttar Pradesh Textile Designs - 1 7. Chikan Embroidery, Kurta, Uttar Pradesh Textile Designs - 1 8. Block Printing, Rajasthan Textile Designs - 1 9. Bandhani Printing, Rajasthan Textile Designs - 1 10. Applique Work, Gujarat Textile Designs - 1 11. Mirror Embroidery, Gujarat Textile Designs - 1 12. Paithani Silk Saree, Maharashtra Textile Designs - 1 Hkkjr us gLrf'kYi dh Js"B ijaijk dks èkjksgj osQ :i esa izkIr fd;k gSA lqUnjrk ls India has inherited a great tradition of handicrafts which has its iw.kZ o lkekftd mi;ksx dh oLrqvksa dh jpuk gsrq ekuo dh ewy vko';drk esa bl beginnings in Man's basic need for creating objects of beauty and social utility. Even simple household articles such as pots, mats and furniture ijaijk dk izkjaHk fufgr gSA ;gka rd fd] crZu] pVkbZ;ka vkSj est] oqQlhZ tSlh lkèkkj.k have been decorated with stylised motifs inspired by nature. ?kjsyw oLrqvksa dks Hkh izo`Qfr izsfjr 'kSyhxr vfHkizk;ksa ls vyao`Qr fd;k tkrk gSA Apart from other handicrafts, India is also famous for the excellence it vU; gLrf'kYiksa osQ vfrfjDr Hkkjr] oL=kksa dh le`f¼ lEcaèkh Js"Brk osQ fy, Hkh has achieved in the rich variety of textiles. Excavations show that, as far izfl¼ gSA [kqnkbZ ls irk pyrk gS fd dkiQh igys] r`rh; 'krkCnh bZlk iwoZ esa lwrh back as in the third millennium B.C, cotton fibre was woven into cloth and rUrq dks oL=k :i esa cquk tkrk Fkk rFkk Nis gq, oL=kksa osQ uewus Hkh izkIr gq, gSaA samples of printed fabrics have also been found.