Slide share of Traditional Textile

1. GROUP MEMBERS
• KUSHI
•VISHWA LAKSHMI
•CAROLINE

2. OBJECTIVE OF PROJECT
 “People generally remember 50% of what they see and hear; Attend
exhibit/sites; Watch a demonstration,People are able to (Learning
Outcomes): – demonstrate, -apply, -practice”.
 To get the most outcome of a museum visit emphasize three
learning phases: 1. anticipation (before the visit), 2. contemplation
(during the visit), 3. reflection (after the visit).
 To get knowledge .
 to know about the museium infrastructure.
 to know about textile's and traditional art.

3. Topic
Craft Museum /
traditional art / textile
galary

4. Introduction
Traditional Art And Textile Gallery
• In the art world, contemporary Indian art is synonymous with the old
vanguard of M F Hussain, Raza and Tyeb Mehta.
• the old traditions of Indian art that are deep rooted in all that is
Indian, some of which even inspire today’s ‘modern artists.
• Gods and Goddesses are represented in fantastical forms, some
taking on human dimensions. All their beliefs and myths find
expression in their art, mainly because most of the tribal languages
have no written script.
• Since the 1940s, Mrs Anjali Mangaldas, then a child, gradually
began collecting textiles, those from Gujarat being predominant.
Each piece was selected with great care, with some being sourced
from antique textile dealers in Ahmedabad and others during her
extensive travels.

5. • Since the 1940s, Mrs Anjali Mangaldas, then a child, gradually began
collecting textiles, those from Gujarat being predominant. Each piece was
selected with great care, with some being sourced from antique textile
dealers in Ahmedabad and others during he extensive travels.
• Today, these textiles are repositories of a wide variety of techniques,
serving as relics of a way of life – some of which exist no more, while others
are still in practice or have evolved over the years, giving rise to newer
traditions.
• This rich collection, which continues to grow, has been the inspiration for the
new textile-themed extension of the hotel as well as a textile gallery, at The
House of MG, which has acquired this collection.
• Gujarat has a rich heritage of folk arts and crafts. The various regions of the
state are endowed with a variety of crafts which are deeply entwined with
the life and culture of the people living here. The Gujarati women, in
particular, are the main contributors to this rich legacy

6. Craft Museum
Karnataka Chitrakala Parishath has 13
museums with some of very interesting
and rare collections. The museums
consists of the collections ranging from
traditional Mysore Paintings, Leather
Puppets, Sculptures and Russian artists
Roerichs’. Among the other collections
Kejriwal, Kukke, and Krishna Reddy
collections are note worthy.

7. chitrakala parisath
To know in detail about traditional art and textile
gallary we visited one of the most famous art
collage named chitrakala parisad .
there we have seen such a nice craft , paintings
etc...
Many young artists from various parts of the
country find KCP the best venue to exhibit. Folk
and Traditional art forms are shown not only
inside these five galleries, but also the overall
campus is being used on special occasion that
does not exclude the Open Theatre.

8. Prof. Nicholas Roerich’s
work ran parallel with the
School of Bengal
Revivalism. This style
synthesized the Far
Eastern tradition of wash
painting with traditions of
Ajanta and Mughal
painting. The medium
used in these paintings is
tempera. This gives all
the paintings a chalky or
pastel like quality.
Nicholas Roerich paintings

9. The artist believed in the concept of
‘Shambala’. This concept derives that the
earth is linked to heaven and its realm on
earth is a secret valley deep in the
Himalayas.
The gallery holds 42 Himalayan studies of
Nicholas.

10. Indian Miniatures, the
canons of Tibetan
Icon painting, ancient
Russian painting,
Muslim
ornamentation,
ancient Indian
drawing elements,
and elements of
Greek and Persian art
all amalgamate in his
work.

11. Kejriwal gallery
Gallery one and two of the Kejriwal
collection hold an extensive number of
works dating from the 1800’s to the
1950’s.
 The folk paintings, Kalighat drawings,
Santhal Pat (scrolls) and Patta Chitra rolls
are housed in gallery one.
 Mr. Kejriwal’s donations consist of about
300 paintings, prints, drawings and 65
sculptures.

12. Dr. Krishna Reddy Gallery
The geometric forms of his work deal with
principles of order. Schooled in both India
and the West, his work combines the
technologies of two vastly differing
cultures
Krishna Reddy, conducted many
experiments with the possibility of
simultaneous color printing from a single
metal plate

13.  He studied at the Chamarajendra
Technical institute (CTI) in
Mysore.
 The method he used to execute
his works was the Wash method.
 He copied Murals of Lepakshi,
Shravanabelagola and Banasthali
in Rajasthan. Two of the Lepakshi
mural copies are housed in the
Galleries of the Parishath part of
this collection. The collection of
works that are currently in the
galleries were donated upon his
death in 1991.
S S Kukke Gallery

14. Sculpture Gallery
 The conventional meaning of sculpture, as inherited from the West
is “A work of plastic art which is three dimensional, usually solid,
durable and most importantly executed in a single dominant
medium.
 The dominating trends until the 80’s in sculpture were the figurative
and abstract languages based on the formalized international
modern.
 The indegenised trend, which was based on sources deriving from
local and regional techniques, became manifest in the 60’s.
 The collection of sculptures in the galleries of the Parishath has
works of artists like Sunil Das, Shyamal Dutta Roy, Bikash
Bhattacharjee, Bimal Kundu and Meera Mukherjee. Most of these
artists were part of a movement initiated to indigenise the sculptural
movement.

15. Mysore Traditional Gallery
The collection of Mysore traditional style of
paintings holds about 106 works, distributed
over two levels. There are representations of
Durga (Chamundeshwari), Vishnu and his
incarnations, Shiva and other Mythological
figures.
 These rulers claimed descent from the
Goddess Chamundeshwari.
The works in the collection of the Parishath
have all been executed on specially treated
paper and the colors used are mineral or
vegetable dyes.

16. conclusion
At the end of our project visit and experiencing real working space and
that environment of gallary i realize that being an artist is much
more different because of theirextraordinary mind and creative
mind.
The art gallary and craft meusium visit gave me a chance to
experiance and learn what cannot be gained during lactures.one of
the first thing that i have learnet is understannding the importance of
colors emotions which is basic to be a artist.
furthermore i have learn many thing by identifying different typf of
art,material and their uses,and also learning a lot abour the
constrction,process and method that are used in doing all that plus
by taking and asking question from the person who were guiding us
at a site.
finally this visit helped for better understanding what i am going to face
in future as a fashion designer and also giving me better
understanding about colours,lines and texture art to help me in my
studying.overall,it was a great experiance for us.

17. A special thanks to mohnapriya mam who
gave us such n nice project and to work
on it.and i would like to thanks my friend
who really helped me a lot for making this
pptthanks thanks to all........