DOCSLIB.ORG

An Exam Oriented Guide on Indian Art and Culture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MyNotesAdda.Com An exam oriented guide on Indian Art and Culture 1 Specially designed for CSAT and IAS mains MyNotesAdda.Com INDEX • Puppet forms 3 • Painting Styles 16 • Dance forms 27 Classical 29 Folk 38 Tribal 54 • Theater forms 59 • Music 78 • Indian Architecture 83 2 MyNotesAdda.Com Puppet Forms of India 3 MyNotesAdda.Com Puppet Forms of India • A form of theatre or performance involving manipulation of puppets. • The process of animating inanimate performing objects. • Used both as entertainment – in performance – and ceremonially in rituals and celebrations such as carnivals. • Originating in India 4000 years ago, where the main character in Sanskrit plays was known as “Sutradhara”, “the holder of strings”. • Stories mainly from puranic literature, local myths and legends String Puppet Shadow Puppet Glove Puppet Rod Puppet 4 MyNotesAdda.Com Puppet Forms of India 1. String PuPPets • Jointed body and limbs that allow movement. • Made of wood, or wire, or cloth stuffed with cotton, rags or saw dust and are usually small. • Manipulated by operating the control as well as by loosening or pulling the relevant string • Regional variations: Andhra Pradesh (Koyya Bommalata), Assam (Putala Nach), Karnataka (Sutrada Gombeyata), Maharashtra (Kalasutri Bahulya), Rajasthan (Kathputli), Orissa (Gopalila), Tamil Nadu (Bommalatam) and West Bengal (Tarer or Sutor Putul). 5 MyNotesAdda.Com Puppet Forms of India 1. String PuPPets Kathputli, Rajasthan • Carved from a single piece of wood, • Large dolls that are colorfully dressed. • Costumes and headgears are designed in the medieval Rajasthani style • Uses highly dramatized version of the regional music. • Oval faces, large eyes, arched eyebrows and large lips. • Wear long trailing skirts and do not have legs. • Manipulated with strings attached to puppeteers fingers Kundhei, Orissa • Made of light wood, • Have no legs but wear long flowing skirts. • Have more joints and are, therefore, more versatile, articulate and easy to manipulate. • Music of Odissi dance. • Puppeteers hold a wooden prop, triangular in shape, to which strings are attached. 6 MyNotesAdda.Com Puppet Forms of India 1. String PuPPets Gombeyatta, Karnataka • Styled and designed like the characters of Yakshagana, have joints at the legs, shoulders, elbows, hips and knees. • Music is dramatic; blends folk and classical elements • Manipulated by five to seven strings tied to a prop. Bommalattam, Tamil Nadu • Techniques of both rod and string puppets. • Made of wood • Strings are tied to an iron ring which the puppeteer wears like a crown on his head • Are the largest, heaviest and the most articulate of all. (A puppet may be as big as 4.5 feet) • Manipulation Jointed arms sometimes manipulated by rods (because heavy) 7 MyNotesAdda.Com Puppet Forms of India 2. Shadow puppet • Flat figures cut out of leather, treated to make it translucent. • Pressed against the screen with a strong source of light behind it. • The manipulation between the light and the screen make silhouettes or colourful shadows, as the case may be, for the viewers who sit in front of the screen. • Prevalent in Orissa. Kerala, Andhra Pradesh, Karnataka, Maharashtra and Tamil Nadu. 8 MyNotesAdda.Com Puppet Forms of India 2. Shadow puppet Togalu Gombeyatta, Karnataka • Small in size. • Regional music used. • The puppets differ in size according to their social status, for instance, large size for kings and religious characters and smaller size for common people or servants. Tholu Bommalata, Andhra Pradesh • Large in size and have jointed waist, shoulders, elbows and knees. • The classical music of the region • Coloured on both sides. Hence, throw coloured shadows on the screen. 9 MyNotesAdda.Com Puppet Forms of India 2. Shadow puppet Ravanachhaya, Orissa • Small in size and are in one piece with no joints. • Made of deer skin and are conceived in bold dramatic poses. • Not coloured, hence throw opaque shadows on the screen. • Apart from human and animal characters, many props such as trees, mountains, chariots, etc. are also used 10 MyNotesAdda.Com Puppet Forms of India 3. Glove puppet • The head is made of either papier mache, cloth or wood, with two hands emerging from just below the neck. • The rest of the figure consists of a long flowing skirt. • The movements are controlled by the human hand the first finger inserted in the head and the middle finger and the thumb are the two arms of the puppet. • Popular in Uttar Pradesh, Orissa, West Bengal and Kerala. • Dialogues play an important role here 11 MyNotesAdda.Com Puppet Forms of India 3. Glove puppet Pavakoothu, Kerala • The height varies from one foot to two feet. • The head and the arms are carved of wood and joined together with thick cloth, cut and stitched into a small bag • The musical instruments used during the performance are Chenda, Chengiloa, Ilathalam and Shankha • The face are decorated with paints, small and thin pieces of gilded tin, the feathers of the peacock. • Has resemblance with that of kathakali dance. • The manipulator puts his hand into the bag and moves the hands and head of the puppet. 