Marking Scheme Class X (Session 2019–2020) Time: 2 Hours
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A Nnual R Epo Rt 2002
CMYK Annual ReportAnnual 2002 - 2003 Annual Report 2002-2003 Department of Women and Child Development Women Department of Ministry Development of HumanResource Government ofIndia Government Department of Women and Child Development Ministry of Human Resource Development Government of India CMYK CMYK To call woman the weaker sex is a libel; it is mans injustice to woman. If by strength is meant brute strength, then, indeed, is woman less brute than man. If by strength is meant moral power, then woman is immeasurably mans superior. Has she not greater intuition, is she not more self-sacrificing, has she not greater powers of endurance, has she not greater courage? Without her man could not be. If nonviolence is the law of our being, the future is with woman. Who can make a more effective appeal to the heart than woman? Mahatma Gandhi Designed and produced by: Fountainhead Solutions (Pvt.) Ltd email: [email protected] CMYK Annual Report 2002-03 Department of Women and Child Development Ministry of Human Resource Development Government of India Contents Chapter 1 Introduction 1 Chapter 2 An Overview 7 Chapter 3 Organization 17 Chapter 4 Policy and Planning 25 Chapter 5 The Girl Child in India 43 Chapter 6 Programmes for Women 73 Chapter 7 Programmes for Children 91 Chapter 8 Food and Nutrition Board 111 Chapter 9 Other Programmes 117 Chapter 10 Gender Budget Initiative 127 Chapter 11 Child Budget 143 Chapter 12 National Institute of Public Cooperation and Child Development 153 Chapter 13 Central Social Welfare Board 163 Chapter 14 National Commission for Women 173 Chapter 15 Rashtriya Mahila Kosh 183 Annexures 189 Introduction O Lord, why have you not given woman the right to conquer her destiny? Why does she have to wait head bowed By the roadside, waiting with tired patience Hoping for a miracle in the morrow Rabindranath Tagore Introduction The Department of Women and Child Development was set up in 1985 as a part of the Ministry of Human Resource Development to give the much-needed impetus to the holistic development of women and children. -
Dress Designing Tailoring
T T ailoring and ailoring and Netaji Subhas Open University Commonwealth Educational Media Centre for Asia Dress Designing DD-26, Sector-I, Salt Lake 7/8 Sarv Priya Vihar, Dress Designing Kolkata-700064 New Delhi-110016 TTailoringailoring andand DressDress DesigningDesigning Apparel and Textile Design Appar el and T IISBNS B N 978-93-8219 3 - 8 2 1 1 212-29-7- 0 1 - 4 extile Design @2016, NSOU & CEMCA 9 7 8 9 3 8 2 1 1 2 02971 3 NETAJI SUBHAS OPEN UNIVERSITY Unit 6 S Principles of Design and Ornamentation Structure 6.0 Objectives 6.1 Introduction 6.2 What is Design 6.3 Elements of Design 6.3.1. Shape 6.3.2 Factors of Design 6.4 Colour 6.4.1 Properties of colour 6.4.2 Colour wheel 6.4.3 Colour mixing 6.5 Fashion 6.5.1 Fashion Evaluation 6.6 Principles of Design 6.7 Ornamentation and Embellishment 6.8 Embroidery Techniques 6.8.1 Embroidery stitch 6.8.2 Appliqué 6.8.3 Zardozi 6.9 Innovations and Success 6.9.1 Kashmiri Shawls 6.10 Summary 6.11 References 6.12 Assessment 6.0 Objectives After going through this unit you shall be able to understand the–– N Concept of design. N Colour wheel. 101 N Concept of ornamentation and embellishment. N Various types of embroideries. 6.1 Introduction Designers are the prime trend setters and working as a designer usually implies being creative in a perticular domain of expertise. The work area of a designer spreads from interior of a house to retail environment. -
How to Slip Knot & Chain Stitch
