This document provides an overview of various folk arts, crafts, and cottage industries in Bangladesh. It discusses different art forms like Alpana floor paintings, Nakshi Kantha embroidery, wood carving, metal crafts, and more. It describes the raw materials, tools, motifs, categories and regional variations of these art forms. Traditional folk arts are often community-based and serve religious, social or aesthetic needs, while some crafts like those of blacksmiths and weavers also provide livelihoods.
This document provides an overview of several traditional Indian art forms: Tanjore paintings known for religious themes and use of gold leaf; Madhubani paintings characterized by bright colors and line drawings; Warli folk paintings done in white with red and yellow dots depicting social events; Pattachitra paintings on canvas with mythological themes and natural pigments; Rajasthani miniature paintings depicting court scenes in fine detail with precious materials; and Kalamezhuthu floor drawings in South Indian temples following religious rules with plant-based colors.
This document contains Swati Sawaldiya's midterm submission for a graphic design course on Rajasthan. It includes brainstorming and concept notes for a new Rajasthan tourism logo depicting the intricate castle designs and rangoli patterns of the state's culture. Several logo exploration designs and packaging ideas incorporating elements of Rajasthani culture like colors, decorations, and miniature paintings are presented. The concept is for the logo and packaging to welcome visitors from around the world while representing the warmth, royalty, richness, and spirituality of Rajasthan.
Temple jewellery is inspired by temples and cultures from across the country, with the south being the main source of inspiration. This presentation is to demonstrate how temple jewellery is and how to select one.
The document describes Madhurya's Royality Redefined temple jewellery pendants collection. The collection is inspired by 9th century temple jewellery worn by gods and goddesses. Each pendant in the collection draws inspiration from historical South Indian sculptures, paintings, and ornamentation from the 9th to 20th centuries. The pendants celebrate Indian mythology and culture through intricate designs and the symbolic use of gems.
Rajasthan is known for its unique art and culture that is reflected in its architecture such as ornate palaces, forts, and intricately carved temples. The region has many traditional art forms that include paintings, carvings, and handicrafts. Some of the major art forms discussed are Rajput paintings, Gond paintings, Mandana wall paintings, Thapa hand prints, and Blue pottery. Sanjhi art originated in Mathura as a folk tradition of making stencil-based rangoli designs, especially depicting scenes from Krishna's life. It is considered a refined spiritual art form but the number of practicing artisans was declining until recent conservation efforts.
India is culturally very vibrant country. You can see from my presentation how colourful a country and its people are. My presentation shows hoe colour is used by Indians in different ways
Odisha is located on the eastern coast of India. It borders West Bengal, Jharkhand, Chhattisgarh and Andhra Pradesh. The capital and largest city of Odisha is Bhubaneswar. Odisha has a long history and was previously known as Kalinga. It has a rich cultural heritage reflected in traditions like Odissi dance, pata painting, and applique work from Pipili. The Jagannath Temple in Puri is an important pilgrimage site.
This document provides an overview of several traditional Indian art forms: Tanjore paintings known for religious themes and use of gold leaf; Madhubani paintings characterized by bright colors and line drawings; Warli folk paintings done in white with red and yellow dots depicting social events; Pattachitra paintings on canvas with mythological themes and natural pigments; Rajasthani miniature paintings depicting court scenes in fine detail with precious materials; and Kalamezhuthu floor drawings in South Indian temples following religious rules with plant-based colors.
This document contains Swati Sawaldiya's midterm submission for a graphic design course on Rajasthan. It includes brainstorming and concept notes for a new Rajasthan tourism logo depicting the intricate castle designs and rangoli patterns of the state's culture. Several logo exploration designs and packaging ideas incorporating elements of Rajasthani culture like colors, decorations, and miniature paintings are presented. The concept is for the logo and packaging to welcome visitors from around the world while representing the warmth, royalty, richness, and spirituality of Rajasthan.
Temple jewellery is inspired by temples and cultures from across the country, with the south being the main source of inspiration. This presentation is to demonstrate how temple jewellery is and how to select one.
The document describes Madhurya's Royality Redefined temple jewellery pendants collection. The collection is inspired by 9th century temple jewellery worn by gods and goddesses. Each pendant in the collection draws inspiration from historical South Indian sculptures, paintings, and ornamentation from the 9th to 20th centuries. The pendants celebrate Indian mythology and culture through intricate designs and the symbolic use of gems.
Rajasthan is known for its unique art and culture that is reflected in its architecture such as ornate palaces, forts, and intricately carved temples. The region has many traditional art forms that include paintings, carvings, and handicrafts. Some of the major art forms discussed are Rajput paintings, Gond paintings, Mandana wall paintings, Thapa hand prints, and Blue pottery. Sanjhi art originated in Mathura as a folk tradition of making stencil-based rangoli designs, especially depicting scenes from Krishna's life. It is considered a refined spiritual art form but the number of practicing artisans was declining until recent conservation efforts.
India is culturally very vibrant country. You can see from my presentation how colourful a country and its people are. My presentation shows hoe colour is used by Indians in different ways
Odisha is located on the eastern coast of India. It borders West Bengal, Jharkhand, Chhattisgarh and Andhra Pradesh. The capital and largest city of Odisha is Bhubaneswar. Odisha has a long history and was previously known as Kalinga. It has a rich cultural heritage reflected in traditions like Odissi dance, pata painting, and applique work from Pipili. The Jagannath Temple in Puri is an important pilgrimage site.
Madhubani painting is a folk art from the Mithila region of Bihar, India. Traditionally done by women in villages using natural colors, dyes, twigs and matchsticks, the paintings depict scenes from mythology like Ramayana and everyday village life. The art is believed to have originated during the wedding of Lord Ram and Sita, when artists were commissioned by King Janak to document the event. Characterized by vibrant colors and geometric patterns, common motifs in Madhubani paintings include animals, plants, the sun, moon and depictions of Hindu gods and stories from the epics.
The document discusses several folk painting styles found in India including Warli, Phad, Kalamkari, Patachitra, Patua, Kalighat, Madhubani, Rajasthani, Mysore, and Tanjore paintings. It also summarizes some important cave paintings sites in India such as Ajanta Caves, Bagh Caves, and Jain Caves, describing their key characteristics, themes, and historical context.
There are different styles of Madhubani painting originating from the Mithila region of Bihar, India, including the Bharni, Katchni, Tantrik, Godna, and Kohbar styles. These paintings traditionally used natural dyes and pigments on walls and floors but now also use paper, cloth, and canvas. They typically feature geometric patterns and depictions of nature, Hindu gods and goddesses, and rituals. Pioneering artists like Sita Devi, Ganga Devi, and Mahasundari Devi helped popularize Madhubani painting both in India and internationally and received several honors for their work promoting this folk art tradition.
Madhubani painting is a style of painting from the Mithila region of India and Nepal characterized by eye-catching geometric patterns done using natural dyes. The art form originated in ancient times according to mythology but was unknown outside the region until a British officer discovered the paintings on newly exposed house walls after an earthquake in 1934. Foreign scholars like a French author and German anthropologist have helped promote Mithila painting internationally by documenting the art and encouraging lower caste communities to participate, adding new styles. An organization called the Master Craftsmen Association of Mithila was established in 1977 to support local artists through exhibitions and sales.
Indian Tribal & Folk Art Forms that Every Art Lover Should OwnIndian Art Ideas
There is something really intriguing in every Indian artwork which makes every true art enthusiast opt for one. However, Art collection is a difficult nut to crack. Read the points that you must know as they will help you to buy Indian art works that are the best.