12 MyNotesAdda.Com Puppet Forms of India 4. Rod puppet • Extension of glove-puppets, but often much larger and supported and manipulated by rods from below. • Found mostly in West Bengal and Orissa. 13 MyNotesAdda.Com Puppet Forms of India 4. Rod puppet Putul Nautch, West Bengal • Costumed like the actors of Jatra, a traditional theatre • Carved from wood and follow the various artistic styles of a particular region. • Used to be of human size, but existing puppets vary from 3 to 4 feet in height • Music of Jatra theatre (drum, harmonium and cymbals) • Puppeteers themselves sing and deliver the stylized prose dialogues along with a group of musicians • Manipulated by a bamboo-made hub tied firmly to the waist of the puppeteer on which the rod holding the puppet is placed. • Puppeteers move and dance imparting movements to puppets. 14 MyNotesAdda.Com Puppet Forms of India 4. Rod puppet Rod puppets, Orissa • Much smaller in size, sbout twelve to eighteen inches. • Hands are tied to strings instead of rods. (because they are small) • The music blends folk tunes with classical Odissi tunes • Most of the dialogues are sung. • The Orissa rod-puppeteers squat on the ground behind a screen and manipulate. Yampuri, Bihar • In one piece and have no joints. • Describes Yampuri (the house of Death). • The show begins with appearance of the death-god Yama and his messenger, followed by their record-keeper Chitragupta. One by one, the people (supposedly after death) are marched in front of Yama to receive their doles of punishment. • The narrative is meant primarily to put the fear of heaven and hell in people for their current deeds 15 MyNotesAdda.Com Painting Styles in India 16 MyNotesAdda.Com Painting styles in India • Paintings are basically two types: Murals: large scale paintings generally attached to the floor of palaces and caves. Miniatures: small scale which are done on mainly cloth or paper • Can be categorized into seven special group: Rajasthani painting Madhubani painting Tanjore painting Mughal painting Benhal style of art Patta chitra Warli art 17 MyNotesAdda.Com Painting styles in India Madhubani • Also known as Mithila painting. • Originated in Madhubani village in Bihar. • According to mythology, this tradition commenced when Janakraj, father of rani sita asked his painters to paint the moments of marriage ceremony of Sita with Lord Rama • Traditionally done by Madhubani’s women on mud walls, later started on cloth, canvas and handmade papers. • Also depict other Hindu devotional stories. • Natural objects like moon, sun, tulsi etc is also found as theme. • No empty space is left, gaps are filled by different geometrical motifs, floral, animals, and bird pictures. • Are of three kinds : Brahmin style, Tatoo style and Kshatriya style. • Done with twigs, brushes, fingers, matchsticks, and nib pens using natural dyes and colors. • Eye-catching geometrical patters. 18 MyNotesAdda.Com Painting styles in India Tanjore • Originated form Thanjavur, Tamil Nadu around 16th century. • Widely popular as home décor item. • A unique art-form where precious stones and gold foils were used. • Initially used to depict Hindu Gods and Goddesses in grandeur. • Figures are large and the faces are round and divine. Lace or thread is also used to decorate the jewellery. • A mixture called "muk" is prepared using chalk powder and African gum in a ratio of 2:1 and applied in places around the stones and other areas to give an embossed look. • Most of the paintings would depict the Child Krishna and his various pranks, paintings of other deities were also created. • Changing with time - for example, the figures are no longer round. • Presiding deities of various famous temples are also being depicted in the paintings. 19 MyNotesAdda.Com Painting styles in India rajasthani • Developed and flourished during the 18th century in the royal courts of Rajasthan. • The most important themes are from the life of Lord Krishna, the Great epics of Ramayana and the Mahabharata, landscapes and human beings. • Also used on the walls of palaces, interior chambers of the forts, havelis and the like. Schools of Rajput Painting: Bikaner School has more Mughal elements than other. Also reflect marked influence of Deccan paintings. Influenced by the surroundings, have their own unique style the hills and valleys, deserts, places and forts, gardens, court scenes, religious processions. Bundi-Kota Kalam School started originating in Bundi around the late 16th century and reflected heavy Mughal influence. Jaipur School, because of its architectural charm, pleasant combination of colors and specially laid out plan, is called the Pink City of India. Jaipur and surrounding regions of Alwar and Tonk are famous for the Jaipur style paintings 20 MyNotesAdda.Com Painting styles in India mughal • Exclusive combination of Indian, Persian and Islamic styles.
Recommended publications
  • Particulars of Some Temples of Kerala Contents Particulars of Some