How to Slip Knot & Chain Stitch Appearance in pattern - ch Crochet usually begins with a series of chain stitches called a beginning or foundation chain. A slip knot is the first step in most crochet projects. We will begin by making a slip knot on the crochet hook about 6 inches from the free end of the yarn. You will first start by creating a loop with the yarn. Be sure that the free end of the yarn is dangling behind your loop (see illustration 3). Insert the crochet hook through the center of the loop and hook the free end (see illustration 4). Pull this through and up onto the working area of the crochet hook (see illustration 5). Pull the free yarn end to tighten the loop (see illustration 6). The loop on the crochet hook should be firm, but loose enough to slide back and forth easily on the hook. Be sure you still have about a 6-inch yarn end. Once you have the yarn wrapped, hold the base of the slip knot with the thumb and index finger of your left hand. Step 2: Bring the yarn over the crochet hook from back to front and hook it (see illustration 8). Draw hooked yarn through the loop of the slip knot on the hook and up onto the working area of the crochet hook (see arrow on illustration 9); you have now made one chain stitch (see illustration 10). Step 3: Again, hold the base of the slip knot and bring the yarn over the crochet hook from back to front (see illustration 11). -
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). -
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. -
Elegant Table Runner H
Elegant Table Runner Designed By Patty Peterson Featuring Kreinik Metallic Machine Sewing Threads Finished size 11.5" X 40.75" ave you ever wondered how you can use the decorative stitches on H your sewing machine? Well here’s a quick and easy project where you can combine your machine’s decorative stitches with beautiful metallic threads and make an absolutely elegant table accessory. Whether you make it for your own home or as a gift, this table runner project will help you see the possibilities of those decorative machine stitches in a whole new light! ! SUPPLY LIST: 1.!!! Kreinik Metallic Machine Sewing Threads (34 colors available). This project uses:! Fine Twist threads: 0001 SILVER, 0002 PEWTER, 0003 WHITE GOLD, 0006 ANTIQUE DK GOLD 2.!!! Kreinik Silver Metallized Gimp:! 0030 SILVER, 0032 ANTIQUE GOLD, 0033 BRASSY GOLD! 3.!!! Size 14 Topstitch needle 4.!!! Sewing or embroidery machine/combination 5.!!! Walking foot or dual feed foot to construct table runner 6.!!! Tear-away stabilizer (depending on your hoop size) 7.!!! Bobbin thread 8.!!! Scissors 9.!!! Kreinik Custom Corder!™ 10. !If you plan on embroidering out the stitches in your embroidery hoop you will need 3/4 yard of Kona Bay, Black cotton fabric !! 11. If you are sewing the decorative stitches you will need!1/2 yard Kona Bay, Black cotton fabric 12.! Background fabric 13" x 44" (WOF) width of fabric (our model uses light weight patterned nylon)! 13.! Backing fabric: Kona Bay, Black cotton 13" X 44" (WOF) 14. !Extra fabric to sew test stitches, such as a couple of 6" x 6" squares 15. -
Assure Quality Management Certification Services
Assure Quality Management Certification Services Accredited by JAS-ANZ for QMS & SDI for assessment Name of VTP/Testing Centre: Date of Examination: Candidate Name/ID: Father’s Name: Module Code: GAR 501 Sector: Garments Max. Marks:50 Time:60 Minutes Note: Attempt all questions. All questions carry equal marks. 1 . Cotton thread is suitable for hand embroidery. a) True b) False 2. silk thread is used for (a) stitching carpet (c) doing embroidery work (b) edging the blanket (d) none of the above 3. ––––––––––––– is most commonly used for tracing embroidery design. a) chalk c) pen b) Yellow carbon d) none of the above. 4. Which of the following clothe is best for cross stitching ? a) Jute (c) A&B both b) Net (d) Poplin 5. Among the followings which one stitch is used for filling the design ? b) Satin c)cross stich b)Lazy-Daizy d) chain stich 6 The other name of hem stitch is a) Back stitch c) Beading b) Stem stitch d) Turpai stitch 7. - - - - -- - stitch looks like the sign of multiplication. a) Feather of a bird c) Cross Stich b) back stich d) Run stitch 8. __---------------are used in embroidery work . a) Making design by cutting cloth c)thread work b) mirrors work d) All of the above 9. The characteristic feature of a chain stitch and a lazy-daizy stitch is (a) Chain stitch runs continuously like a chain but lazy-daizy runs in a discrete manner. (b)Chain stitch runs in a discrete manner but lazy-daizy runs continuously. (c) Chain and lazy-daizy both run continuously like a chain. -