Gonds are a tribal community presently settled in parts of Madhya Pradesh, Chhatisgarh and Maharashtra. They speak native Gond language and have their own particular style of painting. In this art project, we've gone through some unifying aspects of Gond art.
Web link: https://www.youtube.com/watch?v=F26QJUEKHCI&noredirect=1
Team members: Ahsen, Himanshu, Harkirat, Teja and Hrashikesh
Indian painting has its origins in prehistoric times as seen in cave paintings at Bhimbetka dating back thousands of years. During ancient times, paintings flourished under patronage of rulers and were seen in temples and palaces, depicting religious and secular themes. Medieval Indian painting was influenced by Persian styles under Mughal rule and reached its peak during the time of Jahangir. In modern times, schools like the Bengal school and Progressive Artists Group emerged, adapting both traditional and modern techniques and styles. Indian painting has thus continuously evolved over millennia, adapting to new influences while maintaining its distinct character.
Folk art refers to art created by individuals without formal artistic training that reflects the traditions and social values of their culture. It often serves practical purposes and includes paintings, sculptures, tools, toys, and costumes. For a class project, students will research the folk art of a chosen culture, examine common styles and themes, and create their own painting inspired by that folk art tradition.
Warli art is a folk art tradition of the Warli people from Maharashtra and Gujarat in India. It uses simple geometric shapes like circles, triangles, and lines to depict figures and scenes from daily village life and rituals. Warli paintings are typically monochromatic white designs on a red earth background and illustrate themes like marriage ceremonies, harvest seasons, and other important events through images of people, animals, houses, and nature. The art aims to represent basic principles of tribal life through simplicity and humility in their designs and stories.
Mrs. V N Vijaya Rao is an artist from Chennai, India who specializes in traditional Tanjore and Mysore paintings. She learned the styles in the 1990s in Bangalore and has since created many paintings, including a large 6' x 4' piece depicting Panduranga. Her paintings depict Hindu gods and scenes, with Tanjore paintings featuring raised surfaces and Mysore paintings using pure gold foil. She exhibits her work and teaches painting techniques to students.
Deccani painting flourished in peninsular India under the Deccani sultanates from the late 16th century. It blended indigenous and foreign styles, using rich colors like gold and white. Persian influence is seen in the floral backgrounds and landscapes. Distinct styles emerged in different sultanates, like Ahmednagar, Bijapur, Golconda, and Hyderabad. Golconda paintings from the 16th-17th century often depicted dancing girls and musicians at court. Hyderabad paintings after 1724 showed royal figures and daily life. Notable works are displayed at the National Museum in New Delhi.
Warli folk painting originates from the Warli tribe in India and uses simple geometric patterns like circles, triangles, and squares to depict people, animals, houses, and crops. Traditionally painted on the walls of Warli homes, these paintings now appear on paper and other materials as well, expressing the tribe's culture, traditions, and beliefs through depictions of festivals, harvests, stories, and celebrations often showing groups of people and social life. Common symbols in Warli art include circles representing the sun and moon, triangles representing mountains and trees, and squares indicating sacred land.
This document provides an overview of traditional dances and arts/crafts from North India. It describes several folk dances from different North Indian states such as Jammu & Kashmir, Himachal Pradesh, Uttar Pradesh, Punjab and Haryana. These dances incorporate colorful costumes, rhythmic movements and singing. The document also discusses prominent North Indian artforms and crafts including paintings, metalware, carpets, furniture, embroidery and pottery. Traditional Rajasthani artwork and handicrafts are highlighted for their intricate designs and skilled workmanship.
The arts of Indus Valley civilization, one of the earliest civilizations of the world, emerged during the second half of the third millennium (Bronze Age).
This painting by Guman depicts an episode from the Ramayana where Bharat meets Rama at Chitrakuta. It shows numerous figures including Rama, Sita, Lakshmana, Bharat, Shatrughna and their wives and attendants. Rama is shown dressed in red while the mothers wear white. Bharat and Shatrughna wear pink. The painting portrays the group conversing, with Rama greeting the mothers and making hospitality to the priests. It was painted in Jaipur under the patronage of ruler Sawai Jai Singh in the mid-18th century.
This mind map is a graphical way to represent ideas and concepts of Rajasthani school of miniature Painting.It is a visual thinking tool that helps structuring information, helping you to better analyze, comprehend, synthesize, recall and generate new ideas.
Pahari miniature painting
Alternative Title: Hill painting. Pahari painting, style of miniature painting and book illustration that developed in the independent states of the Himalayan foothills in India. The style is made up of two markedly contrasting schools, the bold intense Basohli and the delicate and lyrical Kangra.
1) Alpana is a folk art from West Bengal involving designs painted on floors, walls, and roads using materials like rice paste, for religious ceremonies and weddings. Common motifs include lotuses and creepers.
2) On specific occasions like February 21st, alpanas are painted leading to the Shaheed Minar monument using flowers, geometry, and bricks.
3) Dewal chitra are paintings on mud houses in Northern Bengal believed to protect residents from evil, showing deities, nature scenes, and stories from the Ramayana and Mahabharata.
The Ajanta Caves of Maharashtra, India are 30 rock-cut cave monuments that date back from the 2nd century BCE to the 600 CE, including paintings and sculptures considered to be masterpieces of Buddhist religious art, as well as frescos that are reminiscent of the Sigiriya paintings in Sri Lanka
Madhubani painting is a folk art from the Mithila region of Bihar, India. Traditionally done by women in villages using natural colors, dyes, twigs and matchsticks, the paintings depict scenes from mythology like Ramayana and everyday village life. The art is believed to have originated during the wedding of Lord Ram and Sita, when artists were commissioned by King Janak to document the event. Characterized by vibrant colors and geometric patterns, common motifs in Madhubani paintings include animals, plants, the sun, moon and depictions of Hindu gods and stories from the epics.
The document discusses several folk painting styles found in India including Warli, Phad, Kalamkari, Patachitra, Patua, Kalighat, Madhubani, Rajasthani, Mysore, and Tanjore paintings. It also summarizes some important cave paintings sites in India such as Ajanta Caves, Bagh Caves, and Jain Caves, describing their key characteristics, themes, and historical context.
There are different styles of Madhubani painting originating from the Mithila region of Bihar, India, including the Bharni, Katchni, Tantrik, Godna, and Kohbar styles. These paintings traditionally used natural dyes and pigments on walls and floors but now also use paper, cloth, and canvas. They typically feature geometric patterns and depictions of nature, Hindu gods and goddesses, and rituals. Pioneering artists like Sita Devi, Ganga Devi, and Mahasundari Devi helped popularize Madhubani painting both in India and internationally and received several honors for their work promoting this folk art tradition.
Madhubani painting is a style of painting from the Mithila region of India and Nepal characterized by eye-catching geometric patterns done using natural dyes. The art form originated in ancient times according to mythology but was unknown outside the region until a British officer discovered the paintings on newly exposed house walls after an earthquake in 1934. Foreign scholars like a French author and German anthropologist have helped promote Mithila painting internationally by documenting the art and encouraging lower caste communities to participate, adding new styles. An organization called the Master Craftsmen Association of Mithila was established in 1977 to support local artists through exhibitions and sales.
Indian Tribal & Folk Art Forms that Every Art Lover Should OwnIndian Art Ideas
There is something really intriguing in every Indian artwork which makes every true art enthusiast opt for one. However, Art collection is a difficult nut to crack. Read the points that you must know as they will help you to buy Indian art works that are the best.