    Particulars of Some Temples of Kerala Contents Particulars of Some

    Particulars of some temples of Kerala Contents Particulars of some temples of Kerala .............................................. 1 Introduction ............................................................................................... 9 Temples of Kerala ................................................................................. 10 Temples of Kerala- an over view .................................................... 16 1. Achan Koil Dharma Sastha ...................................................... 23 2. Alathiyur Perumthiri(Hanuman) koil ................................. 24 3. Randu Moorthi temple of Alathur......................................... 27 4. Ambalappuzha Krishnan temple ........................................... 28 5. Amedha Saptha Mathruka Temple ....................................... 31 6. Ananteswar temple of Manjeswar ........................................ 35 7. Anchumana temple , Padivattam, Edapalli....................... 36 8. Aranmula Parthasarathy Temple ......................................... 38 9. Arathil Bhagawathi temple ..................................................... 41 10. Arpuda Narayana temple, Thirukodithaanam ................. 45 11. Aryankavu Dharma Sastha ...................................................... 47 12. Athingal Bhairavi temple ......................................................... 48 13. Attukkal BHagawathy Kshethram, Trivandrum ............. 50 14. Ayilur Akhileswaran (Shiva) and Sri Krishna temples ...........................................................................................................
  • Shiva's Waterfront Temples

    Shiva's Waterfront Temples

    Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Subhashini Kaligotla All rights reserved ABSTRACT Shiva’s Waterfront Temples: Reimagining the Sacred Architecture of India’s Deccan Region Subhashini Kaligotla This dissertation examines Deccan India’s earliest surviving stone constructions, which were founded during the 6th through the 8th centuries and are known for their unparalleled formal eclecticism. Whereas past scholarship explains their heterogeneous formal character as an organic outcome of the Deccan’s “borderland” location between north India and south India, my study challenges the very conceptualization of the Deccan temple within a binary taxonomy that recognizes only northern and southern temple types. Rejecting the passivity implied by the borderland metaphor, I emphasize the role of human agents—particularly architects and makers—in establishing a dialectic between the north Indian and the south Indian architectural systems in the Deccan’s built worlds and built spaces. Secondly, by adopting the Deccan temple cluster as an analytical category in its own right, the present work contributes to the still developing field of landscape studies of the premodern Deccan. I read traditional art-historical evidence—the built environment, sculpture, and stone and copperplate inscriptions—alongside discursive treatments of landscape cultures and phenomenological and experiential perspectives. As a result, I am able to present hitherto unexamined aspects of the cluster’s spatial arrangement: the interrelationships between structures and the ways those relationships influence ritual and processional movements, as well as the symbolic, locative, and organizing role played by water bodies.
  • Androgynous Pariahs Gender Transformations and Politics of Culture in the North Indian Folk Theater Svāṅg

    Androgynous Pariahs Gender Transformations and Politics of Culture in the North Indian Folk Theater Svāṅg

