Women Painters of Mithila

2018 ◽  
pp. 370-381
Author(s):  
Sudha Jha Pathak
Keyword(s):  
Traditional Knowledge ◽  
Women Artists ◽  
Social Structures ◽  
Economic Deprivation ◽  
Traditional Art ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
Set Up ◽  
Cultural Origins

The region of Mithila has become synonymous with the beautiful and vibrant Madhubani paintings which are very much coveted by the connoisseurs of art the world over. The women from Mithila have been making these paintings and it is admirable that they have been able to carve out a space and name for themselves amidst the patriarchal set-up of society. Indeed, there is no other parallel anywhere else in the world of a folk-painting being mastered exclusively by women. The progressive commercialization of this art has resulted in the corrosion of this pristine variety of art - in form as well as content. Except a miniscule number of artists, economically the plight of the vast majority of these women painters has remained quite miserable who are forced to sell their artistic pieces for a pittance while a huge profit is earned by the middlemen. The commodification and commercialization of this traditional art form has caused much alarm to the anthropologists, art historians and connoisseurs of art who are sensitive to the cultural origins and solemnity of these art forms, and also made them empathetic to the economic deprivation of the women artists who produce them. These women artists are undermined by the patriarchal social structures of the community and family and also by the market that expropriates traditional knowledge and cultural expressions.

Women Custodians of Tradition

2020 ◽  
pp. 182-203
Author(s):  
Sudha Jha Pathak
Keyword(s):  
Traditional Knowledge ◽  
Women Artists ◽  
Geographical Location ◽  
Spiritual Experience ◽  
Collective Mind ◽  
Art Form ◽  
The World ◽  
The Government ◽  
Power And Energy

Hidden in the obscure spirals of rural subconscious of Bihar are vast memories of history, culture, and tradition. These memories are invoked and brought forth by the subtle nuances of folklore, song, and painting by women. A sub-stratum of women memories of power and energy has existed since the ancient past where women were the repositories and sustainers of heritage. Madhubani painting can be said to be a creation of communal spiritual experience. It can be comprehended not just as an aesthetic wonder but also as a representation of collective mind, expressing millennia of traditional knowledge of the women artists and a form of transmitting a series of ancestral motifs. The uniqueness of this beautiful art form along with its specific geographical location has led to it being conferred its own geographical identification or GI tag by the government. The region has evoked the interest and appreciation of art connoisseurs, scholars, and tourists from all over the world, thus creating a niche for itself in the world of art.

scholarly journals SANSKAR BHARTI RANGOLI : MEDIUM TO CONSERVE TRADITIONAL ART OF RANGOLI FROM EXTRINSIC TO INTRINSIC

2021 ◽  
Vol 9 (10) ◽  
pp. 266-276
Author(s):  
Shweta Sharma
Keyword(s):  
Screen Printing ◽  
Indian Culture ◽  
Cultural Symbols ◽  
Stencil Printing ◽  
Traditional Art ◽  
Art Form ◽  
Art Forms ◽  
Unique Experience ◽  
Home Furnishing ◽  
Textile Fabric