Gonds are a tribal community presently settled in parts of Madhya Pradesh, Chhatisgarh and Maharashtra. They speak native Gond language and have their own particular style of painting. In this art project, we've gone through some unifying aspects of Gond art.
Web link: https://www.youtube.com/watch?v=F26QJUEKHCI&noredirect=1
Team members: Ahsen, Himanshu, Harkirat, Teja and Hrashikesh
Indian painting has its origins in prehistoric times as seen in cave paintings at Bhimbetka dating back thousands of years. During ancient times, paintings flourished under patronage of rulers and were seen in temples and palaces, depicting religious and secular themes. Medieval Indian painting was influenced by Persian styles under Mughal rule and reached its peak during the time of Jahangir. In modern times, schools like the Bengal school and Progressive Artists Group emerged, adapting both traditional and modern techniques and styles. Indian painting has thus continuously evolved over millennia, adapting to new influences while maintaining its distinct character.
Folk art refers to art created by individuals without formal artistic training that reflects the traditions and social values of their culture. It often serves practical purposes and includes paintings, sculptures, tools, toys, and costumes. For a class project, students will research the folk art of a chosen culture, examine common styles and themes, and create their own painting inspired by that folk art tradition.
Warli art is a folk art tradition of the Warli people from Maharashtra and Gujarat in India. It uses simple geometric shapes like circles, triangles, and lines to depict figures and scenes from daily village life and rituals. Warli paintings are typically monochromatic white designs on a red earth background and illustrate themes like marriage ceremonies, harvest seasons, and other important events through images of people, animals, houses, and nature. The art aims to represent basic principles of tribal life through simplicity and humility in their designs and stories.
Mrs. V N Vijaya Rao is an artist from Chennai, India who specializes in traditional Tanjore and Mysore paintings. She learned the styles in the 1990s in Bangalore and has since created many paintings, including a large 6' x 4' piece depicting Panduranga. Her paintings depict Hindu gods and scenes, with Tanjore paintings featuring raised surfaces and Mysore paintings using pure gold foil. She exhibits her work and teaches painting techniques to students.
Deccani painting flourished in peninsular India under the Deccani sultanates from the late 16th century. It blended indigenous and foreign styles, using rich colors like gold and white. Persian influence is seen in the floral backgrounds and landscapes. Distinct styles emerged in different sultanates, like Ahmednagar, Bijapur, Golconda, and Hyderabad. Golconda paintings from the 16th-17th century often depicted dancing girls and musicians at court. Hyderabad paintings after 1724 showed royal figures and daily life. Notable works are displayed at the National Museum in New Delhi.
Warli folk painting originates from the Warli tribe in India and uses simple geometric patterns like circles, triangles, and squares to depict people, animals, houses, and crops. Traditionally painted on the walls of Warli homes, these paintings now appear on paper and other materials as well, expressing the tribe's culture, traditions, and beliefs through depictions of festivals, harvests, stories, and celebrations often showing groups of people and social life. Common symbols in Warli art include circles representing the sun and moon, triangles representing mountains and trees, and squares indicating sacred land.
This document provides an overview of traditional dances and arts/crafts from North India. It describes several folk dances from different North Indian states such as Jammu & Kashmir, Himachal Pradesh, Uttar Pradesh, Punjab and Haryana. These dances incorporate colorful costumes, rhythmic movements and singing. The document also discusses prominent North Indian artforms and crafts including paintings, metalware, carpets, furniture, embroidery and pottery. Traditional Rajasthani artwork and handicrafts are highlighted for their intricate designs and skilled workmanship.
The arts of Indus Valley civilization, one of the earliest civilizations of the world, emerged during the second half of the third millennium (Bronze Age).
This painting by Guman depicts an episode from the Ramayana where Bharat meets Rama at Chitrakuta. It shows numerous figures including Rama, Sita, Lakshmana, Bharat, Shatrughna and their wives and attendants. Rama is shown dressed in red while the mothers wear white. Bharat and Shatrughna wear pink. The painting portrays the group conversing, with Rama greeting the mothers and making hospitality to the priests. It was painted in Jaipur under the patronage of ruler Sawai Jai Singh in the mid-18th century.
This mind map is a graphical way to represent ideas and concepts of Rajasthani school of miniature Painting.It is a visual thinking tool that helps structuring information, helping you to better analyze, comprehend, synthesize, recall and generate new ideas.
Pahari miniature painting
Alternative Title: Hill painting. Pahari painting, style of miniature painting and book illustration that developed in the independent states of the Himalayan foothills in India. The style is made up of two markedly contrasting schools, the bold intense Basohli and the delicate and lyrical Kangra.
1) Alpana is a folk art from West Bengal involving designs painted on floors, walls, and roads using materials like rice paste, for religious ceremonies and weddings. Common motifs include lotuses and creepers.
2) On specific occasions like February 21st, alpanas are painted leading to the Shaheed Minar monument using flowers, geometry, and bricks.
3) Dewal chitra are paintings on mud houses in Northern Bengal believed to protect residents from evil, showing deities, nature scenes, and stories from the Ramayana and Mahabharata.
The Ajanta Caves of Maharashtra, India are 30 rock-cut cave monuments that date back from the 2nd century BCE to the 600 CE, including paintings and sculptures considered to be masterpieces of Buddhist religious art, as well as frescos that are reminiscent of the Sigiriya paintings in Sri Lanka
The document provides information about the arts of South, Central, and West Asia. It discusses the ancient Ajanta Caves in India dating back to the 2nd century BCE containing Buddhist art and frescoes. It also describes the Classical period god Shiva as a four-armed figure holding symbols. The Mogul period is highlighted with information about the Taj Mahal monument built in the 16th century by Shah Jahan. Traditional arts discussed include Rangoli floor designs in India, Turkmenistan's unique carpets, and embroidery, ceramics, metalwork, and calligraphy prevalent across West Asia.
The document provides information on the arts and crafts of several regions in South, Central and West Asia. It discusses the Ajanta Caves in India which date back to the 2nd century BCE containing rock cut cave monuments. It also describes the evolution of the image of Shiva in India from the destroyer to the cosmic dancer. The document further discusses the arts of Pakistan, Uzbekistan, Kazakhstan, Tajikistan, Turkmenistan, Kyrgyzstan and West Asia, highlighting crafts involving textiles, ceramics, woodwork and more. It concludes by providing instructions for making a Rangoli and Diwali mobile.
Nepalese painting, also known as Chitrakala, has a long history dating back to the Lichchhavi period. There are three main types of traditional Nepalese paintings: book paintings, scroll paintings, and wall paintings. Book paintings, the oldest, were created on palm leaves and tree bark and contained illustrations. Scroll paintings are larger works created on cloth that depict deities and nature scenes. Wall paintings adorned temples and homes for religious and protective purposes and some of the oldest examples can still be seen at sites in Kathmandu.
The history of Indian textile arts dates back over 5,000 years and represents an important part of India's cultural history. Traditional handloom textiles, natural dyes, and processes have been used. Weaving was considered a holy art and was undertaken by temple weavers. Elaborate patterns and motifs portrayed stories from Indian mythology. Today's fashion artists are still influenced by the rich history and culture of Indian textile craftsmanship.
The document provides information on the art, architecture, and cultural heritage of Odisha, India. It discusses Odisha's archaeological treasures dating back to pre-historic times. It describes some of Odisha's major art forms like Pattachitra paintings, stone carvings, and the classical Odissi dance. Several important temples are mentioned from the ancient and medieval periods. Odisha's cultural diversity is highlighted through its religious festivals, tribal traditions, and blending of Hinduism, Buddhism, and Jainism in its heritage. Major artisanal crafts developed in the state include filigree work, applique, and handicrafts made from materials like palm leaves, brass, and textiles.