    Karan Singh Government College for Women, Haryana, India Androgynous Pariahs Gender Transformations and Politics of Culture in the North Indian Folk Theater Svāṅg Theater in general and so-called “folk” theater forms in particular transpose derivative behavioral patterns onto performers by arranging them spatially within a circumscribed area. This power of theater to transform a person from his familiar, normative life to an altered “persona,” temporally and spatially, lingers on with the performer, individually as well as collectively, even when outside of the performance arena. At the same time, however, even while on the stage, a performer is never really an individual in the sense of having a dis- tinct consciousness, for he carries with him a considerable amount of baggage based on gender, caste, and other cultural determinants prominent within the Indian social sphere. While utilizing his dramatic capacity to transform his individual self into another being on stage, performance confers on the actor an opportunity to transcend social and gender boundaries. The present article seeks to understand the role played by ontological transformations and dis- guises as factors responsible for cultural condemnation of a well-known form of folk theater called svāṅg, due to the challenge it poses to the structural view of life undertaken by cultural purists as stable and fixed, particularly in the case of gender and social identities. At the same time it traces the genesis of opprobrium on folk theater as low-caste or low-class activity, resulting
  • Folk Songs CLASS-II

    Folk Songs CLASS-II

    Folk Songs CLASS-II 6 Notes FOLK SONGS A folk song is a song that is traditionally sung by the common people of a region and forms part of their culture. Indian folk music is diverse because of India's vast cultural diversity. It has many forms. The term folk music was originated in the 19th century, but is often applied to music older than that. The glimpse of rural world can be seen in the folk music of the villages. They are not only the medium of entertainment among the rural masses but also a reflection of the rural society. In this lesson we shall learn about the characteristics of folk songs and music and also about the various folk songs of India. OBJECTIVES After studying this lesson, you will be able to: • define folk songs; • list the characteristics of folk songs and folk music; • list some famous forms of folk song of our country; and • describe the importance of folk song in our culture. OBE-Bharatiya Jnana Parampara 65 Folk Songs CLASS-II 6.1 MEANING OF FOLK SONGS AND MUSIC Music has always been an important aspect in the lives of Indian Notes people. India's rich cultural diversity has greatly contributed to various forms of folk music. Almost every region in India has its own folk music, which reflects local cultures and way of life. Folk songs are important to music because they give a short history of the people involved in the music. Folk songs often pass important information from generation to generation as well.
  • Indian Music

    Indian Music

    Indian music The history of India in terms of music can be regarded as one of the oldest in the world. Some of the experts claims the Indian music dates back to the times of Vedas. It doesn’t matters what time and age maybe associated with Indian music there is no doubt that music has been an important part of India’s cultural and traditional heritage. Indian music is basically the combination of vocal and instrumental music with great significance of dance. All these combine to form a Sangeet India’s music is based on the combination of vocal and instrumental music, along with dance. And these three combined is what is known as sangeet. Division of Indian music Indian music can be divided into three parts: Modern music Classical music Folk music Modern Indian music : Large collections of modern music are the songs from Indian cinema which makes up 72% of the music sales in the country. The modern music comprises: Pop Rock n mental music Dance music Indian hip-hop Classical music Instruments like Sitar, sarod, tabla, sarangi or dhrupad, khayal, ghazal or raga, tala, gharana are known by world today. They represent the musical art of India specially the Indian classical music. Indian classical music is based on two types of music further i.e. Classical music prevalent in north India The Carnatic music of south India Hindustani music: A significant amount of Persian influence can be observed in Hindustani music in terms of instruments. It has assimilated several folk tunes. Table players usually keep the rhythm which can be an indicator of time.
  • IDA Newsletter April 2021