भारतीय संस्कृति एवं कला का अटूट संबंध है जहां संस्कृति की बात आती है वहीं भारतीय कला का रूपांकन नेत्रों में आ जाता है। भारतीय कलाओं में से एक है रंगोली कला। यह भारतीय पारंपरिक फ्लोर आर्ट है जिसे मुख्य द्वार के सामने तथा आँगन में किसी विषेष अवसर अथवा उत्सव व त्यौहारों पर बनाई जाती है, रंगोली न केवल आंगन की सजावट थी अपितु यह ईष्वर के आषीर्वाद प्राप्त करने के लिए, सौभाग्य के लिए एवं अतिथियों के सत्कार के लिए बनाई जाती है। रंगोली के कई प्रकार हैं, उसमें से एक है संस्कार भारती रंगोली जो महाराष्ट्र में अत्यधिक लोकप्रिय है। इसमें कई हिन्दू मान्यता एवं संस्कृति से संबंधित चिन्हों का प्रयोग किया जाता है। संस्कार भारती रंगोली में उपयुक्त होने वाली डिज़ाइनों का होम फर्निषिंग टेक्सटाइल उत्पाद पर विभिन्न वस्त्र अलंकरण जैसे- फैब्रिक प्रिटिंग (ब्लॉक, स्क्रीन प्रिटिंग, स्टेन्षील प्रिटिंग), फैब्रिक प्रिटिंग, एम्ब्रायडरी का उपयोग करना जिससे फैषन उपभोक्ता के लिए अद्वितीय डिज़ाइन बनाने अथवा पारंपरिक कला में उपयुक्त रंग, डिज़ाइन अथवा शैली का उपयोग कर रंगोली कला की डिज़ाइनों को संरक्षित करना है। संस्कार भारती रंगोली में उपयुक्त होने वाली आकृति को वर्ग, डिज़ाइन, समूह डिज़ाइन, के लिए अनुकूलित किया गया था।लेख के लिए कुल दस डिज़ाइन चयनित कर विकसित किए गए थे और फैब्रिक पेंटिंग के द्वारा होमफर्निषिंग टेक्सटाइल पर बनाने के लिए सर्वश्रेष्ठ 05 डिज़ाइन का चयन किया गया। उपभोक्ता के द्वारा भारतीय रंगोली कला संस्कार भारती रंगाली कला का उपयोग कर बनाए गए उत्पाद बहुत सराहे गए। संस्कार भारती रंगोली कला वस्त्रोत्पाद पर प्रयोग करके लेख तैयार किया गया है। Indian culture and Art Share an unwavering Connection between them. Indian art providespicturesque Slide view of Indian culture, Rangoli Art is one of the most prominent art amongIndian Art forms. This is a floor art, which were basically designed and embossed at mainentrance and courtyards. On various auspicious occasions and festivals Rangoli was designed togrant divine blessings of God as well as signifies the prosperity and heartwarming welcome ofguests. There are many varites of Rangoli in IndiaSanskar Bharti Rangoli is one of the most popular rangoli art of Maharashtra. This art formcomprises of many Hindu aesthetics, artifacts and cultural symbols. These symbols bring adistinct feature to Sanskar Bharti Rangoli. This paper aims at conservation of Rangoli art formby shifting its inclination to fabric embossing. These art form can be consummate by fabricprinting (Block, screen printing, stencil printing), fabric printing and embroidery can be used byfashion enjoy to uplift the unique experience of traditional colors, designs and styles to conservethese rangoli art formsSanskar Bharti Rangoli is designed to facilitate compatibility of shape, area design and groupdesign which brings appropriateness to art form. Ten art designs developed for this paper, on thecounter part, five best fabrics painting finalized to paint on Home furnishing Textile. FashionUsers appreciated the products designed with traditional Indian Rangoli art , Sanskar BhartiRangoli. This paper elaborates the efforts and significance of Sanskar Textile fabric,

Butoh: Granting Art Status to an Indefinable Form

2021 ◽  
Author(s):  
◽  
Shane Caldwell
Keyword(s):  
Performance Art ◽  
Narrative Theory ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
And Performance

<p>Butoh is a kind of art, but exactly what kind of art is not so easy to see. While traditionally considered a type of dance, there are a number of butoh works that are not readily identifiable as dance works, if in fact they count as dance at all. Through the use of Noël Carroll’s narrative theory of art, I will show how butoh comes to be thought of as art even if it fails to match up exactly with any one pre-existing art form. I will show how the context in which butoh came into being is sufficient for granting butoh art status due to its relation to existing art forms. I compare butoh to its two most similar analogues, dance and performance art, and examine how it resembles and differs from each of them. I also show how the reason categorising butoh as only one kind of art form is problematic due to its being part of a non- Western aesthetic tradition that does not break the world up into such easily separable pieces.</p>

scholarly journals Expansion and Contraction: The Play Spaces of Todd and the Vampire

2020 ◽  
pp. 163-170
Author(s):  
Erin Heisel
Keyword(s):  
New Media ◽  
Virtual World ◽  
Visual Artists ◽  
Media Technologies ◽  
Music Production ◽  
Production Processes ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
The Relationship