Interior Design student work (Dezyne E' cole College)dezyneecole
This document provides an overview of the decorative arts and crafts of India by region. It describes the folk art traditions of the northern, central, eastern, western and southern Indian states. For each region, traditional crafts are outlined such as embroidery, weaving, pottery, woodworking, metalworking and more. The crafts highlighted showcase India's cultural diversity through distinctive artistic styles across its states.
The Handicrafts Of Sri Lanka By Yapa WijeratneYapa
An essay on the handicrafts of Sri Lanka today which include the adaptations of the traditional and contemporary, ranging from gold, silver, bronze to wood, rush, weed and bamboo.
The document provides information on arts and crafts from South, Central, and West Asia. It discusses Rangoli art from India, describing it as a traditional art form using colored powders or sand to make designs on floors [F]. Rangoli gets its name from the Hindi words for 'color' [G] and 'colored creepers'. The document also mentions Buddhist cave paintings and sculptures at the Ajanta Caves in India [A], classical Indian sculptures depicting Shiva [B], Mughal architecture such as the Taj Mahal [C], the Indian festival of Diwali [D,E], Pakistani truck art [H], textile printing in Uzbekistan [I], and Kyrgyz felt
1. The document discusses the arts and crafts of various Muslim groups in Mindanao, Philippines. It describes art forms like okir designs carved in wood and brass that depict plants, animals, and myths. It also discusses textiles like the malong garment and metalworking traditions.
2. The document then provides details on the artistic traditions of specific ethnic groups, including the Tausugs' torogan meeting houses, the Maranaos' okir designs and torogan ancestral homes, the Maguindanaoans' weaving skills, and the Yakans' textile work.
3. Lines are a key element of Mindanaoan folk art, including vertical, horizontal,
The document summarizes various handicrafts found across India's regions. It describes the vibrant handicraft traditions of states like Rajasthan known for puppetry, metalwork, pottery and more. Other states highlighted include Gujarat with its metal bells, textile printing, and woodwork traditions from Uttar Pradesh. The handicrafts depicted on a map of India would show the country's cultural richness through its long-established craft practices still practiced today across villages.
India has a rich history of traditional arts and crafts that continue to shape its culture. When incorporated into architecture and interior design, these art forms provide an important link to the past and a strong sense of identity. Some examples that are still popular today include the ornately carved pillars of Chettinad homes in Tamil Nadu and the fresco paintings of Rajasthan that narrate folktales. Using traditional crafts according to modern sensibilities helps keep indigenous skills and obscure crafts relevant. Traditional art forms described in the document include Madhubani painting from Bihar, Warli painting from Maharashtra, Kalamkari printing from Andhra Pradesh, Pattachitra scroll paintings from Odisha and West
This PPT gives information about the famous toys of India. Hope you enjoy and get a lot of information about the toys found in different states of India.
The document discusses various art forms from South, Central, and West Asia. It describes ancient cave monuments from India dating back to 600 CE that depict figures like Shiva. Mughal architecture is highlighted through the Taj Mahal. Traditional textile arts are discussed for countries like Uzbekistan, Kyrgyzstan, and Kazakhstan. Carpet weaving, embroidery, and other handicrafts continue to be an important part of culture and identity across the regions. The document provides a broad overview of the long history and diversity of art in Asia.
Madhubani painting originated in the Mithila region of Bihar, India near Madhubani town. The tradition of painting local myths and gods on walls and floors began centuries ago but was encouraged to shift to paper in the mid-20th century. Notable artists such as Jagadamba Devi helped popularize the intricate, colorful style depicting themes from Hindu epics and mythology. Natural dyes produce the bright hues without shading in the distinctive Madhubani art.
The document discusses the history and forms of art from South, Central, and West Asia. It describes ancient cave paintings from India, classical sculptures of Hindu deities, and Mughal architecture like the Taj Mahal. Festivals like Diwali and art forms such as rangoli, block printing in Central Asia, and textiles in Kyrgyzstan are also summarized. The document concludes that West Asian art has influenced even everyday products through aesthetic elements like decoration.
1) Ancient Period Indian art from 3900 BCE-1200 CE is evidenced through bronze and copper statuettes and seals showing careful attention to surface texture.
2) The Ajanta Caves in Maharashtra date from 200 BCE-600 CE and contain paintings and sculptures considered masterpieces of Buddhist religious art as well as frescoes reminiscent of Sigiriya paintings in Sri Lanka.
3) In the Classical Period from the 5th-6th centuries, Hinduism evolved from Vedism and the two great Indian epics, the Mahabharata and Ramayana, emerged.
Indian culture is characterized by its diversity and unique traditions that have developed over thousands of years. It has been influenced by various empires and retains a blend of religious, artistic, linguistic and culinary practices. Some aspects that represent Indian culture include colorful festivals, classical dance forms, renowned sculptures and temples, ayurvedic practices like yoga, varied cuisines that use spices, and traditional clothing. The culture has absorbed external influences while maintaining core traditions, allowing it to remain relevant in modern times.
Literature Review Basics and Understanding Reference Management.pptxDr Ramhari Poudyal
Three-day training on academic research focuses on analytical tools at United Technical College, supported by the University Grant Commission, Nepal. 24-26 May 2024
International Conference on NLP, Artificial Intelligence, Machine Learning an...gerogepatton
International Conference on NLP, Artificial Intelligence, Machine Learning and Applications (NLAIM 2024) offers a premier global platform for exchanging insights and findings in the theory, methodology, and applications of NLP, Artificial Intelligence, Machine Learning, and their applications. The conference seeks substantial contributions across all key domains of NLP, Artificial Intelligence, Machine Learning, and their practical applications, aiming to foster both theoretical advancements and real-world implementations. With a focus on facilitating collaboration between researchers and practitioners from academia and industry, the conference serves as a nexus for sharing the latest developments in the field.
The CBC machine is a common diagnostic tool used by doctors to measure a patient's red blood cell count, white blood cell count and platelet count. The machine uses a small sample of the patient's blood, which is then placed into special tubes and analyzed. The results of the analysis are then displayed on a screen for the doctor to review. The CBC machine is an important tool for diagnosing various conditions, such as anemia, infection and leukemia. It can also help to monitor a patient's response to treatment.
Introduction- e - waste – definition - sources of e-waste– hazardous substances in e-waste - effects of e-waste on environment and human health- need for e-waste management– e-waste handling rules - waste minimization techniques for managing e-waste – recycling of e-waste - disposal treatment methods of e- waste – mechanism of extraction of precious metal from leaching solution-global Scenario of E-waste – E-waste in India- case studies.
Use PyCharm for remote debugging of WSL on a Windo cf5c162d672e4e58b4dde5d797...shadow0702a
This document serves as a comprehensive step-by-step guide on how to effectively use PyCharm for remote debugging of the Windows Subsystem for Linux (WSL) on a local Windows machine. It meticulously outlines several critical steps in the process, starting with the crucial task of enabling permissions, followed by the installation and configuration of WSL.
The guide then proceeds to explain how to set up the SSH service within the WSL environment, an integral part of the process. Alongside this, it also provides detailed instructions on how to modify the inbound rules of the Windows firewall to facilitate the process, ensuring that there are no connectivity issues that could potentially hinder the debugging process.