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. -
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. -
The Dictionary of Needlework
LIBRARY ^tsSSACHt; ^^ -^^ • J895 I ItVc^Cy*cy i/&(://^ n^ / L^^ Digitized by the Internet Archive in 2010 with funding from Boston Library Consortium IVIember Libraries http://www.archive.org/details/dictionaryofneed02caul THE DICTIONARY OF NEEDLEWORK. APPLIQUE UPON LINEN CLOTH APPLIQUE. DEDICATED TO H.R.H. PRINCESS LOUISE, MARCHIONESS OF LORNE. THE Dic;tioi];?^y of I^eedle!ho^^, ENOYCLOPiEDIA OE ARTISTIC, PLAIN, AND EANCY NEEDLEWORK, DEALING FULLY "WITH THE DETAILS OF ALL THE STITCHES EMPLOYED, THE METHOD OF "WORKING, THE MATERIALS USED, THE MEANING OF TECHNICAL TERMS, AND, "WHERE NECESSARY. TRACING THE ORIGIN AND HISTORY OF THE VARIOUS "WORKS DESCRIBED. ILLUSTRATED WITH UPWARDS OF 1200 WOOD ENG-RAYINGS, AND COLOURED PLATES. PLAIN SE"WING, TEXTILES, DRESSMAKING, APPLIANCES, AND TERMS, By S. E. a. CAULEEILD, Author of "Skic iVtjrs»i(7 at Home," "Desmond," "Avencle," and Papers on Needlework in "The Queen," "Girl's Own Paper "Cassell's Domestic Dictionary," iDc. CHURCH EMBROIDERY, LACE, AND ORNAMENTAL NEEDLEWORK, By blanche C. SAWARD, Author of "'•Church Festiva^l Decorations," and Papers on Fancy and Art Work in ''The Bazaar," "Artistic Aimcsements," "Girl's Own Paper," ii:c. Division II.— Cre to Emb. SECOND EDITION. LONDON: A. W. COWAN, 30 AND 31, NEW BRIDGE STREET, LUDGATE CIRCUS. 'A \^'0^ ^' ... ,^\ STRAND LONDON : PRINTED BY A. BRADLEY, 170, ^./^- c^9V^ A^A^'f THE DICTIONARY OF NEEDLEWORK. 97 Knots for the centre of flowers, as tliey add to their and taste of that period. The great merit of the work beauty. When the centre of a flower is as large as that and the reason of its revival lies in the capability it has of seen in a sunflower, either work the whole with French expressing the thought of the worker, and its power of Knots, or lay down a piece of velvet of the right shade and breaking through the trammels of that mechanical copy- work sparingly over it French Knots or lines of Crewel ing and counting which lowers most embroidery to mere Stitch. -
Why Indian Embroidered Clothing Is Preferred by Everyone?
International Journal For Technological Research In Engineering Volume 1, Issue 1, September-2013 ISSN (Online): 2347 - 4718 WHY INDIAN EMBROIDERED CLOTHING IS PREFERRED BY EVERYONE? Mrs. Dharti B. Thakkar Lecturer in C.A.C.D. & D. M. Department, Government Polytechnic for Girls, Ahmedabad. I. INTRODUCTION Embroidered Clothing of your desire and style. Customized Indian Embroidered clothing is the most ancient trend of Clothing provides us a wide range of designs and fittings to fashion and is still going on and will surely last to long choose from. Embroidered Clothing has remained a mark of lasting ages. The origin of Embroidered Clothing lies in various civilizations and cultures. Kashmiri Embroidered Stone Age. Many Embroidered Clothing made of animal Clothing has earned a name worldwide. Phulkari is a famous skins decorated with threads and beads have been found clothing used by Punjabi women. Wigs used by Egyptians during several excavation projects. Ever since man has were designed out of human hair or wool. Arabic embroidery invented clothing for protecting himself from natural climatic styles are known for their extraordinary handicraft patterns changes, he has always remained desperate to develop new and designs. Some Embroidered Clothing is marked for designs and styles for his dresses. Embroidered Clothing has special occasion like wedding wear. Today not only colorful played a significant role in it. Designing of Embroidered threads are used for embroidery works but gold and silver Clothing is an art of giving different looks to the same dress fibers are also used. Such types of Embroidered Clothing are material by adding separate designs and patters to it.