What happens when the music production processes and spaces of a traditionally live art form such as opera are digitized? What is the relationship between community and isolation for artists when their workspace is lifted from the theatre—with its interpersonal connections—and placed in the virtual world? What opportunities and what risks does this pose for performers? Are there parallels to other art forms that developed or expanded as the result of new media technologies? This article will explore these issues by considering the production processes of the animated YouTube opera/movie Todd and the Vampire, composed and created by Ronen Shai, with contributions by musicians and visual artists working simultaneously, but independently, around the world. How does this piece utilize technology to challenge and transcend traditional notions of space and identity? What are the implications of this somewhat disembodied process for performers, audiences, and for the art form itself?

scholarly journals Fabric Philosophy: The “Texture” of Theatricality and Performativity

2017 ◽  
Vol 2 (2) ◽  
pp. 172 ◽  
Author(s):  
Teemu Paavolainen
Keyword(s):  
Everyday Life ◽  
Global Scale ◽  
Human Existence ◽  
Cultural Value ◽  
Ecological Anthropology ◽  
Its Analysis ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
Philosophical Pragmatism

As metaphors of human existence, the idioms of theatricality and performativity both fluctuate between values of novelty and normativity: theatricality, between the essence of an art form and a cultural value variously opposed or embraced, performativity, between doing and dissimulation. To revert from drawing too sharp boundaries, either between the two phenomena or between their cognate art forms and everyday life, the article pursues to analyse them in “textural” terms specifically inspired by Tim Ingold’s ecological anthropology and Stephen C. Pepper’s philosophical pragmatism from the 1940s. Where Ingold’s ecology of lines admits to “no insides or outsides,” “trailing loose ends in every direction,” Pepper’s “contextualistic world” of events admits “no top nor bottom” to its strands and textures. After introducing Ingold’s networks of connected objects and meshworks of interwoven lines as shorthand terms for specifically theatrical and performative textures, their various dynamics are considered in terms of absorption and abstraction: on a global scale – I briefly consider the Anthropos(c)ene as theatrum mundi – seeing all the world as a stage indeed depends on something of a theatrical inversion of its lines of becoming. From the tensions of novelty and normativity, noted above, what emerges is a fabric philosophy of weaving and zooming between overlapping textures: if the performative names a dramaturgy of becoming, then the theatrical provides an optic for its analysis.

Butoh: Granting Art Status to an Indefinable Form

2021 ◽  
Author(s):  
◽  
Shane Caldwell
Keyword(s):  
Performance Art ◽  
Narrative Theory ◽  
Art Form ◽  
The World ◽  
Art Forms ◽  
And Performance

<p>Butoh is a kind of art, but exactly what kind of art is not so easy to see. While traditionally considered a type of dance, there are a number of butoh works that are not readily identifiable as dance works, if in fact they count as dance at all. Through the use of Noël Carroll’s narrative theory of art, I will show how butoh comes to be thought of as art even if it fails to match up exactly with any one pre-existing art form. I will show how the context in which butoh came into being is sufficient for granting butoh art status due to its relation to existing art forms. I compare butoh to its two most similar analogues, dance and performance art, and examine how it resembles and differs from each of them. I also show how the reason categorising butoh as only one kind of art form is problematic due to its being part of a non- Western aesthetic tradition that does not break the world up into such easily separable pieces.</p>

Social Glocalisation and Education

2020 ◽  
Author(s):  
Hans Hobelsberger
Keyword(s):  
Higher Education ◽  
Social Work ◽  
Practical Theology ◽  
Social Structures ◽  
Local Effects ◽  
Local Identities ◽  
The Social ◽  
The World ◽  
Work Health

This book discusses the local effects of globalisation, especially in the context of social work, health and practical theology, as well as the challenges of higher education in a troubled world. The more globalised the world becomes, the more important local identities are. The global becomes effective in the local sphere. This phenomenon, called ‘glocalisation’ since the 1990s, poses many challenges to people and to the social structures in which they operate.

