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        Posted by ;  Published on 02-05-2011 11:27 AM ;  6439 Views


        Manuscript writing is a very old tradition of Assam. From Bana`s Harshacharita, belonging to the 7th century it is known that the gift from Bhaskarbarma, the king of ancient Assam, to Harsha included, inter alia, "volumes of fine writing with leaves made from aloe bark and of the hue of ripe pink cucumber". It is also known from Bana`s account that in Assam there was a tradition of painting miniature pictures. But there is no clear indication about illustrated manuscript in his account. Most of the scholars on Indian art believe that it is only from the 16th century that the Hindus started illustrating their manuscripts, long after the Buddhists and Jains. But it is known from recent investigation that there was a Hindu tradition of manuscript illustration in Nepal as early as 12th century AD. So the existence of such a Hindu tradition in Assam in an earlier date cannot be ruled out.
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        Posted by ;  Published on 06-18-2010 11:48 PM ;  2381 Views
        The History of Sanskrit literature in Orissa has been divided into three broad periods, such as: (a) Early period (c. 300-1100AD), (b) Mediaeval period (1100-1500 AD), and (c) post Independence period (1568-1948 AD). The subject namely the Sanskrit poets and scholars of Orissa flourished in the reign of the Suryavamsi Gajapati Period (1435-1568 A.D.) comes under the last phase of the medieval period and early phase of the third period. The published epigraphic records, treated to be the primary sources of the history prior to the period under discussion are mainly written in Sanskrit language. It is known that the Sanskrit verses composed in various metres are incorporated in the inscriptions of Orissa from the 7th century A. D. and onwards, though in earlier epigraphic records, Sanskrit prose is seen predominant.
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        Posted by ;  Published on 06-18-2010 03:38 AM ;  2116 Views
        The devotional artworks produced by the Kangra School is one of the finest gifts of India to the art world. Named for the region of its origination, Kangra, Himachal Pradesh, being the former princely state who patronized the founding artists of the school. As the Basohli School of painting began to dwindle in the mid-18th century, the Kangra School soon became prominent, producing such a magnitude in paintings, both in depth of content and number of individual works, that the broad Pahari School itself came to be known as Kangra.
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        Posted by ;  Published on 06-18-2010 03:36 AM ;  1952 Views
        Historian Asko Parpola has assumed that the cultivation of rice spread from the Ganges valley to Swat, Pirak (Kachi plain) and Gujarat during the first quarter of the second millennium BC. He says that the rice undoubtedly came from the Ganges valley, and this suggests a new level of mobility in North India. Again, he says that the etymology of the Vedic word for rice does not tally with the Proto-Austro-Asiatic words. Asko Parpola considers that the words for rice in Tamil (arici) and Sanskrit (vrihi) have failed to demonstrate with any certainty the influences of the Austro-Asiatic loan words on the oldest phase of Indo-Aryan in the northwest.
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        Posted by ;  Published on 06-18-2010 03:32 AM ;  1854 Views
        The Pahari School of painting originated in the Hill kingdoms of Himachal Pradesh, a mountainous region of North India, during the 17th-19th century. The most notable schools of art categorized as Pahari include Basohli, Mankot, Nurpur, Chamba, Kangra, Guler, Mandi, and Garhwal. Many paintings from these schools were done in miniature form.
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        Posted by ;  Published on 06-18-2010 03:28 AM ;  1512 Views
        “Cambodia's 'Magic' Oxen Predict Bumper Harvest.” This caption hit many a world media on 30 April 2002. It refers to the first ploughing (Raek Nakwan) ceremony and forecasting of harvest and rains, held at the Veal Preahmein Square royal grounds, north of the Royal Palace outside Phnom Penh's National Museum.
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        Posted by ;  Published on 06-18-2010 03:26 AM ;  1818 Views
        Let us now go into an historical introspection of the Patuas and their creations. The oldest information regarding Patuas dates back to 200 B.C., when Patanjali had mentioned the Chitrakara tribe in his writing. We get more detailed information in the Jataka stories of the Buddhist religion and Kalpasutra, the holy book of the Jains.
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        Posted by ;  Published on 06-18-2010 03:22 AM ;  1901 Views
        Folk art is an indivisible part of folk culture. The study of folk culture in the subcontinents of India dates back to the 19th century. Some eminent personalities or connoisseurs began to study folk culture absolutely to quench their personal interest. In this respect, the names of Dinesh Chandra, Sen. Reverend Lalbehari De, Ramendrasundar Trivedi, Rabindranath Tagore, Abanindranath Tagore and Gurusaday Dutt should be always mentioned. Of them, Gurusaday Dutt is the foremost pioneer in the field of collection, consequation and deliberation of folk art and culture in Orissa.
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        Posted by ;  Published on 06-18-2010 03:17 AM ;  1306 Views
        Srikshetra, or Jagannath Puri as it is commonly known, is a truthful replica of Indian culture. To understand this culture, one has to have some idea of the history of this land, which is different from that of other countries of the world. Indian history does not contain accounts of imperialistic aggressions or invasions into the territorial integrity of any nation. It is, on the other hand, a history of assimilation and a perfect adjustment to a specific environment, which began thousands of years before the period's history known as the Indus Valley Civilization.