    IDA Newsletter April 2021

    promote quality patient care and patient safety across the Houston community. Advancing inclusivity and belonging for people from all backgrounds and ethnicities are key to the promotion of strong health care and the safety of our communities. We Indian Doctors Association stand with our Asian American and Pacific Islander colleagues and friends in the global Greater Houston effort to treat our fellow people with dignity and equity. We look forward to making great April 2021 Edition strides in the month of April and in the years to come. President’s Message IDA’s Covid-19 Awareness Campaign This is yet another exciting month for the https://www.facebook.com/idahouston15 medical community and for IDA. We are https://www.instagram.com/houstonindian/ proud of our members in their decision to https://www.linkedin.com/in/indian-doctor-s raise public awareness and promote trust in -association-houston-0506a21a/ medical science within our community Jignesh Shah, MD regarding COVID-19 vaccines. Especially in President our home communities, there is significant skepticism amongst the general population. “Friends of IDA” The pandemic has threatened the welfare of healthcare workers who risk everything in their line of service. Let us continue to work together to do our part to end this devastating virus, which has affected so many of our patients, community members, and loved ones. You can help us beat this virus by getting vaccinated and encouraging “We are proud of the Indo-American doctors others to sign up for the vaccine. and healthcare workers for their service to the community during the current IDA continues to broaden its footprint pandemic.
  • All in One Gs 06 फेब्रुअरी 2019

    All in One Gs 06 फेब्रुअरी 2019

    ALL IN ONE GS 06 FEBRUARY 2019 Classical Dance in India: 3. Yajurveda / यजुर्ेद 4. Rigveda / ऋग्र्ेद Ans- 2 भारत मᴂ शास्त्रीय न配ृ य: Q-2 The oldest form of the composition of Hindustani Vocal Music is: Classical Dances are based on Natya Shastra. सहंदुस्तानी गायन संगीत की रचना का सबसे पुराना 셂प है: शास्त्रीय नृ配य नाट्य शास्त्र पर आधाररत होते हℂ। 1. Ghazal / ग़ज़ल 2. Dhrupad / ध्रुपद Classical dances can only be performed by trained dancers and who have 3. Thumri / ठुमरी 4. Qawwali / कव्र्ाली studied their form for many years. Ans- 2 शास्त्रीय नृ配य के वल प्रशशशित नततशकयⴂ द्वारा शकया जा सकता है और शजन्हⴂने कई वर्षⴂ तक Q-3 Which of the following is correct? अपने 셁पⴂ का अध्ययन शकया है। सन륍न में से कौन सा सही है? Classical dances have very particular meanings for each step, known as 1. Hojagiri dance- Tripura / होजासगरी नृ配य- सिपुरा "Mudras". 2. Bhavai dance- Rajasthan / भर्ई नृ配य- राजस्थान शास्त्रीय नृ配यⴂ के प्र配येक चरण के शलए बहुत शवशेर्ष अर्त होते हℂ, शजन्हᴂ "मुद्रा" के 셂प मᴂ 3. Karakattam- Tamil Nadu / करकटम- तसमलनाडु जाना जाता है। 4. All of the above / उपरोक्त सभी Classical dance forms are based on grace and formal gestures, steps, and Ans- 4 poses. Q-4 Which of the musical instruments is of Indo-Islamic origin? शास्त्रीय नृ配य 셂पⴂ अनुग्रह और औपचाररक इशारⴂ, और हाव-भाव पर आधाररत होते हℂ। कौन सा र्ाद्ययंि इडं ो-इस्लासमक मूल का है? 1.
  • Classical Dances Have Drawn Sustenance

    Classical Dances Have Drawn Sustenance

    Performing Art 1 Classic Dances 4 Bharatnatyam Dance 8 Kathakali Dance 12 Kathak Dance 18 Manipuri 21 Lai Haraoba 22 Radha and Krishna 23 Pung Cholam 23 Kartal Cholam 23 Thang-Ta 24 Musicians 24 Odissi 25 Kuchipudi 30 Sattriya 34 Performing Art In India, various facets of performing arts are all pervading bringing colour and joy to numerous festivals and ceremonies, and reaffirming the faith of the people in their heritage. These facets have been responsible for sustaining the long continuities of ancient traditions. They are the link between the past and the present. It thus exemplifies the complex, organic interaction of all aspects of life implicit in all tribal and folk art forms; art is not seen as something apart from life, a mere ornamentation or entertainment, but as an intrinsic part of it. Page !1 of !36 Pre-historic Cave painting, Bhimbetka, Madhya Pradesh Under the patronage of Kings and rulers, skilled artisans and entertainers were encouraged to specialize and to refine their skills to greater levels of perfection and sophistication. Gradually, the classical forms of Art evolved for the glory of temple and palace, reaching their zenith around India around 2nd C.E. onwards and under the powerful Gupta empire, when canons of perfection were laid down in detailed treatise - the Natyashastra and the Kamasutra - which are still followed to this day. Through the ages, rival kings and nawabs vied with each other to attract the most renowned artists and performers to their courts. While the classical arts thus became distinct from their folk roots, they were never totally alienated from them, even today there continues a mutually enriching dialogue between tribal and folk forms on the one hand, and classical art on the other; the latter continues to be invigorated by fresh folk forms, while providing them with new thematic content in return.
  • O G BAAJAA GAAJAA OPEN STAGE 1 – AAN Date: Feb 5, 2010 GAN Time Artiste Vocal/Instrument Genre/Notes 11 Am-11.30 Am Unmesh