Sustainable Social Entrepreneurship through Innovation diffusing Traditional Knowledge with Innovation: Case Study of Pottery Art in India

2016 ◽  
Vol 3 (01) ◽  
Author(s):  
Ambalika Sinha ◽  
Divya Rai
Keyword(s):  
Human Resources ◽  
Traditional Knowledge ◽  
Social Entrepreneurship ◽  
Foreign Currency ◽  
Economic Conditions ◽  
Employment Conditions ◽  
Art Form ◽  
Formal Employment ◽  
Marketing Intervention

India a massive country in terms of employment conditions and majority of human resources are involved in unorganized sectors but are more vulnerable in compare to other types of formal employment. Upliftment of these sector will results in increased economic conditions of population as well as it will fetch for foreign currency. This paper emphasizes on technological as well as marketing intervention in one of the art form i.e. Pottery which is at verge of extinction. Slight modifications in these will pave a long better way for development.

The World Underfoot

2018 ◽  
Author(s):  
Hallie M. Franks
Keyword(s):  
The Political ◽  
Classical Period ◽  
Social Fabric ◽  
Physiological Reaction ◽  
The Social ◽  
The World ◽  
Foreign Land ◽  
Social Gathering ◽  
Set Up ◽  
The Ideal

In the Greek Classical period, the symposium—the social gathering at which male citizens gathered to drink wine and engage in conversation—was held in a room called the andron. From couches set up around the perimeter of the andron, symposiasts looked inward to the room’s center, which often was decorated with a pebble mosaic floor. These mosaics provided visual treats for the guests, presenting them with images of mythological scenes, exotic flora, dangerous beasts, hunting parties, or the specter of Dionysos, the god of wine, riding in his chariot or on the back of a panther. This book takes as its subject these mosaics and the context of their viewing. Relying on discourses in the sociology and anthropology of space, it argues that the andron’s mosaic imagery actively contributed to a complex, metaphorical experience of the symposium. In combination with the ritualized circling of the wine cup from couch to couch around the room and the physiological reaction to wine, the images of mosaic floors called to mind other images, spaces, or experiences, and, in doing so, prompted drinkers to reimagine the symposium as another kind of event—a nautical voyage, a journey to a foreign land, the circling heavens or a choral dance, or the luxury of an abundant past. Such spatial metaphors helped to forge the intimate bonds of friendship that are the ideal result of the symposium and that make up the political and social fabric of the Greek polis.

scholarly journals Seed Yam Production Using High-Quality Minitubers Derived from Plants Established with Vine Cuttings

Agronomy ◽  
2021 ◽  
Vol 11 (5) ◽  
pp. 978
Author(s):  
Beatrice Aighewi ◽  
Norbert Maroya ◽  
Lava Kumar ◽  
Morufat Balogun ◽  
Daniel Aihebhoria ◽  
...  
Keyword(s):  
Block Design ◽  
Research Station ◽  
International Institute ◽  
Tropical Agriculture ◽  
Single Node ◽  
Cropping Season ◽  
Randomized Complete Block Design ◽  
The World ◽  
Cropping Seasons ◽  
Set Up

Yam (Dioscorea spp.) is a valuable food security crop in West Africa, where 92% of the world production occurs. The availability of quality seed tubers for increased productivity is a major challenge. In this study, minitubers weighing 1, 3, and 5 g produced from virus-free single-node vine cuttings of two improved yam varieties (Asiedu and Kpamyo) growing in an aeroponics system were assessed for suitability in seed production at a population of 100,000 plants ha−1. A 3 × 2 factorial experiment with randomized complete block design and three replications was set up during the cropping seasons of 2017 to 2019 at the International Institute of Tropical Agriculture Research Station in Kubwa, Abuja, Nigeria. Results showed field establishments of 87%–97.8%. Yields differed with minituber size, variety, and cropping season; the highest was 31.2 t ha−1 in 2019 and the lowest, 10 t ha−1 in 2018 from 5 and 1 g Kpamyo minitubers, respectively. The estimated number of tubers produced per hectare by 1, 3, and 5 g minitubers was 101,296, 112,592, and 130,555, with mean weights per stand of 159.2, 187.3, and 249.4 g, respectively. We recommend using less than 6 g minitubers for seed yam production due to their high multiplication rates.

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