The document further emphasizes on the importance of checking the connection between the Windows and WSL environments, providing instructions on how to ensure that the connection is optimal and ready for remote debugging.
It also offers an in-depth guide on how to configure the WSL interpreter and files within the PyCharm environment. This is essential for ensuring that the debugging process is set up correctly and that the program can be run effectively within the WSL terminal.
Additionally, the document provides guidance on how to set up breakpoints for debugging, a fundamental aspect of the debugging process which allows the developer to stop the execution of their code at certain points and inspect their program at those stages.
Finally, the document concludes by providing a link to a reference blog. This blog offers additional information and guidance on configuring the remote Python interpreter in PyCharm, providing the reader with a well-rounded understanding of the process.
Embedded machine learning-based road conditions and driving behavior monitoringIJECEIAES
Car accident rates have increased in recent years, resulting in losses in human lives, properties, and other financial costs. An embedded machine learning-based system is developed to address this critical issue. The system can monitor road conditions, detect driving patterns, and identify aggressive driving behaviors. The system is based on neural networks trained on a comprehensive dataset of driving events, driving styles, and road conditions. The system effectively detects potential risks and helps mitigate the frequency and impact of accidents. The primary goal is to ensure the safety of drivers and vehicles. Collecting data involved gathering information on three key road events: normal street and normal drive, speed bumps, circular yellow speed bumps, and three aggressive driving actions: sudden start, sudden stop, and sudden entry. The gathered data is processed and analyzed using a machine learning system designed for limited power and memory devices. The developed system resulted in 91.9% accuracy, 93.6% precision, and 92% recall. The achieved inference time on an Arduino Nano 33 BLE Sense with a 32-bit CPU running at 64 MHz is 34 ms and requires 2.6 kB peak RAM and 139.9 kB program flash memory, making it suitable for resource-constrained embedded systems.
Redefining brain tumor segmentation: a cutting-edge convolutional neural netw...IJECEIAES
Medical image analysis has witnessed significant advancements with deep learning techniques. In the domain of brain tumor segmentation, the ability to
precisely delineate tumor boundaries from magnetic resonance imaging (MRI)
scans holds profound implications for diagnosis. This study presents an ensemble convolutional neural network (CNN) with transfer learning, integrating
the state-of-the-art Deeplabv3+ architecture with the ResNet18 backbone. The
model is rigorously trained and evaluated, exhibiting remarkable performance
metrics, including an impressive global accuracy of 99.286%, a high-class accuracy of 82.191%, a mean intersection over union (IoU) of 79.900%, a weighted
IoU of 98.620%, and a Boundary F1 (BF) score of 83.303%. Notably, a detailed comparative analysis with existing methods showcases the superiority of
our proposed model. These findings underscore the model’s competence in precise brain tumor localization, underscoring its potential to revolutionize medical
image analysis and enhance healthcare outcomes. This research paves the way
for future exploration and optimization of advanced CNN models in medical
imaging, emphasizing addressing false positives and resource efficiency.
Batteries -Introduction – Types of Batteries – discharging and charging of battery - characteristics of battery –battery rating- various tests on battery- – Primary battery: silver button cell- Secondary battery :Ni-Cd battery-modern battery: lithium ion battery-maintenance of batteries-choices of batteries for electric vehicle applications.
Fuel Cells: Introduction- importance and classification of fuel cells - description, principle, components, applications of fuel cells: H2-O2 fuel cell, alkaline fuel cell, molten carbonate fuel cell and direct methanol fuel cells.
Introduction to AI Safety (public presentation).pptx
Bhc 10th week
1. Week:10
Lecture:10
Folk and Modern Arts, Crafts and Cottage Industries
Folk Arts and Crafts traditional arts and crafts evolving over time through communal practice. The
distinction between what constitutes art and craft is often blurred. Thus floor and wall paintings or NAKSHI
KANTHA are included in folk art while the products of POTTERs, CARPENTERs and weavers, as well as
articles made of bamboo, cane, shola, conch-shell, ivory, bell-metal are referred to as craft. There are,
however, some folk arts that cannot be categorized separately. For instance, an earthen pot on which
fish, leaves and other designs have been painted as well as cane mats with designs of trees, birds,
mosques etc. are a combination of both art and handicraft.
Folk art generally includes those articles that are traditionally made by communities of people to satisfy
their religious, social and aesthetic needs. ALPANA or painting floors with rice paste, manasaghat,
laksmir sara, mangalghat etc. are connected with social and cultural practices of the people and have
no commercial value. However, CHAL CHITRA, paintings on canvas, which have religious connotations,
are also a means of livelihood.
Most folk arts need very ordinary raw materials like clay, wood, cloth, thread, sola or spongewood,
conch-shell, reeds, bamboo, cane and horns. However, some material is more expensive. Though gold
jewellery does not fall into the category of folk art, ornaments made of copper, brass, and silver may
well be included. The implements used for making folk artifacts are very simple. Even the village
goldsmith, despite his use of the precious metal, also works with primitive tools, crouched on the ground
over a small flame.
Much of women's folk art has been non-commercial, whereas the folk art produced by men has a
commercial value attached to it. Thus, BLACKSMITHs, potters, COBBLERs, painters, GOLDSMITHs, brass-
smiths, WEAVERs earn their livelihood from what they produce. Traditionally, in the past, alpana artists
or nakshi kantha needlewomen were working within the home and received no monetary recompense
for their labour.
Folk art uses traditional motifs reflecting the land and its people. Different forms of folk art tend to repeat
these common motifs. For instance, the lotus, the sun, the tree-of-life, flowery creepers etc are seen in
paintings, EMBROIDERY, weaving, carving and engraving. Other common motifs are fish, elephant, horse,
peacock, swastika, circle, waves, temple, mosque etc. Many of these motifs have symbolical meanings.
For example, the fish represents fertility, the sheaf of paddy prosperity, the lotus purity and the swastika
- usually more curvilinear than the Nazi symbol - good fortune.
Folk art may be divided into the following categories: (1) painting: floor painting, stage scenery, painted
pots, masks, wall painting, tattooing and other body painting, chal chitra, karandichitra (Manasa tales
on a sola canvas), fancy pots, fancy DOLLS etc; (2) embroidery: nakshi kantha, NAKSHI PAKHA,
handkerchiefs, etc; (3) weaving: fancy mats, NAKSHI SHIKA, fancy fans, baskets, flower vases; (4)
modelling: dolls and toys, utensils, masks, moulds for making cakes and, sweets, ornaments; (5)
engraving: wooden products, terracotta slabs, metal works; (6) inlaying: ornaments inlaid with gems,
pearls, diamond and other precious stones, decorating buildings and houses with coloured glass and
stones.
Alpana
A popular folk art associated with Hindu women's observance of religious vratas or vows such as
Laksmivrata, Senjutivrata, Maghmangalvrata, Haricharanvrata and Basudharavrata. It is also drawn on
the occasion of Hindu weddings and ANNAPRASHANA. Common motifs drawn during weddings include
the lotus and creepers. Alpana are also drawn at Muslim weddings, especially on the occasion of the
GAYE HALUD. The alpana motifs drawn at Muslim functions are, however, quite different from those at
vratas. On 21st February as well alpanas using floral motifs and geometric patterns are painted on the
roads leading to the SHAHEED MINAR.
2. White paste made of pounded rice is the main raw material for alpana. Depending on the occasion,
brick powder, ash, water mixed with cow dung, vermilion and turmeric paste are also used. Alpanas for
vratas are drawn with a finger or a piece of wood. In urban areas, alpanas are painted with enamel
paints and brushes. Alpana motifs do not show realistic details. The senjutivrata alpana, representing
a woman with many children, is shown by abstract lines. Similarly, the laksmivrata alpana, representing
the goddess Laksmi's foot, is shown simply as a human footprint.