    O G BAAJAA GAAJAA OPEN STAGE 1 – AAN Date: Feb 5, 2010 GAN Time Artiste Vocal/Instrument Genre/Notes 11 Am-11.30 Am Unmesh

    BAAJAA GAAJAA OPEN STAGE 1 – AANGAN Date: Feb 5, 2010 Time Artiste Vocal/Instrument Genre/Notes Unmesh Khaire(harmonium)+Abhim 11 am-11.30 am anyu Herlekar (tabla) Harmonium solo Hindustani Classica 11.30 am-12.15 pm Darpana Academy Various Folk music of Gujarat 12.15 pm- 12.30 pm Bajrang Vasudeo Vocal Folk music of Maharashtra 12.30 pm- 1 pm Prakash Shejwal Pakhawaj solo Hindustani Classica Vocal: Dhananjay Hegde, Anant Terdal, Suvarny Nayak, Shantheri Kamath Tabla: T. Ranga Pai Harmonium: Shankar Shenoy Sitar:Shruti Dasarapadagalu-Kannada religious and 2 pm-2.45 pm Kamath Vocal folk songs Snehasish Mozumdar (mandolin)+Partha Sarathi 2.45 pm-3.30 pm Mukherjee (tabla) Mandolin Hindustani Classica 3.30 pm-4.15 pm Shahir Rangrao Patil, Rashtriya Shahiri, Bhedik 4.15 pm-5 pm Shahir Mahadeo Budake Shahiri and Dhangari ov Folk music of Maharashtra Arnab Chakrabarty (sarod)+Partha Sarathi 5 pm-5.45 pm Mukherjee (tabla) Sarod Hindustani Classica Dnyani Bhajan Mandal - Mahadeobuwa Shahabadkar (Koli) and 5.45 pm – 6.30 pm ensemble Vocal Religious TOTAL OPEN STAGE 1 Date: Feb 6, 2010 Time Artiste Vocal/Instrumental Genre/Notes 11 am-11.30 am 11.30 am-12.15 pm Milind Date Instrumental Fusion Band Marathi Bhav Sangeet played by T. Ranga Pai (Violin) and Shruti Kamath (Sitar) Tabla: 12.15 pm- 1 pm Shantanu Kinjavdekar Violin and sitar Popular music Hiros Nakagawa (bansuri) + 2 pm-2.45 pm Prafull Athalye (tabla) Bansuri Hindustani Classical 2.45 pm-3.15 pm Child artiste- Rajasthan Various Folk music of Rajasthan S.
  • The Architectural Study of Sun Temples in India: Based on Location, Construction Material and Spatial Analysis Study

    The Architectural Study of Sun Temples in India: Based on Location, Construction Material and Spatial Analysis Study

