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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. -
GI Journal No. 75 1 November 26, 2015
GI Journal No. 75 1 November 26, 2015 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO.75 NOVEMBER 26, 2015 / AGRAHAYANA 05, SAKA 1936 GI Journal No. 75 2 November 26, 2015 INDEX S. No. Particulars Page No. 1 Official Notices 4 2 New G.I Application Details 5 3 Public Notice 6 4 GI Applications Bagh Prints of Madhya Pradesh (Logo )- GI Application No.505 7 Sankheda Furniture (Logo) - GI Application No.507 19 Kutch Embroidery (Logo) - GI Application No.509 26 Karnataka Bronzeware (Logo) - GI Application No.510 35 Ganjifa Cards of Mysore (Logo) - GI Application No.511 43 Navalgund Durries (Logo) - GI Application No.512 49 Thanjavur Art Plate (Logo) - GI Application No.513 57 Swamimalai Bronze Icons (Logo) - GI Application No.514 66 Temple Jewellery of Nagercoil (Logo) - GI Application No.515 75 5 GI Authorised User Applications Patan Patola – GI Application No. 232 80 6 General Information 81 7 Registration Process 83 GI Journal No. 75 3 November 26, 2015 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 75 of the Geographical Indications Journal dated 26th November 2015 / Agrahayana 05th, Saka 1936 has been made available to the public from 26th November 2015. GI Journal No. 75 4 November 26, 2015 NEW G.I APPLICATION DETAILS App.No. Geographical Indications Class Goods 530 Tulaipanji Rice 31 Agricultural 531 Gobindobhog Rice 31 Agricultural 532 Mysore Silk 24, 25 and 26 Handicraft 533 Banglar Rasogolla 30 Food Stuffs 534 Lamphun Brocade Thai Silk 24 Textiles GI Journal No. -
Pahari Miniature Schools
The Art Of Eurasia Искусство Евразии No. 1 (1) ● 2015 № 1 (1) ● 2015 eISSN 2518-7767 DOI 10.25712/ASTU.2518-7767.2015.01.002 PAHARI MINIATURE SCHOOLS Om Chand Handa Doctor of history and literature, Director of Infinity Foundation, Honorary Member of Kalp Foundation. India, Shimla. [email protected] Scientific translation: I.V. Fotieva. Abstract The article is devoted to the study of miniature painting in the Himalayas – the Pahari Miniature Painting school. The author focuses on the formation and development of this artistic tradition in the art of India, as well as the features of technics, stylistic and thematic varieties of miniatures on paper and embroidery painting. Keywords: fine-arts of India, genesis, Pahari Miniature Painting, Basohali style, Mughal era, paper miniature, embroidery painting. Bibliographic description for citation: Handa O.C. Pahari miniature schools. Iskusstvo Evrazii – The Art of Eurasia, 2015, No. 1 (1), pp. 25-48. DOI: 10.25712/ASTU.2518-7767.2015.01.002. Available at: https://readymag.com/622940/8/ (In Russian & English). Before we start discussion on the miniature painting in the Himalayan region, known popularly the world over as the Pahari Painting or the Pahari Miniature Painting, it may be necessary to trace the genesis of this fine art tradition in the native roots and the associated alien factors that encouraged its effloresces in various stylistic and thematic varieties. In fact, painting has since ages past remained an art of the common people that the people have been executing on various festive occasions. However, the folk arts tend to become refined and complex in the hands of the few gifted ones among the common folks. -
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. -
Chamba Rumal, Geographical Indication (GI)” Funded By: MSME