Alpona
Bamboo craft
Bamboo is used to make houses as well as essential implements for farming and fishing as well as
domestic use. Bamboo is also used to make musical instruments such as the EKTARA and the flute.
Bamboo fences and partitions are often decorated with floral motifs and geometric patterns. Fancy fans
made of bamboo depict trees, birds, elephants, flowers and conch-shaped leaves.
Cane craft
Like bamboo, cane is also used to make a variety of household and fancy products including furniture.
Chairs, stools, sofa sets, bookshelves, baskets, table lamps, partitions and hookah holders are
attractive and affordable.
Though less commonly used in urban areas, fancy mats called NAKSHI PATI (pictorial mat) or shitalpati
(cool mat), continue to be in demand both for their comfort and attractiveness.
Cane Products
Daruchitra
The art of wood engraving is an ancient craft, used for decorating door frames, pillars, windows,
palanquins, boat prows, toys and dolls. The designs are carved out and the plain surfaces are then
3. painted. Door frames and pillars are painted with creepers, palanquins with flowers, creepers and
geometric patterns, and boats with the swastika, the moon, stars, birds and fish.
Dewalchitra
Dewalchitra or wall painting. Images of deities are painted on the walls of mud houses in northern
Bengal in the belief that these images will protect the house and its inmates from evil. Flowers and
leaves are painted to beautify the dwelling place. Apart from alpana designs, motifs include the
swastika, the goddess Laksmi seated on a lotus, the heroes of the PURANAs, sheaves of paddy,
creepers, peacocks and elephants. Scenes from the story of KRISHNA or RAMA are painted as murals.
For the past two decades, wall paintings have also become popular in Dhaka city. Many of these
paintings are broken up into panels painted in different styles of folk art. The boundary wall of the
Institute of Fine Arts which faces Kazi Nazrul Islam Road, for example, has scenes drawn in nakshi
kantha, GAZIR PAT, and ghatachitra styles. In addition to traditional motifs and scenes, depictions of the
WAROF LIBERATION are also common. During the observances of Ekushey, the walls facing the Shaheed
Minar are painted with quotations in BANGLA SCRIPT.
Gazir pot
Gazir pot a form of scroll painting, used to illustrate the life of Gazi Pir, king of tigers. Painted in panel
form, these illustrations depict various miraculous events associated with Gazi Pir. One such panel
shows Gazi seated on a tiger with its tail lifted. Gazir pat also includes other scenes and motifs, such
as the goddess Ganga riding the makara a mythological aquatic animal, a cow being grabbed by a tiger,
and Daksin Ray, also regarded as a king of tigers, holding a mallet in his hand. There are still one or
two patuyas in Munshiganj and Narsingdi who paint Gazir pot.
Ghatachitra
Paintings on earthen pitchers or ghat. There are various types of ghatachitra such as mangalghat,
manasaghat, nagaghat, laksmighat, kartiker bhand and daksinrayer bara, the names being derived from
the deity painted on the pitcher. Thus, manasaghats depict MANASA, the snake goddess, while
nagaghats depict hooded snakes.
A pitcher with the image of an eight-headed snake is called 'astanaga ghat'. Similarly, a pitcher depicting
Laksmi, the goddess of wealth, is called 'laksmir ghat', while a ghat with the image of Daksin Ray, the
tiger god, is known as 'daksin rayer bara'. The manasaghat is the most ornate and popular of this folk
genre.
Jute craft
Apart from being the raw material for hessian and carpets, jute is also used to make mats, bags, and
hanging string bags or sika, used in homes to hang foodstuff out of the reach of animals.To make sikas,
jute twine is braided and then tied in various patterns such as taraful, puntiful and takaful. The sikas are
given different names such as muthashika, chakshika, kadishika and nengtashika on the basis of their
size, shape and designs. Kadisika, for example, is threaded with cowries
4. .
Karandichitra
Panel paintings on sola, depicting the goddess Manasa. These paintings are made on the occasion of
Manasa puja. First a karandi, a square frame resembling a temple, is made with sola and paper. Then
boxes are drawn at the top and the bottom portraying Manasa, BEHULA, Laksindar, Chand Sadagar,
Behula's seven brothers and their wives, a sage, fishermen, snake charmers, washermen, trumpeters
and coiled snakes. At the end of the puja, the karandi is set afloat on water.
Metalcraft
Gold and silver ornaments and plates, glasses, pitchers and mugs made of silver and bell metal have
been in use since ancient times. Flower vases, ashtrays, table lamps, containers for cosmetics, and
various decoration pieces are also being made. Various motifs such as flowers, creepers, birds and
geometric patterns are engraved on pitchers, glasses and mugs.
Gold and silver ornaments
To adorn women from head to foot, are made in innumerable designs. Traditional ornaments include
the makaramukhi mal (the makara-faced anklet), an anklet designed in the shape of the makara.
Lockets are designed like flowers, butterflies and geometric patterns. Ornaments are also set with
precious cut stones, gems and pearls.
Nakshi kantha
Nakshi kantha or embroidered quilt is made and used almost everywhere in Bangladesh. However, the
nakshi kanthas of Rajshahi, Jessore, and Faridpur are most famous for stitchcraft and picturesque
designs. Several layers of old cloth are put together to make these quilts. Apart from being used to
make bedspreads and quilts, nakshi kantha work is also used to make pillow cases and covers, prayer
mats, seats for puja, small bags for keeping mirrors and combs, gilaf (covers) for books, covers for
foods, and dastarkhan or dining mats.
5. The designs were traditionally drawn free hand by women who worked leisurely in their spare time. At
present much nakshi kantha work is done by NGOs and handicraft organisations for commercial
purposes. Common motifs are the lotus, the sun, the moon, stars, leaves, trees, flowering creepers,
human figures, deities, horses, elephants, fish, birds, TAZIAs and rath. Elaborately embroidered quilts
depict scenes from mythology or contemporary life. Traditionally, threads drawn from sari borders were
used. At present embroidery thread is used or skeins of yarn.
Nakshi moulds
Decorative moulds or blocks of varied designs are made with clay, stone or wood. Wooden blocks are
employed to print fabrics using different colours. Moulds of wood, clay and stone are used to make
decorative cakes and sweets. Stone moulds are engraved with creepers, flowers and fruits. Wooden
moulds are made by carpenters, but clay moulds are made by village women themselves.
Ornamental woodwork
A variety of motifs and designs are carved on doors, windows, pillars, joists, rafters, ches ts, beds,
divans, low seats, cake moulds, cases of musical instruments, palanquins, chariots, boats and dolls.
Common motifs include the lotus, birds, flowery creepers, circles and geometric designs.
Painted masks
In many folk festivals, artistes would wear painted masks. In religious dances the performers
would wear masks depicting the faces of the deities. SHIVA's face, for example, would be made
by dabbing mud on a piece of cloth fixed around a wooden frame. Kali's face was painted
blue, her eyes white and black and her tongue red.
6. Painted Mask
Patachitra
Patachitra or scroll paintings by professional artists, known as PATUYAs, are used to illustrate different
narratives. These scroll paintings date back to the Buddhist period when Buddhist bhikkus known as
'maskari' used to spread the message of BUDDHISM by showing pictures to illustrate stories of the
Buddha. Subsequently, during Hindu rule, these scroll paintings depicted stories from the Puranas.