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        Posted by ;  Published on 06-18-2010 03:15 AM ;  1019 Views
        In the 10th and 11th centuries, the south witnessed the construction of massive temples, great cathedrals in their own right. With the passage of time, the Chola dynasty came to dominate politics in south India. With their progression to power, the small scale of the Pallava masterpieces - the rathas and the Shore temple at Mahabalipuram - was not sufficient as a showpiece of Chola power. The craftsmen were soon to be put to a greater test.
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        Posted by ;  Published on 06-18-2010 03:12 AM ;  1426 Views
        He remembers the darkness of the pine forest, and the footprints, and his terror when the creature began to howl. He remembers the stories of his childhood, of a beast that stalked the upper reaches of the mountains, and how fear spread through the village every time it was spotted.
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        Posted by ;  Published on 06-18-2010 03:07 AM ;  1682 Views
        The Head of Glory or kirtimukha, Roaring Lion or jagrata, and the Flying vidyadhara are profusely carved on the temple walls of the upper Mahanadi valley from the 9th century onwards, but the earliest of these motifs are found amidst the temple ruins at Mohangiri in the Kalahandi and Banei in Sundergarh districts. The kirtimukha motif of Mohangiri is akin to that found on the doorjamb of the Bharatesvara temple at Bhubanesvar, assigned to the 7th century. In this example, two lined threads instead of festoons of pearls come out of the mouth of the kirtimukha, forming the top portion of the caitya medallion.
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        Posted by ;  Published on 06-18-2010 03:04 AM ;  1603 Views
        One of the earliest iconographic descriptions of Lord Brahma is found in Brhatsamhita, in which he has been described as a four-faced god holding a ritual water-vessel kamandalu in one of his hands (Brahma kamandalukaras'-caturmukhah). In the last part of the Utpala's commentary from Kasyapa, Brahma is described as four-faced having a staff (danda), the hide of a black antelope and a ritual water vessel (Brahma caturmukho dandi krsnajinakamandali). The iconographic details of Brahma images have been found in texts like Amsumadbhedagama, Suprabhedagama, Silparatna, Visnupurana and Rupamandana also. His hands are invariably four in number, the attributes in them being Aksamala, Sruk, Sruva and the Vedas etc. In early images, he is invariably shown without a beard.
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        Posted by ;  Published on 06-18-2010 02:52 AM ;  1100 Views
        Thousands of tourists visit the famed Sun temple at Konark in Orissa and go back impressed with the grandeur and craftsmanship of earlier days. But very few seem to know that another Sun temple exists at Buguda in Ganjam district of the State. This is made entirely of wood and the designs and imagery enthrall the viewer. This is referred to as the Wooden Konark.
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        Posted by ;  Published on 06-18-2010 02:49 AM ;  1427 Views
        Mathas in Puri are storehouses of archaeological remains. These representations can be broadly divided into two categories such as (i) images of enshrined deities and deified preceptors and (ii) decorative motifs on matha temples and residential structures. All these, of course, cannot be dated along with the inception or establishment of the monasteries as stone-works that have been added from time to time. Even magnificent works have been undertaken during the last hundred years.
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        Posted by ;  Published on 06-18-2010 02:46 AM ;  1132 Views
        The patuas of Medinipur have for many generations painted scrolls designed to be unrolled while the story accompanying the pictures is sung. The patas are sheets of paper of equal or different sizes sewn together and painted. Historically the scrolls told religious stories but in the 20th century the artists have added historical events, ecological disasters such as storms and floods, and commentary on social issues.
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        Posted by ;  Published on 06-18-2010 01:55 AM ;  1770 Views
        North Eastern India (erstwhile greater Assam) remained peripheral in the horizon of Sanskritization that brought in social and cultural changes within the broad outline of the Indian civilization.

        The civilizational interface in this region marks its presence in concrete terms probably between 4th and 6th century A.D. as revealed by archaeological finds such as the Dah Parbatia edifice of Gupta style on the north bank of the middle Brahmaputra valley Some of the Assamese scholars are, however inclined to take back the period of Sanskritization to the pre-Christian era on the basis of finds at Surya Pahar in Goalpara district in the lower Brahmaputra valley. The finds reveal Buddhist stupa-like stone edifices along with rock-cut relief images of some deities of the Hindu pantheon.
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        Posted by ;  Published on 06-18-2010 01:52 AM ;  1982 Views
        Many wonderful stories exist about the origin of the Bhagavata Mela Natakam of Andhra Pradesh. In the 14th century, the southern parts of India were ruled by a succession of dynasties committed to the propagation of art and literature. The rulers not only gave land and money to gurus and performers, but also paid for the upkeep of several hundred temple dancers, the rajanartakis and devadasis.
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        Posted by ;  Published on 06-18-2010 01:48 AM ;  2099 Views
        Gita-govinda is a work of lyrical poetry written in Sanskrit. It has twelve chapters (sarga), which are further subdivided into twenty-four Prabandhas. Each Prabandha contains two further divisions, usually comprising eight couplets, called Ashtapadis - poems with eight stanzas. The Ashtapadis are preceded by verses composed in a different meter, which describe the backdrop of the subsequent Ashtapadi. There are about three thousand manuscripts of Gita-govinda written in twenty-two different scripts and fifty seven commentaries.
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        Posted by ;  Published on 06-18-2010 01:42 AM ;  994 Views
        The Natyachudamani of Somanarya is an unpublished musicological work originally written in Sanskrit and accompanied by a Telugu commentary. The author of this work is Ashtavadana Somanarya (Ashtavadana means one who can concentrate on or give attention to eight things at a time), said to be a student of Sitarama. The author is also referred to as Somanatha in the work.
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