Proceedings of Half Day Workshop on “Chamba Rumal, Geographical Indication (GI)” Funded by: MSME. Govt. of India Venue: Bachat Bhawan , Chamba Date: 19.4.2017 Organized by State Council for Science, Technology & Environment, H.P The State Council for Science, Technology & Environment(SCSTE), Shimla organized a One Day Awareness Workshop on “Chamba Rumal: Geographical Indication” for Micro, Small and Medium Enterprises (MSMEs) for the Chamba Rumal artisans at Bachat Bhawan, Chamba on 19th March,2017.Additional District Magistrate, Distt. Chamba, Sh.Shubh Karan Singh was the Chief Guest on the occasion while Padamshree Vijay Sharma, Chamba Rumal expert was the guest of honour. Other dignitaries present on the occasion included Sh. Kunal Satyarthi, IFS, Joint Member Secretary, SCSTE, Sh. Omkar Singh , Manager, District Industries Centre and National Awardees- Kamla Nayeer, Lalita Vakil. On behalf of host organization Dr. Aparna Sharma, Senior Scientific Officer, Sh. Shashi Dhar Sharma, SSA, Ms. Ritika Kanwar, Scientist B and Mr. Ankush Prakash Sharma, Project Scientist were present during the workshop. Inaugural Session: Dr.Aparna Sharma, Senior Scientific Officer, SCSTE Shimla welcomed all the dignitaries, resource persons, Chamba Rumal artisans and the print and electronic media at the workshop on behalf of the State Council for Science, Technology & Environment, H.P. She elaborated on the GIs registered by the Council. Kullu shawl was the first GI to be registered in 2004, Kangra Tea (2005), Chamba Rumal (2007), Kinnauri Shawl (2008) and Kangra Paintings (2012) are other GIs Welcome address by Dr. Aparrna Sharma, Senior Scientific Officer State Council for registered by HPPIC. The applications for Chulli Oil and Science, Technology & Environment Kala Zeera are in the final stages of processing with the GI Registry Office. -
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. -
Traditional Indian Textiles Students Handbook + Practical Manual Class XII
Traditional Indian Textiles Students Handbook + Practical Manual Class XII CENTRAL BOARD OF SECONDARY EDUCATION Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi-110301 In collaboration with National Institute of Fashion Technology Traditional Indian Textiles – Class XII Students Handbook + Practical Manual PRICE : ` FIRST EDITION : 2014 © CBSE, India COPIES : No Part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical photocopying, recording or otherwise without the prior permission of the publisher. PUBLISHED BY : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi - 110301 DESIGNED & LAYOUT : M/s. India Offset Press, A-1, Mayapuri Industrial Area, Phase-1, New Delhi - 110064 Hkkjr dk lafo/kku mísf'kdk ge Hkkjr ds yksx Hkkjr dks ,d ^¿lEiw.kZ izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kRed x.kjkT;À cukus ds fy,] rFkk mlds leLr ukxfjdksa dks % lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /keZ vkSj mikluk dh Lora=rk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek vkSj jk"Vª dh ,drk vkSj v[k.Mrk lqfuf'pr djus okyh ca/kqrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/kku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~}kjk bl lafo/kku dks vaxhÑr] vf/kfu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/kku ¼c;kfyloka la'kks/ku½ vf/kfu;e] 1976 dh /kkjk 2 }kjk ¼3-1-1977½ ls ÞizHkqRo&laiUu yksdra=kRed x.kjkT;ß ds LFkku ij izfrLFkkfirA 2- lafo/kku ¼c;kfyloka la'kks/ku½ -
TENT HANGING, Cotton Painted, Printed and Dyed, Mughal. Late 17Th Or Early 18Th Century