Many Hindus were converted to Islam after the Muslim conquest of Bengal in the 13th century. They
did not abandon the trade they had learned, but added Muslim stories to their repertoire. Thus, they
continued to paint stories of Krishnalila, Ramalila, and Manasalila, stories of Krishna, Rama and
Manasa, and at the same time painted scrolls depicting the deeds of Gazi Pir and Bibi Sonabhan and
the tragic events at Karbala.
The illustrations were first painted on silk cloth or linen and later on paper made of cotton-pulp. There
are two kinds of PATACHITRA in Bangladesh: single pictures on a square canvas and multiple pictures
on a long roll. KALIGHAT PAINTINGs belong to the first category. This style of painting developed during
the 18th-19th centuries after the establishment of Kolkata. The Kalighat school disappeared after
western style painting became popular.
The traditional patachitra illustrates different episodes of a story on a scroll up to 30 feet long. As the
scrolls are wrapped around sticks, these are also known as 'wrapped pictures'. There is another kind of
scroll known as 'panchakalyani pat' which contains illustrations of different deities.
Pottery
Inexpensive household utensils are made of clay as are images of Hindu gods and goddesses for pujas
and devotional rites. Dolls, toys, and decoration pieces are also made in most parts of Bangladesh.
Some clay products are decorated with designs of leaves, flowers, birds etc while others are left plain.
7. Sakher hari
Sakher handi or clay pots painted with motifs of fish, birds, lotus, leaves and geometric designs in
bold brush strokes. Common colours are red, yellow and green. Both motifs and colours are symbolic
of fertility, which is why these pots are used to carry gifts of fruit and sweets at weddings. Rajshahi is
well known for these pots.
Sakher Hari
Sarachitra
Tthis large clay plate painted with the image of the goddess Laksmi is also known as 'Laksmir sara' or
Laksmi's pat. The plate is first painted white and then the image of the deity, often shown seated on an
owl, is painted in yellow, red, and black. On some lids, she is shown with Durga, her mother, and
Saraswati, her sister. On other plates she is shown in a panel with the images of RADHA and KRISHNA.
Sola craft
Sola or spongewood, obtained from a plant that grows in paddy fields and shallow water-bodies, is used
to make a variety of decorative articles. Traditional articles include backdrops for images of deities and
topar, or headgear, for brides and bridegrooms. Topars are usually decorated with kadam flowers. Other
items include dolls, birds, elephants, flowers, boats, garlands etc.
Vaishnavas install sola images of Radha and Krishna on platforms at rasa festivals and worship them.
Mangalik, garlands of kadam flowers, are hung in houses in the belief that they bring good luck. Sola
8. hats were popular during British rule. A sharp knife and a pair of scissors are the main implements for
this craft.
Sola Craft
Terracotta Art
Terracotta is the earliest form of plastic art in which the Bengal artists excelled. The art products in
terracotta or burnt clay satisfied the creative impulse of the artists and also met the domestic and ritual
needs of ordinary man. Clay objects were either baked in the sun or burnt into terracotta for hardening
and durability and were used by man in his daily life since pre-historic times.
Due to paucity of stone and the complex technology involved in metal sculpture, the artistic desire of
Bengali artists found expression in clay, which was abundantly available, and it hardly involved either
any complex technical know-how or any heavy financial involvement. Thousands of untutored artists
produced innumerable terracotta objects from pre-historic time (PANDU RAJARDHIBI). The abundant finds
of objects made of terracotta in Bengal is a sure evidence of the use of clay as a most common and
popular medium of art expression of the people from the very dawn of civilisation in this deltaic land.
The art was practised in Bengal from the earliest through early medieval to medieval times and even
persisted on Hindu monuments till the mid-nineteenth century. The art is noticed in all forms - small clay
figurines, clay sculptures in the round, but the most notable ones are the plaques. Terracotta panels
and friezes, used as surface decoration on brick buildings, are Bengal's remarkable contributions to the
sum-total of South Asian art.
Terracotta works
Zainul Abedin
Zainul Abedin (1914-1976) an artist of exceptional talent and international repute. He played a
pioneering role in the modern art movement in Bangladesh that began, by all accounts, with the setting
up of the Government Institute of Arts and Crafts (now Institute of Fine Arts) in 1948 in Dhaka of which
he was the founding principal.
He was well known for his leadership qualities in organising artists and art activities in a place that had
practically no recent history of institutional or professional art. It was through the efforts of Zainul Abedin
and a few of his colleagues that a tradition of MODERN ART took shape in Bangladesh just within a
decade. For his artistic and visionary qualities the title of Shilpacharya has been bestowed on him.
9. Born in Mymensingh in 1914, Zainul grew up amidst a placid surrounding dominated by the river
Brahmaputra. The river and the open nature inspired him from his early life. He got himself admitted in
Calcutta Government Art School in 1933 and learnt for five years the British/European academic style
that the school diligently followed. In 1938, he joined the faculty of the Art School, and continued to
paint in his laid-back, romantic style. A series of watercolours that Zainul did as his tribute to the river
Brahmaputra earned him the Governor's Gold Medal in an all-India exhibition in 1938. It was a
recognition that brought him into the limelight, and gave him the confidence to forge a style of his own.
Zainul's dissatisfaction with the Orientalist style that seemed to him heavily mannered and static, and
the limitations of European academic style led him towards realism. His fascination with line remained
however, and he made versatile use of it in his interpretation of the everyday life of the people.
In 1943, he drew a series of sketches on the man-made famine that had spread throughout Bengal,
killing hundreds of thousands of people. Done in Chinese ink and brush on cheap packing paper, the
series, known as Famine Sketches were haunting images of cruelty and depravity of the merchants of
death, and the utter helplessness of the victims.
The sketches brought Zainul all-India fame, but more than that they helped him find his rhythm in a
realistic mode that foregrounded human suffering, struggle and protest. The Rebel Crow (watercolour,
1951) marks a high point of that style. This particular brand of realism that combined social inquiry and
protest with higher aesthetics was to prove useful to him in different moments of history such as 1969
and 1971 when Zainul executed a few of his masterpieces.
In 1947, after the partition of the subcontinent, Zainul came to settle in Dhaka, the capital of the eastern
province of Pakistan. Dhaka had no art institute or any artistic activity worth mentioning. Zainul Abedin,
with the help of his colleagues, many of whom had also migrated to Dhaka from Calcutta, founded the
art Institute. In 1951, he went to Slade School of Art in London for a two-year training. Zainul's works
after his return from London showed the beginning of a new style a 'Bengali' style, so to say where folk
forms with their geometric, sometimes semi-abstract representations, the use of primary colours and a
lack of perspective were prominent features. Two Women (gouache 1953), Painna's Mother (gouache
1953) and Woman (watercolour 1953) are some of the notable works of this period.
Zainul Abedin's works throughout the fifties and sixties reflected his preference for realism, his aesthetic
discipline, his predilection for folk forms and primary colours. Increasingly, however, he came to realise
the limitations of folk art its lack of dimensionality, its flat surface, an absence of the intricate relationship
between light and shade, and their lack of dynamism. As a way of transcending these limitations, Zainul
went back to nature, to rural life, and the daily struggles of man, and to a combination of styles that
would be realistic in essence, but modernist in appearance. Zainul's idea of modernism was not
confined to merely abstracted, non-representational styles, but to a deeper understanding of the term
'modernity' itself in which social progress and individual dynamism are two leading components.
