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Full Journal No. 10 ISSN 2321-659X izkx~ leh{kk PRĀG SAMÍKSHĀ (A NATIONAL REFEREED JOURNAL FOR HISTORY, CULTURE AND ARCHAEOLOGY) VOLUME- 5 February - 2018 No. 10 Chief Editor: Dr. Shantidev Sisodia Jiwaji University, Gwalior Madhya Pradesh VOL. 5/No.10/ February/2018 ISSN 2321-659X PRĀG SAMÍKSHĀ RESEARCH AREA: HISTORY, CULTURE AND ARCHAEOLOGY PRINTED AND PUBLISHED BY: Dr. Shantidev Sisodia Assistant Professor, Department of Ancient Indian History, Culture and archaeology Jiwaji University, Gwalior (M. P.)- 474011, India Phone No. 0751-2442720, Mobile No. +919425742232, Email ID: [email protected] MONTH OF PUBLICATION: FEBRUARY AND AUGUST FRONT COVER PAGE: Sati Pillar, Vidisha BACK PAGE: Vishnu Patt, Vidisha SUBSCRIPTION/MEMBERSHIP CHARGES (Rs.) CATEGORY ONE ISSUE ONE YEAR TWO YEAR LIFE TIME INDIVIDUAL 700* 1400* 2500* 5000 INSTITUTIONAL 700* 1400* 2500* 7500 * Those who are sending their papers from outside Gwalior have to pay extra 110 Rs. ©COPYRIGHT BY THE EDITOR All right reserved, No part of this publication may be reproduced or transmitted, in any form or by any means, without prior permission of the editors and the publisher. DISCLAIMER: . Editorial board/Editor retains the right to accept/decline the article/Research paper/note etc. for the journal. Plagiarism is illegal and editorial board/editor will not be responsible for any plagiarized matter used in the article. Editor will not be responsible for the views of the author expressed in the published research paper/article etc. VOL. 5/No.10/ February/2018 ISSN 2321-659X PETRON Prof. S. K. Dwivedi, HOD, Department of Ancient Indian History, Culture and Archaeology, Jiwaji University, Gwalior, M. P., India. EDITORIAL BOARD Prof. J. N. Pal, Department of Ancient Indian History, Culture and Archaeology, Allahabad University, Allahabad, U.P., India Prof. S. N. Mishra, Department of Ancient Indian History, Culture and Archaeology, Rani Durgavati University, Jabalpur. M. P., India. Prof. S. K. Dwivedi, Department of Ancient Indian History, Culture and Archaeology, Jiwaji University, Gwalior, M. P., India. Prof. S. K. Jaiswal, Department of Ancient Indian History, Culture and Archaeology, Lucknow University, Lucknow, U. P., India. ADVISORY BOARD Prof. B.Labh, Department of Buddhist Studies, University of Jammu, India. Prof. Ishwar Sharan Vishwakarma, Deen Dayal Upadhyaya Gorakhpur University, Gorakhpur, India. Prof. Birendra Nath Prasad, Department of History, Jawahar Lal Nehru University, Delhi, India. Prof. M. P. Ahirwar, Department of Ancient Indian History, Culture and Archaeology, Bhu, U. P. India. Prof. Rahul Raj, Department of Ancient Indian History, Culture and Archaeology, Bhu, U. P. India. Prof. Mukesh Kumar, Department of History, Magadh University, Bodhgaya, Bihar, India. Prof. Avkash D. Jadhav, Department of History, St. Xavier’s College, Mumbai, India. Prof. Alok Shrotriya, Department of Ancient Indian History, Culture and Archaeology, Indra Gandhi National Tribal University, Amarkantak, M. P. India. Prof. Ramkumar Ahirwar, Department of Ancient Indian History, Culture and Archaeology, Vikram