TENT HANGING, cotton painted, printed and dyed, Mughal. late 17th or early 18th century. V+A Part of a floorspread, resist- and mordant-dyed cotton, Mughal, late17th-early 18th century. V+A Mughal flowering plant motifs appear in other arts as well... here marble carvings on walls of Taj Mahal, Agra Cotton floorspread embroidered with silk thread. Mughal, early 18th century. V+A Handpainted, printed + dyed palampores, 18th ce, V+A HANDPAINTING + PRINTING ON TEXTILES TYPICALLY DONE IN TWO WAYS: WOODEN BLOCK (below) OR KALAM (above) Block carver in Sanganeer, Rajasthan Blockprinting workshops in Sanganer, Rajasthan RIGHT: The ties at the side have been made into a decorative feature in themselves, with carefully designed floral motifs made to fit the lappets. Man's robe (jama) made of printed, painted and dyed cotton, possibly made in Burhanpur, 18th century LEFT: This robe is said to have belonged to Tipu Sultan of Mysore (d.1799), although there is only anecdotal evidence for this. The late Mughal style of the robe and its decoration do tally with an 18th-century date. 1658 Mughal painting of nobleman wearing Muslin Jama This man's robe is of the type called a jama, which crosses over the chest and fastens at the side. This example is exceptional in the amount of cloth used for its gathered skirt: it has a circumference at the hem of 65 metres of cloth, and the skirt is made up of 277 triangular panels. It was given to the India Museum (which was amalgamated into the South Kensington Museum, later the V&A) by the Maharaja of Bharatpur in Rajasthan in 1855. -
The Sixth String of Vilayat Khan
Published by Context, an imprint of Westland Publications Private Limited in 2018 61, 2nd Floor, Silverline Building, Alapakkam Main Road, Maduravoyal, Chennai 600095 Westland, the Westland logo, Context and the Context logo are the trademarks of Westland Publications Private Limited, or its affiliates. Copyright © Namita Devidayal, 2018 Interior photographs courtesy the Khan family albums unless otherwise acknowledged ISBN: 9789387578906 The views and opinions expressed in this work are the author’s own and the facts are as reported by her, and the publisher is in no way liable for the same. All rights reserved No part of this book may be reproduced, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without express written permission of the publisher. Dedicated to all music lovers Contents MAP The Players CHAPTER ZERO Who Is This Vilayat Khan? CHAPTER ONE The Early Years CHAPTER TWO The Making of a Musician CHAPTER THREE The Frenemy CHAPTER FOUR A Rock Star Is Born CHAPTER FIVE The Music CHAPTER SIX Portrait of a Young Musician CHAPTER SEVEN Life in the Hills CHAPTER EIGHT The Foreign Circuit CHAPTER NINE Small Loves, Big Loves CHAPTER TEN Roses in Dehradun CHAPTER ELEVEN Bhairavi in America CHAPTER TWELVE Portrait of an Older Musician CHAPTER THIRTEEN Princeton Walk CHAPTER FOURTEEN Fading Out CHAPTER FIFTEEN Unstruck Sound Gratitude The Players This family chart is not complete. It includes only those who feature in the book. CHAPTER ZERO Who Is This Vilayat Khan? 1952, Delhi. It had been five years since Independence and India was still in the mood for celebration. -
Issues of the Lucknow Chikan Handicraft Industry
International Journal of Multidisciplinary Research in Social Science ISSN: 2455-7943 Issues of The Lucknow Chikan Handicraft Industry Yusairah Ahmad* & Dr. Mohammed Anees** ABSTRACT Chikan craft is a traditional handwork of the Lucknow region. The work is renowned all over the world for its fineness, delicacy and elegance. The chikan craft industry is an unorganized industry and faces a lot of problems. This paper details all the problems faced by the chikan craft industry of Lucknow. Secondary data from various available sources have been used to study the problems. The study reveals that artisans are most suffered people who do the actual handwork by straining their eyes. These people are paid less and they are also developing health issues overtime. These artisans are ignored for the basic facilities such as hygienic place of work and living, social security, literacy and very low standards of living. The findings also reveal that the chikan craft entrepreneurs face problems such as the increasing presence of Chinese chikan products, technological obsolescence, fragmented processes, dwindling exports and no marketing measures undertaken to increase the awareness of the industry. The paper suggests that many of these issues can be solved by the mutual support of the government, private organizations and the Lucknow Chikan Handicraft Association. This would not only solve the problems under study but also increase the exports resulting in more revenues to the entrepreneurs and government. Moreover increased exports will give better -