    International Journal of Scientific and Research Publications, Volume 11, Issue 1, January 2021 331 ISSN 2250-3153 The Architectural Study of Sun Temples in India: Based on Location, Construction Material and Spatial Analysis Study Ar. Swarna Junghare Amity school of architecture and planning Amity University Raipur, Chhattisgarh DOI: 10.29322/IJSRP.11.01.2021.p10935 http://dx.doi.org/10.29322/IJSRP.11.01.2021.p10935 Abstract-Religious places are most important constructions in India in every religion. In Hindu religion, the temples have supreme importance and different god and goddesses like Vishnu, Mahadeva, et. Are being worshiped. among them we are focusing on sun temples because they are believed to be built either because of some vow or to celebrate victory. Concept behind building sun temple is sun as a celestial body in universe, earth’s rotation around sun, period of completion of one rotation. elements of ornamentation are focused on the above-mentioned factors. In India the origin of the worship of the Sun is several centuries old. Sun temples are constructed in different time period by various dynasties. The study of sun temples in India is based on their location, spatial arrangement, historical background, construction material, time line, evolution and ornamentation. By comparing above mentioned parameters, we can find out over the period of time changes occurred in the construction of the sun temple in India. This study helps in the construction of contemporary sun temples. Index Terms - Architectural Details, India, Light, Sun Temple, time line I INTRODUCTION The history of India is very old and from historical time in India, religion, culture, festivals plays important role.
  • Agenda for 25 GST Council Meeting

    Agenda for 25 GST Council Meeting

    Confidential Agenda for 25th GST Council Meeting Volume – 1 18 January 2018 Page 2 of 252 File No: 297/25th GSTC Meeting/GSTC/2017 GST Council Secretariat Room No.275, North Block, New Delhi Dated: 22 December, 2017 Notice for the 25th Meeting of the GST Council scheduled on 18 January 2018 The undersigned is directed to refer to the subject cited above and to say that the 25th Meeting of GST Council will be held on Thursday, 18 January 2018 from 12:20 pm onwards at Hall No 2-3, Vigyan Bhavan, New Delhi. Before the meeting of the GST Council, Union Finance Minister will have discussions with the Finance Ministers of States on the budget proposals for the Union Budget 2018-19 from 10:00 am to 12:00 noon at the same venue. 2. The Meeting of the GST Council shall be followed by Cultural Programme and Dinner to be hosted by Government of NCT of Delhi from 7:00 pm to 10:00 pm on 18 January 2018. 3. The detailed agenda items for the 25th Meeting of the GST Council will be communicated in due course of time. 4. The main agenda in the GST Council Meeting will be to discuss the draft Amendment to CGST Act, SGST Act and IGST Act. In order to have detailed discussions on the draft proposals for amendment, Union Finance Secretary will take a separate meeting of Officers of State and Central Government from 11:00 am onwards on Thursday, 11 January 2018 at Hall No 2-3, Vigyan Bhavan, New Delhi.
  • Prison Gates Open for KSM Ministry a Beautiful Chilly Morning Crept Over Prisoners and Police Personnel, the Treetops As We Sat in Front of Our As Christmas Treat

    Prison Gates Open for KSM Ministry a Beautiful Chilly Morning Crept Over Prisoners and Police Personnel, the Treetops As We Sat in Front of Our As Christmas Treat

    PRAYING KARNATAKA ù<o~Kù SHUBHASAMACHARA Bj"æljDjAjtÖoÚj MANDALI Aj"0Ûjb WITNESSING DISCIPLING Post Box No.9550, Koramangala, Bangalore 560095 Phone / Fax: 080-25531214; 28465900 E-mail: [email protected] JANUARY/FEBRUARY 2005 FOR PRIVATE CIRCULATION ONLY No.92 Prison Gates open for KSM Ministry A beautiful chilly morning crept over prisoners and police personnel, the treetops as we sat in front of our as Christmas treat. We were Indiranagar Methodist Church in the then joined with the KSM presence of the Lord. It was the 22nd ambulance team and we were of December 2004, the day we’d all off to Tumkur singing songs been praying about ever since we and praising God for the came back from the Kolar prison. wonderful opportunity He had With hopes soaring high we sat given us. The weather was hot praying silently for God’s guidance and the journey was tiresome till our bus arrived. At about 8 o’clock and so we stopped by for a cup Baldwin Girls’ High School bus of tea before our destination. KSM team & volunteers from Indiranagar Methodist Church at the KSM Mission arrived and we got to work packing At 10:15 a.m. our bus entered the Centre before leaving for Tumkur Prison. the snack packets that our church had dusty road that led to the Tumkur generously contributed for the prison. Our hearts brimming with prisoners who were already seated anticipation, we said our on the ground, eagerly waiting for us concluding prayer. As we under the shade of the jackfruit tree.