University, Ujjain, M. P. India. Prof. Rashmi Jeta, Department of History, Govt. P. G. College, Damoh, Sagar, M. P., India. VOL. 5/No.10/ February/2018 ISSN 2321-659X Editorial orZeku v”kksduxj ftys dk {ks= egkHkkjr dky esa f”k”kqiky ds psfn jkT; dk Hkkx Fkk ,oa tuin dky esa psfn tuin FkkA NBoha “krkCnh bZ- iw- esa pansjh {ks= ¼v”kksd uxj dk {ks=½ voarh] n”kkZ.k ,oa psfn tuinksa esa vkrk Fkk] tks fd uan] ekS;] “kaqx ,oa ex/k jkT;ksa dk Hkkx jgk FkkA ;g ekuk tkrk gS fd lezkV v”kksd mTtSu dks thrdj tkrs le; ,d jkr bl {ks= esa :ds Fks] bl dkj.k bl {ks= dk uke v”kksduxj iM+kA e/;;qxhu dky esa pansjh jkT; dk Hkkx FkkA 8&9 oha “krkCnh bZ- esa ;g izfrgkjksa ds v/khu gks x;kA pansjh ds dY;k.k eafnj vfHkys[k ls izfrgkj oa”k ds 13 jktkvksa dh lwph izkIr gksrh gSA bu izfrgkj “kkldksa esa izkjafHkd “kkld xksHkV vkSj nqHkZV ds uke dnokgk ds [kf.M+r izLrj vfHkys[k ls fofnr gksrs gSA gfjjkt dk Hkkjr dyk Hkou rkezi= ¼fo- la- 1040½] gfjjkt dk Fkqcksu vfHkys[k ¼fo- l- 1055½] j.kiky dk pansjh vfHkys[k ¼fo- la- 1100½] j.kiky dk ijpbZ vfHkys[k ¼fo- la- 1122½] dhfrZiky dk dnokgk izLrj vfHkys[k] tS=oeZu pansjh vfHkys[k vkfn ls izfrgkj oa”k ds “kkldksa dh tkudkjh izkIr gksrh gSA mijksDr vfHkys[kksa ls ijorhZ izfrgkjksa dh oa”kkoyh fu/kkZfjr dh tk ldrh gSA tks fuEu izdkj gS& Øe”k% uhyd.B] gfjjkt] Hkhe] j.kiky] oRljkt] Lo.kZiky] dhfrZiky] vHk;iky] xksfoUnzjkt] jktjkt] ohjjkt] tS=oeZu rFkk laHkor% mYg.kA uhyd.M+ laHkor% bl oa”k dk laLFkkid FkkA blds vfrfjDr dnokgk ds bdyk&fiNyk eafnj lewg ds ,d eafnj dh pUnzf”kyk ij Li’V :i ls izfrgkj fy[kk gqvk gSA yxHkx 10 oha “krh bZ- ds vUr ls ysdj 13 oha “krh bZ- ds vUr rd ijorhZ izfrgkj jktoa”k ds vfHkys[k dnok;k] pansjh] Fkqcksu] egqvk] rsjgh vkfn {ks=ksa ls izkIr gq, gSaA dqN vfHkys[kksa ls Kkr gksrk gS fd ;s xqtZj izfrgkj dh ewy “kk[kk ds lkeUr FksA muds iruksaijkUr bUgksaus viuh Lora=rk ?kksf’kr dj nh gksxhA dhfrZiky us 10&11oha “krkCnh bZ- esa pansjh “kgj dh LFkkiuk dh ,oa mldksa viuh jkt/kkuh cuk;kA izfrgkj jktoa”k ds lekIr gksus ds ckn tstkdHkqfDr ds pansyksa us Hkh ;gk¡ lais{k esa “kklu fd;kA pansjh jkT; 11 oha “krkCnh bZ- esa egewn xtuoh ds ckj&ckj vkØe.kksa ls izHkkfor gqvkA fnYyh lYrur dh LFkkiuk ds ckn rqdZ] vQxku vkSj eqxyksa us ;gk¡ “kklu fd;kA pansjh cqansyk “kkld eksjizgykn ds “kklu dky ds nkSjku Xokfy;j ds “kkld nkSyrjko flaf/k;k us pansjh ij geyk djus ds fy;s tujy TkkWu oSfIVLV dks Hkstk FkkA mlus pansjh] bZlkx<+ vkSj vklikl ds bykdksa ij dCtk dj fy;kA pansjh ds vafre cqUnsyk “kkld jktk enZu flag us lu~ 1857&58 bZ- esa ,d Lora=rk lsukuh ds :i esa loksZPp cfynku fn;kA “kkfUrnso fllkSfn;k VOL. 5/No.10/ February/2018 ISSN 2321-659X CONTENTS 1. Traditional to Contemporary – The Journey of Pattachitra Paintings Dr. Smita Jain, Dr. Ranjana Upadhyay 01-04 2. National Seminar on Contribution of Folk Traditions to Indian Culture Dr. Sarmistha De Basu 05-15 3. Role of Folk Traditions to Attract Tourism in India Dr. Aruna Singh 16-21 4. e/kqcuh fp=dyk esa yksd izrhdksa dk vadu Mk- bZ'oj pUn xqIrk 22-25 5. Early Historical Archaeology of Wainganga Vally Dr. Priyadarshi M. Khobragade 30-37 6. cVs'oj % Hknkoj vapy dk iqjkrkfRod oSHko fdju nqcs 38-41 7. ckS)n”kZu esa lE;d~n`f’V MkW la?kfe=k ckS)] 