Bandhani (Tie and Die) – a Rajasthani Technique for Dyeing Textiles
SRJIS/BIMONTHLY/DR. RANJANA GUPTA (5083-5086) BANDHANI (TIE AND DIE) – A RAJASTHANI TECHNIQUE FOR DYEING TEXTILES Ranjana Gupta, Ph. D. Associate Professor- Home Science, K. R. Girls P.G. College Mathura Scholarly Research Journal's is licensed Based on a work at www.srjis.com The art of Bandhani is highly skilled process. The technique involves dyeing a fabric which is tied tightly with a thread at several points , thus producing a variety of patterns like Leheriya, Mothra, Ekdali and Shikari depending on the manner in which the cloth is tied. 1.1 History Different forms of tie and dye have been practiced in India. Indian Bandhani, a traditional form of tie and dye, began about 5000 years ago. Also known as Bandhani and Bandhej, it is the oldest tie and dye tradition that is still practiced. Dyes were discovered by primitive man/woman in the form of extracts of various plants, flowers, leaves, bark, etc., which were applied to cloth and other fabrics. Even though color was applied they didn't consider this dyeing. It was simply a form of embellishment. What was considered dyeing was the art of using color to form a permanent bond with fiber in a prepared dye bath. Ancient artists discovered that some dyes dissolved and gave their color readily to water, forming a solution which was easily absorbed by the fabric. Herbs and plants like turmeric and indigo were crushed to a fine powder and dissolved in water so that cotton material could be dyed into deep colours. These colours have been used in India since ancient times and are considered to be the origin of the art of dyeing. -
Traditional Indian Textiles Students Handbook + Practical Manual Class XII
Traditional Indian Textiles Students Handbook + Practical Manual Class XII Central Board of SeCondary eduCation Shiksha Kendra, 2, Community Centre, Preet Vihar, delhi-110301 In collaboration with National Institute of Fashion Techoology Traditional Indian Textiles – Class XII Students Handbook + Practical Manual PRICE : ` FIRST EDITION : 2014 © CBSE, India COPIES : No Part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical photocopying, recording or otherwise without the prior permission of the publisher. PUBLISHED BY : The Secretary, Central Board of Secondary Education, Shiksha Kendra, 2, Community Centre, Preet Vihar, Delhi - 110301 DESIGNED & LAYOUT : M/s. India Offset Press, A-1, Mayapuri Industrial Area, Phase-1, New Delhi - 110064 Hkkjr dk lafo/kku mísf'kdk ge Hkkjr ds yksx Hkkjr dks ,d ^¿lEiw.kZ izHkqRo&laiUu lektoknh iaFkfujis{k yksdra=kRed x.kjkT;À cukus ds fy,] rFkk mlds leLr ukxfjdksa dks % lkekftd] vkfFkZd vkSj jktuSfrd U;k;] fopkj] vfHkO;fDr] fo'okl] /keZ vkSj mikluk dh Lora=rk] izfr"Bk vkSj volj dh lerk izkIr djkus ds fy, rFkk mu lc esa O;fDr dh xfjek vkSj jk"Vª dh ,drk vkSj v[k.Mrk lqfuf'pr djus okyh ca/kqrk c<+kus ds fy, n`<+ladYi gksdj viuh bl lafo/kku lHkk esa vkt rkjh[k 26 uoEcj] 1949 bZñ dks ,rn~}kjk bl lafo/kku dks vaxhÑr] vf/kfu;fer vkSj vkRekfiZr djrs gSaA 1- lafo/kku ¼c;kfyloka la'kks/ku½ vf/kfu;e] 1976 dh /kkjk 2 }kjk ¼3-1-1977½ ls ÞizHkqRo&laiUu yksdra=kRed x.kjkT;ß ds LFkku ij izfrLFkkfirA 2- lafo/kku ¼c;kfyloka la'kks/ku½