Thus the powerful figure of men and women struggling against man-made and natural calamities are a
reminder of that essential idea of modernism: realising the limits of the individual. Zainul's works
centralise men and women who labour and struggle against odds, and realise their potentials.
The 65 feet scroll painting (in Chinese ink, watercolour and wax) Nabanna that he drew in celebration
of the 1969 mass movement or the 30 feet scroll painting Manpura done to commemorate the hundreds
of thousands who died in the devastating cyclone of 1970 show his dynamic style at work. Zainul, of
course, painted nature and the human scene (including the private moments of village women), but his
predilections for speed, movement and an interactive space are evident in the paintings of late sixties
and seventies.
10. In 1975, Zainul Abedin set up a folk museum at SONARGAON, and a gallery in Mymensingh (Shilpacharya
Zainul Abedin Museum) to house some of his works. He became actively involved in a movement to
preserve the heritage of Bengal, and reorient Bengal art to the roots of Bengali culture, as he felt the
futility of unimaginative copying of western techniques and styles that modern art somehow inspired in
a section of the local artists. His health began to deteriorate however, as he developed lung cancer. He
died on 28 May 1976 in Dhaka.
Works of Zainul Abedin
11. S. M. Sultan
S. M. Sultan (1923-1994) a renowned painter. His real name was Sheikh Mohammad Sultan but he is
more widely known as SM Sultan. He was born on 10 August 1923 at Masimdia, a village in Narail
district. His father worked as a mason, and Sultan joined him after five years of schooling at the Victoria
Collegiate School in Narail. Sultan also began to draw the buildings his father used to work on and thus
developed a liking for art. Sultan knew that an art education was only possible in Calcutta, but family
hardship stood in the way. It was then that the zamindar of the area, Dhirendranath Roy offered his
help. With monetary support from the zamindar, Sultan went to Calcutta in 1938.
But Sultan did not have the requirements for admission into the government School of Art. With the help
of another patron, Shahid Suhrawardy, who was a member of the governing body of the School, Sultan
entered the Art School. Suhrawardy also offered him accommodation in his house, and the use of his
own library. Sultan however did not complete his education. After three years in the school, he left and
chose to work as a freelance artist.
Sultan had a strong Bohemian streak in his character and something of a wanderer. He soon took to
the road, travelling to different places of India. For a means of living, he drew the portraits of allied
soldiers who had camped at different places in India. He held the first exhibition of his art work in Simla
in 1946, but no work from this period survives, not even photographs as Sultan was totally indifferent
to preservation of his work.
For a time, Sultan lived and worked in Kashmir - mostly landscapes and portraits. Then, after the
partition of the subcontinent in 1947, he returned to Narail. Then again, in 1951, he left for Karachi.
There he taught as an art teacher at a school, and came in contact with artists like Abdur Rahman
Chughtai and Shaker Ali, with whom he developed lasting friendship. In 1950 Sultan had gone to USA
- exhibiting his work in New York, Washington, Chicago, and Boston, and later in London. In 1953 he
returned to Narail. There he built a school for children, and a menagerie. He lived in a house full of cats
and snakes. Except for occasional visits to Dhaka (where he had his first exhibition in 1976) he lived in
the quiet isolation of his house.
On first looking at SM Sultan's paintings, one gets the impression of vastness and strength. His canvas
is large, like a spacious stage where life's dramas are played out. The cast of the drama consists of
agricultural labourers, fishermen, simple householders, and toiling men and women. The men pose an
enigma, since their large muscular and sinewy bodies contrast oddly with the emaciated physique of
real life farmers and fishermen wasted by hard labour and hunger. Yet, in painting after painting, mostly
in oil, but some in striking watercolours, Sultan painted the same human figures, symbolically
suggesting the possibility of a dream rather than reality. Sultan believed in an arcadia where happiness
and contentment would reign, yet was acutely aware of the exploitation, violence and deprivation that
were the daily fare of the life of the villagers.
The tension between expectation and reality is a strong undercurrent in his paintings, sometimes
ironising his contrasted studies of innocence and deceit. His strong bodied men fight with spears for a
newly risen sandbank, or kill a fellow villager in a clan war yet, in moments of domestic repose, they
revert to their roles of caring fathers or husbands. At times, they turn into thinking figures, as in
Reminiscence. His men are drawn in the European Renaissance tradition while his women- supple-
breasted and graceful- belong to the old Indian tradition. Instead of delicate lines however, Sultan uses
strong curved lines, and flat body tones so that they do not stand apart from the crowd of active males.
Sultan's watercolours are bright and lively, but treat the same theme - nature and rural life. They contrast
sharply with the often drab and flat oils painted in deep colours. Sultan tended to work heavily all over
his canvas without living any empty space. His drawings, however, are masterful in their economy and
compactness. The lines are powerful and full blown. In his later works though, the composition is less
tight and focused, perhaps a sign that Sultan was growing a little impatient with the reality of his time.
13. Quamrul Hasan
Quamrul Hasan (1921-1988) artist, born on 2 December 1921 in Kolkata, where his father, Muhammad
Hashim, was superintendent of the Tinjala Graveyard. His paternal residence was in Narenga village in
the Burdwan district of WEST BENGAL.
Quamrul Hassan studied at Calcutta Model ME School (1930-1935) and Calcutta Madrasa (1936-
1937). He graduated in Fine Arts from the Government Institute of Arts (presently, College of Arts and
Crafts, Kolkata) in 1947.
During his student life, he was also involved with Boy Scouts, the BRATACHARI MOVEMENT, Manimela,
Mukul Fauj etc. Apart from his interest in art, he was also interested in physical exercise and, in 1945,
he became the Bengal champion in a physical exercise competition. Like many Bengali Muslims, he
was involved in the Pakistan movement and trained the young boys and girls who belonged to the Mukul
Fauj.
After partition, Quamrul Hassan came to DHAKA and, in collaboration with Shilpacharya ZAINUL ABEDIN,
established the Government Institute of Fine Arts (at present, the Institute of Fine Arts) in 1948. He
taught at the same institute till 1960. In 1950, Quamrul Hassan organised the Art Group in Dhaka.
The East Pakistan Small and Cottage Industries Corporation was established under the leadership of
Quamrul Hassan in 1960, and he worked there as Director of the Design Centre till his retirement in
1978. After his retirement, Hassan worked as a free-lance artist.
Always politically active, Quamrul Hassan was involved in the NON-COOPERATION MOVEMENT (1969-70).
He also took part in the WAR OF LIBERATION, serving as the Director of the Art Division of the Information
and Radio Department of the Bangladesh Government in exile. During this time he designed a poster
depicting a ferocious-looking AGA MOHAMMAD YAHYA KHAN, themilitary president of Pakistan. The caption
of the poster was, 'These animals have to be killed'.
Quamrul Hassan combined popular and modern methods in his paintings and thus came to be known
as 'Patua Quamrul Hassan'. Solo exhibitions of his paintings were held in Dhaka (1955, 1964, 1973,
1975, 1991, 1995), Rangoon (1975), Rawalpindi (1969) and London (1979).
Quamrul Hassan received several awards and honours for his contribution to art, among them the
President's Gold Medal (1965), the Comilla Foundation Gold Medal (1977), the Independence Day
Award (1979), Bangladesh Charu Shilpi Sangsad Honour (1984) and Kazi Mahbubullah Trust Gold
Medal (1987). He was made a Fellow of BANGLA ACADEMY in 1985. The Government of Yugoslav (1985)
and the Government of Bangladesh (1986) issued commemorative stamps using his paintings Tin
Kanya and Naior respectively.