46-48 8. Dutch-Maratha (i.e. VOC-Angre) Naval Battle of 1754: Multiple aspects of a little-discussed but important incident Nikhil Bellarykar 49-66 Guide Lines for Authors 67-68 Membership form 69 Copyright Agreement Form 70 VOL. 5/No.10/ February/2018 ISSN 2321-659X VOL. 5/No.10/ February/2018 Traditional to Contemporary – The Journey of Pattachitra Paintings Dr. Smita Jain Associate Professor (Home Science) Institute for excellence in Higher Education, Bhopal Dr. Ranjana Upadhyay Associate Professor (Home Science) Sarojini Naidu Govt. Girls PG College, Bhopal. India is always known as the land of rich culture and traditions. Every region in India has its own style and pattern of art, which is termed as folk art. The folk art of India is very ethnic and simple, and yet colorful and vibrant enough to speak volumes about the country's rich heritage.Folk paintings are diverse in India and reflect rich cultural heritage and they are the true examples of artistic expression. Most of the Indian traditional art forms possess intense meanings apart from being a visual treat. During 20th century Indian folk art slowly emerged as a subject of study and appreciation. Before this period, only Mughal paintings were appreciated in India. These Indian paintings have their own style, designs and colours. Often developed as a mark of celebrations and rituals, many Indian art forms boast of a rich cultural heritage. One such art form is Pattachitra of Odisha. Pattachitrais a Sanskritword, when broken down into its two parts, Patta means cloth, and Chitra means picture. Hence, Pattachitra is a picture painted on a piece of cloth. These pattachtra paintings resemble the old murals of Odisha that were found in and around the religious centres of Puri, Konark, and Bhubaneswar. These murals go back to as early as 5th century BC. The most intricatePattachitra work is done in Puri, especially in the village of Raghurajpur. Raghurajpur was chosen to be developed as the state‟s first heritage village It is situated 14 km away from the pilgrimage town of Puri, on the southern banks of river Bhargabi .this painting is also done in Paralakhemundi, Chikiti and Sonepur.Pattachitra paintings are done by the artists known as Chitrakaras and they reside near temple areas of Puri.These artists use the titles Mohapatras, Maharanas, Sahoo and Swains with their names. This art is passed on to the next generation by the head of the family. Painting Process CanvasPreparation : The Process of painting Pattachitrastarts with preparation of canvas. Traditionally, cotton canvas was used; now, cotton and silk canvas are being used to makethese paintings. Cotton fabric is dipped in a solution of powdered tamarind seeds and water for 4-5 days. 1 VOL. 5/No.10/February/2018 The cloth is then taken out from this solution and dried in sun.After the fabric dries, a paste of chalk powder, tamarind and gum is applied on both side of the layered fabric and isdried in sun.Khaddar stone is rubbed several times on the canvas in order to smoothen it, this is followed by rubbing smooth surfaced stone to introduce shine.
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